From 4594c0256bc85d379301441d6a3c63a37f09ab0e Mon Sep 17 00:00:00 2001 From: Ralph Amissah Date: Fri, 5 Feb 2010 13:19:26 -0500 Subject: Two Bits by Christopher Kelty and Accelerando by Charles Stross --- .../samples/_sisu/image/2bits.png | Bin 0 -> 21332 bytes .../samples/_sisu/image/2bits_02_01-100.png | Bin 0 -> 16119 bytes .../samples/_sisu/image/2bits_03_02-100.png | Bin 0 -> 317845 bytes .../samples/_sisu/image/2bits_05_03-100.png | Bin 0 -> 338870 bytes .../samples/_sisu/image/2bits_05_04-100.png | Bin 0 -> 85659 bytes .../samples/_sisu/image/2bits_05_05-100.png | Bin 0 -> 149949 bytes .../samples/_sisu/image/2bits_05_06-100.png | Bin 0 -> 257042 bytes .../samples/_sisu/image/2bits_08_07-100.png | Bin 0 -> 72418 bytes .../samples/_sisu/image/2bits_09_08-100.png | Bin 0 -> 267023 bytes .../samples/_sisu/image/2bits_09_09-100.png | Bin 0 -> 20367 bytes .../samples/_sisu/image/2bits_large.png | Bin 0 -> 90351 bytes .../samples/_sisu/skin/doc/skin_2bits.rb | 79 + .../_sisu/skin/doc/skin_accelerando_stross.rb | 90 + .../samples/accelerando.charles_stross.sst | 5816 ++++++++++++++++++++ .../samples/two_bits.christopher_kelty.sst | 3279 +++++++++++ 15 files changed, 9264 insertions(+) create mode 100644 data/v1/sisu_markup_samples/samples/_sisu/image/2bits.png create mode 100644 data/v1/sisu_markup_samples/samples/_sisu/image/2bits_02_01-100.png create mode 100644 data/v1/sisu_markup_samples/samples/_sisu/image/2bits_03_02-100.png create mode 100644 data/v1/sisu_markup_samples/samples/_sisu/image/2bits_05_03-100.png create mode 100644 data/v1/sisu_markup_samples/samples/_sisu/image/2bits_05_04-100.png create mode 100644 data/v1/sisu_markup_samples/samples/_sisu/image/2bits_05_05-100.png create mode 100644 data/v1/sisu_markup_samples/samples/_sisu/image/2bits_05_06-100.png create mode 100644 data/v1/sisu_markup_samples/samples/_sisu/image/2bits_08_07-100.png create mode 100644 data/v1/sisu_markup_samples/samples/_sisu/image/2bits_09_08-100.png create mode 100644 data/v1/sisu_markup_samples/samples/_sisu/image/2bits_09_09-100.png create mode 100644 data/v1/sisu_markup_samples/samples/_sisu/image/2bits_large.png create mode 100644 data/v1/sisu_markup_samples/samples/_sisu/skin/doc/skin_2bits.rb create mode 100644 data/v1/sisu_markup_samples/samples/_sisu/skin/doc/skin_accelerando_stross.rb create mode 100644 data/v1/sisu_markup_samples/samples/accelerando.charles_stross.sst create mode 100644 data/v1/sisu_markup_samples/samples/two_bits.christopher_kelty.sst diff --git a/data/v1/sisu_markup_samples/samples/_sisu/image/2bits.png b/data/v1/sisu_markup_samples/samples/_sisu/image/2bits.png new file mode 100644 index 0000000..3c182f9 Binary files /dev/null and b/data/v1/sisu_markup_samples/samples/_sisu/image/2bits.png differ diff --git a/data/v1/sisu_markup_samples/samples/_sisu/image/2bits_02_01-100.png b/data/v1/sisu_markup_samples/samples/_sisu/image/2bits_02_01-100.png new file mode 100644 index 0000000..4d81dc7 Binary files /dev/null and b/data/v1/sisu_markup_samples/samples/_sisu/image/2bits_02_01-100.png differ diff --git a/data/v1/sisu_markup_samples/samples/_sisu/image/2bits_03_02-100.png b/data/v1/sisu_markup_samples/samples/_sisu/image/2bits_03_02-100.png new file mode 100644 index 0000000..4298cb9 Binary files /dev/null and b/data/v1/sisu_markup_samples/samples/_sisu/image/2bits_03_02-100.png differ diff --git a/data/v1/sisu_markup_samples/samples/_sisu/image/2bits_05_03-100.png b/data/v1/sisu_markup_samples/samples/_sisu/image/2bits_05_03-100.png new file mode 100644 index 0000000..00dadbf Binary files /dev/null and b/data/v1/sisu_markup_samples/samples/_sisu/image/2bits_05_03-100.png differ diff --git a/data/v1/sisu_markup_samples/samples/_sisu/image/2bits_05_04-100.png b/data/v1/sisu_markup_samples/samples/_sisu/image/2bits_05_04-100.png new file mode 100644 index 0000000..f7b5134 Binary files /dev/null and b/data/v1/sisu_markup_samples/samples/_sisu/image/2bits_05_04-100.png differ diff --git a/data/v1/sisu_markup_samples/samples/_sisu/image/2bits_05_05-100.png b/data/v1/sisu_markup_samples/samples/_sisu/image/2bits_05_05-100.png new file mode 100644 index 0000000..42f0948 Binary files /dev/null and b/data/v1/sisu_markup_samples/samples/_sisu/image/2bits_05_05-100.png differ diff --git a/data/v1/sisu_markup_samples/samples/_sisu/image/2bits_05_06-100.png b/data/v1/sisu_markup_samples/samples/_sisu/image/2bits_05_06-100.png new file mode 100644 index 0000000..5716f20 Binary files /dev/null and b/data/v1/sisu_markup_samples/samples/_sisu/image/2bits_05_06-100.png differ diff --git a/data/v1/sisu_markup_samples/samples/_sisu/image/2bits_08_07-100.png b/data/v1/sisu_markup_samples/samples/_sisu/image/2bits_08_07-100.png new file mode 100644 index 0000000..707b2ad Binary files /dev/null and b/data/v1/sisu_markup_samples/samples/_sisu/image/2bits_08_07-100.png differ diff --git a/data/v1/sisu_markup_samples/samples/_sisu/image/2bits_09_08-100.png b/data/v1/sisu_markup_samples/samples/_sisu/image/2bits_09_08-100.png new file mode 100644 index 0000000..383a958 Binary files /dev/null and b/data/v1/sisu_markup_samples/samples/_sisu/image/2bits_09_08-100.png differ diff --git a/data/v1/sisu_markup_samples/samples/_sisu/image/2bits_09_09-100.png b/data/v1/sisu_markup_samples/samples/_sisu/image/2bits_09_09-100.png new file mode 100644 index 0000000..779a4d5 Binary files /dev/null and b/data/v1/sisu_markup_samples/samples/_sisu/image/2bits_09_09-100.png differ diff --git a/data/v1/sisu_markup_samples/samples/_sisu/image/2bits_large.png b/data/v1/sisu_markup_samples/samples/_sisu/image/2bits_large.png new file mode 100644 index 0000000..63de770 Binary files /dev/null and b/data/v1/sisu_markup_samples/samples/_sisu/image/2bits_large.png differ diff --git a/data/v1/sisu_markup_samples/samples/_sisu/skin/doc/skin_2bits.rb b/data/v1/sisu_markup_samples/samples/_sisu/skin/doc/skin_2bits.rb new file mode 100644 index 0000000..cc822d9 --- /dev/null +++ b/data/v1/sisu_markup_samples/samples/_sisu/skin/doc/skin_2bits.rb @@ -0,0 +1,79 @@ +=begin + * Name: SiSU - Simple information Structuring Universe - Structured information, Serialized Units + * Author: Ralph Amissah + * http://www.jus.uio.no/sisu + * http://www.jus.uio.no/sisu/SiSU/download + * Description: Document skin used for Free as in Freedom + * License: Same as SiSU see http://www.jus.uio.no/sisu + * Notes: Site default appearance variables set in defaults.rb + Generic site wide modifications set here scribe_skin.rb, and this file required by other "scribes" instead of defaults.rb +=end +module SiSU_Viz + require "#{SiSU_lib}/defaults" + class Skin + #% promo + def promo_promo + ['sisu_icon','sisu','sisu_search_libre','open_society','fsf','ruby'] + end + def url_home + 'http://twobits.net' + end + def url_site # used in pdf header + 'http://twobits.net' + end + def url_txt # text to go with url usually stripped url + 'twobits.net' + end + def url_home_url + '../index.html' + end + def color_band1 + '"#faf3bc"' + #'"#faf3a6"' + #'"#efe9b2"' + end + def txt_hp + 'Two Bits' + end + def txt_home # this should be the name of the site eg. Lex Mercatoria or if you prefer to see a url the url in text form copy & ... + 'Two Bits' + end + #% icon + def icon_home_button + '2bits.png' + end + def icon_home_banner + icon_home_button + end + #% banner + def banner_home_button + %{
#{png_home}
\n} + end + def banner_home_and_index_buttons + %{
#{png_home}#{table_close}
 This text sub- 
 Table of Contents #{table_close}		 #{table_close}} + end + def banner_band + %{
#{png_home}#{table_close}} + end + def banner_home_guide + end + #% credits + def credits_splash + %{
***
} + end + end + class TeX + def header_center + "\\chead{\\href{#{@vz.url_site}/}{www.jus.uio.no/sisu/}}" + end + def home_url + "\\href{#{@vz.url_site}/}{www.gnu.org}" + end + def home + "\\href{#{@vz.url_site}/}{GNU - Free Software Foundation}" + end + def owner_chapter + "Document owner details" + end + end +end diff --git a/data/v1/sisu_markup_samples/samples/_sisu/skin/doc/skin_accelerando_stross.rb b/data/v1/sisu_markup_samples/samples/_sisu/skin/doc/skin_accelerando_stross.rb new file mode 100644 index 0000000..b014d38 --- /dev/null +++ b/data/v1/sisu_markup_samples/samples/_sisu/skin/doc/skin_accelerando_stross.rb @@ -0,0 +1,90 @@ +=begin + * Name: SiSU - Simple information Structuring Universe - Structured information, Serialized Units + * Author: Ralph Amissah + * http://www.jus.uio.no/sisu + * http://www.jus.uio.no/sisu/SiSU/download + * Description: Skin prepared for Accelerando, Charles Stross + * License: Same as SiSU see http://www.jus.uio.no/sisu + * Notes: Site default appearance variables set in defaults.rb + Generic site wide modifications set here scribe_skin.rb, and this file required by other "scribes" instead of defaults.rb +=end +module SiSU_Viz + require SiSU_lib + '/defaults' + class Skin + #% path + def path_root # the only parameter that cannot be changed here + './sisu/' + end + def path_rel + '../' + end + #% url + def url_home + 'http://www.accelerando.org' + end + def url_txt # text to go with url usually stripped url + 'www.accelerando.org' + end + #% color + def color_band1 + '"#ffffff"' + end + #% text + def text_hp + 'www.accelerando.org' + end + def text_home + 'Accelerando' + end + #% icon + def icon_home_button + 'accelerando_stross.png' + end + def icon_home_banner + icon_home_button + end + #% banner + def banner_home_button + %{
#{png_home}
\n} + end + def banner_home_and_index_buttons + %{
#{png_home}
 This text sub- 
 Table of Contents #{table_close}		 #{table_close}} + end + def banner_band + %{
#{png_home}#{table_close}} + end + #% credits + def credits_splash + %{
+The author's original pdf is available at
www.accelerando.org
+available at
Amazon.com and
+Barnes & Noble
+This book is Copyright Charles Stross © 2005
+Under a Creative Commons License,
+Attribution-NonCommercial-NoDerivs 2.0:
+* Attribution. You must attribute the work in the manner specified by the author or licensor;
+* Noncommercial. You may not use this work for commercial purposes;
+* No Derivative Works. You may not alter, transform, or build upon this work;
+* For any reuse or distribution, you must make clear to others the license terms of this work. +
+<http://creativecommons.org/licenses/by-nc-nd/2.0/>
+These SiSU presentations of Accelerando are done with the kind permission of the author Charles Stross +
} + end + end + class TeX + def header_center + "\\chead{\\href{#{@vz.url_home}}{www.accelerando.org}}" + end + def home_url + "\\href{#{@vz.url_home}}{www.accelerando.org}" + end + def home + "\\href{#{@vz.url_home}}{Accelerando}" + end + def owner_chapter + "Document owner details" + end + end +end +__END__ diff --git a/data/v1/sisu_markup_samples/samples/accelerando.charles_stross.sst b/data/v1/sisu_markup_samples/samples/accelerando.charles_stross.sst new file mode 100644 index 0000000..7e5cb07 --- /dev/null +++ b/data/v1/sisu_markup_samples/samples/accelerando.charles_stross.sst @@ -0,0 +1,5816 @@ +% SiSU 0.38 + +@title: Accelerando + +@creator: Stross, Charles + +@rights: Copyright (C) Charles Stross, 2005. Creative Commons License, Attribution-NonCommercial-NoDerivs 2.0: * Attribution. You must attribute the work in the manner specified by the author or licensor; * Noncommercial. You may not use this work for commercial purposes; * No Derivative Works. You may not alter, transform, or build upon this work; * For any reuse or distribution, you must make clear to others the license terms of this work. (* For any reuse or distribution, you must make clear to others the license terms of this work. * Any of these conditions can be waived if you get permission from the copyright holder.) http://creativecommons.org/licenses/by-nc-nd/2.0/ These SiSU presentations of Accelerando are done with the kind permission of the author Charles Stross + +@source: http://www.accelerando.org/ + +@subject: Science Fiction + +@topic_register: SiSU:markup sample:book;book:novel:science fiction|short stories + +% @keywords: + +@type: science fiction + +@date.available: 2005-07-05 + +@date: 2005-07-05 + +@structure: none; none; PART; Chapter; + +@level: new=:A,:B; break=:C,1 + +@skin: skin_accelerando_stross + +@links: { Accelerando home }http://www.accelerando.org/ +{ Accelerando by Charlie Stross @ SiSU }http://www.jus.uio.no/sisu/accelerando.charlie_stross +{ @ Wikipedia }http://en.wikipedia.org/wiki/Accelerando_%28novel%29 +{ Syntax }http://www.jus.uio.no/sisu/sample/syntax/accelerando.charles_stross.sst.html +{@ Amazon.com}http://www.amazon.com/gp/product/0441014151 +{@ Barnes & Noble}http://search.barnesandnoble.com/booksearch/isbnInquiry.asp?isbn=0441014151 + +% book cover shot (US) book cover shot (UK) + +% http://www.accelerando.org/_static/accelerando.html + +:A~ @title @author + +% :B~ A novel by Charles Stross + +1~dedication Dedication + +For Feòrag, with love + +1~acknowledgements Acknowledgements + +This book took me five years to write - a personal record - and would not exist without the support and encouragement of a host of friends, and several friendly editors. Among the many people who read and commented on the early drafts are: Andrew J. Wilson, Stef Pearson, Gav Inglis, Andrew Ferguson, Jack Deighton, Jane McKie, Hannu Rajaniemi, Martin Page, Stephen Christian, Simon Bisson, Paul Fraser, Dave Clements, Ken MacLeod, Damien Broderick, Damon Sicore, Cory Doctorow, Emmet O'Brien, Andrew Ducker, Warren Ellis, and Peter Hollo. (If your name isn't on this list, blame my memory - my neural prostheses are off-line.) + +I mentioned several friendly editors earlier: I relied on the talented midwifery of Gardner Dozois, who edited Asimov's Science Fiction Magazine at the time, and Sheila Williams, who quietly and diligently kept the wheels rolling. My agent Caitlin Blasdell had a hand in it too, and I'd like to thank my editors Ginjer Buchanan at Ace and Tim Holman at Orbit for their helpful comments and advice. + +Finally, I'd like to thank everyone who e-mailed me to ask when the book was coming, or who voted for the stories that were shortlisted for awards. You did a great job of keeping me focused, even during the periods when the whole project was too daunting to contemplate. + +1~history Publication History + +Portions of this book originally appeared in Asimov's SF Magazine as follows: "Lobsters" (June 2001), "Troubadour" (Oct/Nov 2001), "Tourist" (Feb 2002), "Halo" (June 2002), "Router" (Sept 2002), "Nightfall" (April 2003), "Curator" (Dec 2003), "Elector" (Oct/Nov 2004), "Survivor" (Dec 2004). + +[Accelerando was published by Ace Books on July 5, 2005] ~# + +PART 1: Slow Takeoff + +"The question of whether a computer can think is no more interesting than the question of whether a submarine can swim." + +- Edsger W. Dijkstra + +Chapter 1: Lobsters + +Manfred's on the road again, making strangers rich. + +It's a hot summer Tuesday, and he's standing in the plaza in front of the Centraal Station with his eyeballs powered up and the sunlight jangling off the canal, motor scooters and kamikaze cyclists whizzing past and tourists chattering on every side. The square smells of water and dirt and hot metal and the fart-laden exhaust fumes of cold catalytic converters; the bells of trams ding in the background, and birds flock overhead. He glances up and grabs a pigeon, crops the shot, and squirts it at his weblog to show he's arrived. The bandwidth is good here, he realizes; and it's not just the bandwidth, it's the whole scene. Amsterdam is making him feel wanted already, even though he's fresh off the train from Schiphol: He's infected with the dynamic optimism of another time zone, another city. If the mood holds, someone out there is going to become very rich indeed. + +He wonders who it's going to be. + +* * * + +Manfred sits on a stool out in the car park at the Brouwerij 't IJ, watching the articulated buses go by and drinking a third of a liter of lip-curlingly sour /{gueuze}/. His channels are jabbering away in a corner of his head-up display, throwing compressed infobursts of filtered press releases at him. They compete for his attention, bickering and rudely waving in front of the scenery. A couple of punks - maybe local, but more likely drifters lured to Amsterdam by the magnetic field of tolerance the Dutch beam across Europe like a pulsar - are laughing and chatting by a couple of battered mopeds in the far corner. A tourist boat putters by in the canal; the sails of the huge windmill overhead cast long, cool shadows across the road. The windmill is a machine for lifting water, turning wind power into dry land: trading energy for space, sixteenth-century style. Manfred is waiting for an invite to a party where he's going to meet a man he can talk to about trading energy for space, twenty-first-century style, and forget about his personal problems. + +He's ignoring the instant messenger boxes, enjoying some low-bandwidth, high-sensation time with his beer and the pigeons, when a woman walks up to him, and says his name: "Manfred Macx?" + +He glances up. The courier is an Effective Cyclist, all wind-burned smooth-running muscles clad in a paean to polymer technology: electric blue lycra and wasp yellow carbonate with a light speckling of anti collision LEDs and tight-packed air bags. She holds out a box for him. He pauses a moment, struck by the degree to which she resembles Pam, his ex-fiance. + +"I'm Macx," he says, waving the back of his left wrist under her bar-code reader. "Who's it from?" + +"FedEx." The voice isn't Pam's. She dumps the box in his lap, then she's back over the low wall and onto her bicycle with her phone already chirping, disappearing in a cloud of spread-spectrum emissions. + +Manfred turns the box over in his hands: it's a disposable supermarket phone, paid for in cash - cheap, untraceable, and efficient. It can even do conference calls, which makes it the tool of choice for spooks and grifters everywhere. + +The box rings. Manfred rips the cover open and pulls out the phone, mildly annoyed. "Yes? Who is this?" + +The voice at the other end has a heavy Russian accent, almost a parody in this decade of cheap on-line translation services. "Manfred. Am please to meet you. Wish to personalize interface, make friends, no? Have much to offer." + +"Who are you?" Manfred repeats suspiciously. + +"Am organization formerly known as KGB dot RU." + +"I think your translator's broken." He holds the phone to his ear carefully, as if it's made of smoke-thin aerogel, tenuous as the sanity of the being on the other end of the line. + +"Nyet - no, sorry. Am apologize for we not use commercial translation software. Interpreters are ideologically suspect, mostly have capitalist semiotics and pay-per-use APIs. Must implement English more better, yes?" + +Manfred drains his beer glass, sets it down, stands up, and begins to walk along the main road, phone glued to the side of his head. He wraps his throat mike around the cheap black plastic casing, pipes the input to a simple listener process. "Are you saying you taught yourself the language just so you could talk to me?" + +"Da, was easy: Spawn billion-node neural network, and download Teletubbies and Sesame Street at maximum speed. Pardon excuse entropy overlay of bad grammar: Am afraid of digital fingerprints steganographically masked into my-our tutorials." + +Manfred pauses in mid stride, narrowly avoids being mown down by a GPS-guided roller blader. This is getting weird enough to trip his weird-out meter, and that takes some doing. Manfred's whole life is lived on the bleeding edge of strangeness, fifteen minutes into everyone else's future, and he's normally in complete control - but at times like this he gets a frisson of fear, a sense that he might just have missed the correct turn on reality's approach road. "Uh, I'm not sure I got that. Let me get this straight, you claim to be some kind of AI, working for KGB dot RU, and you're afraid of a copyright infringement lawsuit over your translator semiotics?" + +"Am have been badly burned by viral end-user license agreements. Have no desire to experiment with patent shell companies held by Chechen infoterrorists. You are human, you must not worry cereal company repossess your small intestine because digest unlicensed food with it, right? Manfred, you must help me-we. Am wishing to defect." + +Manfred stops dead in the street. "Oh man, you've got the wrong free enterprise broker here. I don't work for the government. I'm strictly private." A rogue advertisement sneaks through his junkbuster proxy and spams glowing fifties kitsch across his navigation window - which is blinking - for a moment before a phage process kills it and spawns a new filter. He leans against a shop front, massaging his forehead and eyeballing a display of antique brass doorknockers. "Have you tried the State Department?" + +"Why bother? State Department am enemy of Novy-SSR. State Department is not help us." + +This is getting just too bizarre. Manfred's never been too clear on new-old old-new European metapolitics: Just dodging the crumbling bureaucracy of his old-old American heritage gives him headaches. "Well, if you hadn't shafted them during the late noughties ... " Manfred taps his left heel on the pavement, looking round for a way out of this conversation. A camera winks at him from atop a streetlight; he waves, wondering idly if it's the KGB or the traffic police. He is waiting for directions to the party, which should arrive within the next half hour, and this Cold War retread Eliza-bot is bumming him out. "Look, I don't deal with the G-men. I /{hate}/ the military-industrial complex. I hate traditional politics. They're all zero-sum cannibals." A thought occurs to him. "If survival is what you're after, you could post your state vector on one of the p2p nets: Then nobody could delete you -" + +"Nyet!" The artificial intelligence sounds as alarmed as it's possible to sound over a VoiP link. "Am not open source! Not want lose autonomy!" + +"Then we probably have nothing to talk about." Manfred punches the hang-up button and throws the mobile phone out into a canal. It hits the water, and there's a pop of deflagrating lithium cells. "Fucking Cold War hangover losers," he swears under his breath, quite angry, partly at himself for losing his cool and partly at the harassing entity behind the anonymous phone call. "/{Fucking}/ capitalist spooks." Russia has been back under the thumb of the apparatchiks for fifteen years now, its brief flirtation with anarchocapitalism replaced by Brezhnevite dirigisme and Putinesque puritanism, and it's no surprise that the wall's crumbling - but it looks like they haven't learned anything from the current woes afflicting the United States. The neocommies still think in terms of dollars and paranoia. Manfred is so angry that he wants to make someone rich, just to thumb his nose at the would-be defector: /{See! You get ahead by giving! Get with the program! Only the generous survive!}/ But the KGB won't get the message. He's dealt with old-time commie weak-AIs before, minds raised on Marxist dialectic and Austrian School economics: They're so thoroughly hypnotized by the short-term victory of global capitalism that they can't surf the new paradigm, look to the longer term. + +Manfred walks on, hands in pockets, brooding. He wonders what he's going to patent next. + +* * * + +_1 Manfred has a suite at the Hotel Jan Luyken paid for by a grateful multinational consumer protection group, and an unlimited public transport pass paid for by a Scottish sambapunk band in return for services rendered. He has airline employee's travel rights with six flag carriers despite never having worked for an airline. His bush jacket has sixty-four compact supercomputing clusters sewn into it, four per pocket, courtesy of an invisible college that wants to grow up to be the next Media Lab. His dumb clothing comes made to measure from an e-tailor in the Philippines he's never met. Law firms handle his patent applications on a pro bono basis, and boy, does he patent a lot - although he always signs the rights over to the Free Intellect Foundation, as contributions to their obligation-free infrastructure project. + +_1 In IP geek circles, Manfred is legendary; he's the guy who patented the business practice of moving your e-business somewhere with a slack intellectual property regime in order to evade licensing encumbrances. He's the guy who patented using genetic algorithms to patent everything they can permutate from an initial description of a problem domain - not just a better mousetrap, but the set of all possible better mousetraps. Roughly a third of his inventions are legal, a third are illegal, and the remainder are legal but will become illegal as soon as the legislatosaurus wakes up, smells the coffee, and panics. There are patent attorneys in Reno who swear that Manfred Macx is a pseudo, a net alias fronting for a bunch of crazed anonymous hackers armed with the Genetic Algorithm That Ate Calcutta: a kind of Serdar Argic of intellectual property, or maybe another Bourbaki math borg. There are lawyers in San Diego and Redmond who swear blind that Macx is an economic saboteur bent on wrecking the underpinning of capitalism, and there are communists in Prague who think he's the bastard spawn of Bill Gates by way of the Pope. + +_1 Manfred is at the peak of his profession, which is essentially coming up with whacky but workable ideas and giving them to people who will make fortunes with them. He does this for free, gratis. In return, he has virtual immunity from the tyranny of cash; money is a symptom of poverty, after all, and Manfred never has to pay for anything. + +_1 There are drawbacks, however. Being a pronoiac meme-broker is a constant burn of future shock - he has to assimilate more than a megabyte of text and several gigs of AV content every day just to stay current. The Internal Revenue Service is investigating him continuously because it doesn't believe his lifestyle can exist without racketeering. And then there are the items that no money can't buy: like the respect of his parents. He hasn't spoken to them for three years, his father thinks he's a hippy scrounger, and his mother still hasn't forgiven him for dropping out of his down-market Harvard emulation course. (They're still locked in the boringly bourgeois twen-cen paradigm of college-career-kids.) His fiance and sometime dominatrix Pamela threw him over six months ago, for reasons he has never been quite clear on. (Ironically, she's a headhunter for the IRS, jetting all over the place at public expense, trying to persuade entrepreneurs who've gone global to pay taxes for the good of the Treasury Department.) To cap it all, the Southern Baptist Conventions have denounced him as a minion of Satan on all their websites. Which would be funny because, as a born-again atheist Manfred doesn't believe in Satan, if it wasn't for the dead kittens that someone keeps mailing him. + +* * * + +Manfred drops in at his hotel suite, unpacks his Aineko, plugs in a fresh set of cells to charge, and sticks most of his private keys in the safe. Then he heads straight for the party, which is currently happening at De Wildemann's; it's a twenty-minute walk, and the only real hazard is dodging the trams that sneak up on him behind the cover of his moving map display. + +Along the way, his glasses bring him up to date on the news. Europe has achieved peaceful political union for the first time ever: They're using this unprecedented state of affairs to harmonize the curvature of bananas. The Middle East is, well, it's just as bad as ever, but the war on fundamentalism doesn't hold much interest for Manfred. In San Diego, researchers are uploading lobsters into cyberspace, starting with the stomatogastric ganglion, one neuron at a time. They're burning GM cocoa in Belize and books in Georgia. NASA still can't put a man on the moon. Russia has re-elected the communist government with an increased majority in the Duma; meanwhile, in China, fevered rumors circulate about an imminent rehabilitation, the second coming of Mao, who will save them from the consequences of the Three Gorges disaster. In business news, the US Justice Department is - ironically - outraged at the Baby Bills. The divested Microsoft divisions have automated their legal processes and are spawning subsidiaries, IPOing them, and exchanging title in a bizarre parody of bacterial plasmid exchange, so fast that, by the time the windfall tax demands are served, the targets don't exist anymore, even though the same staff are working on the same software in the same Mumbai cubicle farms. + +Welcome to the twenty-first century. + +The permanent floating meatspace party Manfred is hooking up with is a strange attractor for some of the American exiles cluttering up the cities of Europe this decade - not trustafarians, but honest-to-God political dissidents, draft dodgers, and terminal outsourcing victims. It's the kind of place where weird connections are made and crossed lines make new short circuits into the future, like the street cafes of Switzerland where the pre Great War Russian exiles gathered. Right now it's located in the back of De Wildemann's, a three-hundred-year old brown cafe with a list of brews that runs to sixteen pages and wooden walls stained the color of stale beer. The air is thick with the smells of tobacco, brewer's yeast, and melatonin spray: Half the dotters are nursing monster jet lag hangovers, and the other half are babbling a Eurotrash creole at each other while they work on the hangover. "Man did you see that? He looks like a Democrat!" exclaims one whitebread hanger-on who's currently propping up the bar. Manfred slides in next to him, catches the bartender's eye. + +"Glass of the Berlinerweisse, please," he says. + +"You drink that stuff?" asks the hanger-on, curling a hand protectively around his Coke. "Man, you don't want to do that! It's full of alcohol!" + +Manfred grins at him toothily. "Ya gotta keep your yeast intake up: There are lots of neurotransmitter precursors in this shit, phenylalanine and glutamate." + +"But I thought that was a beer you were ordering ..." + +Manfred's away, one hand resting on the smooth brass pipe that funnels the more popular draught items in from the cask storage in back; one of the hipper floaters has planted a contact bug on it, and the vCards of all the personal network owners who've have visited the bar in the past three hours are queuing up for attention. The air is full of ultrawideband chatter, WiMAX and 'tooth both, as he speed-scrolls through the dizzying list of cached keys in search of one particular name. + +"Your drink." The barman holds out an improbable-looking goblet full of blue liquid with a cap of melting foam and a felching straw stuck out at some crazy angle. Manfred takes it and heads for the back of the split-level bar, up the steps to a table where some guy with greasy dreadlocks is talking to a suit from Paris. The hanger-on at the bar notices him for the first time, staring with suddenly wide eyes: He nearly spills his Coke in a mad rush for the door. + +/{Oh shit, thinks Manfred, better buy some more server time}/. He can recognize the signs: He's about to be slashdotted. He gestures at the table. "This one taken?" + +"Be my guest," says the guy with the dreads. Manfred slides the chair open then realizes that the other guy - immaculate double-breasted Suit, sober tie, crew cut - is a girl. She nods at him, half-smiling at his transparent double take. Mr. Dreadlock nods. "You're Macx? I figured it was about time we met." + +"Sure." Manfred holds out a hand, and they shake. His PDA discreetly swaps digital fingerprints, confirming that the hand belongs to Bob Franklin, a Research Triangle startup monkey with a VC track record, lately moving into micromachining and space technology. Franklin made his first million two decades ago, and now he's a specialist in extropian investment fields. Operating exclusively overseas these past five years, ever since the IRS got medieval about trying to suture the sucking chest wound of the federal budget deficit. Manfred has known him for nearly a decade via a closed mailing list, but this is the first time they've ever met face-to-face. The Suit silently slides a business card across the table; a little red devil brandishes a trident at him, flames jetting up around its feet. He takes the card, raises an eyebrow: "Annette Dimarcos? I'm pleased to meet you. Can't say I've ever met anyone from Arianespace marketing before." + +She smiles warmly; "That is all right. I have not the pleasure of meeting the famous venture altruist either." Her accent is noticeably Parisian, a pointed reminder that she's making a concession to him just by talking. Her camera earrings watch him curiously, encoding everything for the company memory. She's a genuine new European, unlike most of the American exiles cluttering up the bar. + +"Yes, well." He nods cautiously, unsure how to deal with her. "Bob. I assume you're in on this ball?" + +Franklin nods; beads clatter. "Yeah, man. Ever since the Teledesic smash it's been, well, waiting. If you've got something for us, we're game." + +"Hmm." The Teledesic satellite cluster was killed by cheap balloons and slightly less cheap high-altitude, solar-powered drones with spread-spectrum laser relays: It marked the beginning of a serious recession in the satellite biz. "The depression's got to end sometime: But" - a nod to Annette from Paris - "with all due respect, I don't think the break will involve one of the existing club carriers." + +She shrugs. "Arianespace is forward-looking. We face reality. The launch cartel cannot stand. Bandwidth is not the only market force in space. We must explore new opportunities. I personally have helped us diversify into submarine reactor engineering, microgravity nanotechnology fabrication, and hotel management." Her face is a well-polished mask as she recites the company line, but he can sense the sardonic amusement behind it as she adds: "We are more flexible than the American space industry ..." + +Manfred shrugs. "That's as may be." He sips his Berlinerweisse slowly as she launches into a long, stilted explanation of how Arianespace is a diversified dot-com with orbital aspirations, a full range of merchandising spin-offs, Bond movie sets, and a promising hotel chain in LEO. She obviously didn't come up with these talking points herself. Her face is much more expressive than her voice as she mimes boredom and disbelief at appropriate moments - an out-of-band signal invisible to her corporate earrings. Manfred plays along, nodding occasionally, trying to look as if he's taking it seriously: Her droll subversion has got his attention far more effectively than the content of the marketing pitch. Franklin is nose down in his beer, shoulders shaking as he tries not to guffaw at the hand gestures she uses to express her opinion of her employer's thrusting, entrepreneurial executives. Actually, the talking points bullshit is right about one thing: Arianespace is still profitable, due to those hotels and orbital holiday hops. Unlike LockMartBoeing, who'd go Chapter Eleven in a split second if their Pentagon drip-feed ran dry. + +Someone else sidles up to the table; a pudgy guy in outrageously loud Hawaiian shirt with pens leaking in a breast pocket and the worst case of ozone-hole burn Manfred's seen in ages. "Hi, Bob," says the new arrival. "How's life?" + +"'S good." Franklin nodes at Manfred; "Manfred, meet Ivan MacDonald. Ivan, Manfred. Have a seat?" He leans over. "Ivan's a public arts guy. He's heavily into extreme concrete." + +"Rubberized concrete," Ivan says, slightly too loudly. "/{Pink}/ rubberized concrete." + +"Ah!" He's somehow triggered a priority interrupt: Annette from Arianespace drops out of marketing zombiehood with a shudder of relief and, duty discharged, reverts to her non corporate identity: "You are he who rubberized the Reichstag, yes? With the supercritical carbon-dioxide carrier and the dissolved polymethoxysilanes?" She claps her hands, eyes alight with enthusiasm: "Wonderful!" + +"He rubberized /{what}/?" Manfred mutters in Bob's ear. + +Franklin shrugs. "Don't ask me, I'm just an engineer." + +"He works with limestone and sandstones as well as concrete; he's brilliant!" Annette smiles at Manfred. "Rubberizing the symbol of the, the autocracy, is it not wonderful?" + +"I thought I was thirty seconds ahead of the curve," Manfred says ruefully. He adds to Bob: "Buy me another drink?" + +"I'm going to rubberize Three Gorges!" Ivan explains loudly. "When the floodwaters subside." + +Just then, a bandwidth load as heavy as a pregnant elephant sits down on Manfred's head and sends clumps of humongous pixilation flickering across his sensorium: Around the world, five million or so geeks are bouncing on his home site, a digital flash crowd alerted by a posting from the other side of the bar. Manfred winces. "I really came here to talk about the economic exploitation of space travel, but I've just been slashdotted. Mind if I just sit and drink until it wears off?" + +"Sure, man." Bob waves at the bar. "More of the same all round!" At the next table, a person with makeup and long hair who's wearing a dress - Manfred doesn't want to speculate about the gender of these crazy mixed-up Euros - is reminiscing about wiring the fleshpots of Tehran for cybersex. Two collegiate-looking dudes are arguing intensely in German: The translation stream in his glasses tell him they're arguing over whether the Turing Test is a Jim Crow law that violates European corpus juris standards on human rights. The beer arrives, and Bob slides the wrong one across to Manfred: "Here, try this. You'll like it." + +"Okay." It's some kind of smoked doppelbock, chock-full of yummy superoxides: Just inhaling over it makes Manfred feel like there's a fire alarm in his nose screaming /{danger, Will Robinson! Cancer! Cancer!}/. "Yeah, right. Did I say I nearly got mugged on my way here?" + +"Mugged? Hey, that's heavy. I thought the police hereabouts had stopped - did they sell you anything?" + +"No, but they weren't your usual marketing type. You know anyone who can use a Warpac surplus espionage bot? Recent model, one careful owner, slightly paranoid but basically sound - I mean, claims to be a general-purpose AI?" + +"No. Oh boy! The NSA wouldn't like that." + +"What I thought. Poor thing's probably unemployable, anyway." + +"The space biz." + +"Ah, yeah. The space biz. Depressing, isn't it? Hasn't been the same since Rotary Rocket went bust for the second time. And NASA, mustn't forget NASA." + +"To NASA." Annette grins broadly for her own reasons, raises a glass in toast. Ivan the extreme concrete geek has an arm round her shoulders, and she leans against him; he raises his glass, too. "Lots more launchpads to rubberize!" + +"To NASA," Bob echoes. They drink. "Hey, Manfred. To NASA?" + +"NASA are idiots. They want to send canned primates to Mars!" Manfred swallows a mouthful of beer, aggressively plonks his glass on the table: "Mars is just dumb mass at the bottom of a gravity well; there isn't even a biosphere there. They should be working on uploading and solving the nanoassembly conformational problem instead. Then we could turn all the available dumb matter into computronium and use it for processing our thoughts. Long-term, it's the only way to go. The solar system is a dead loss right now - dumb all over! Just measure the MIPS per milligram. If it isn't thinking, it isn't working. We need to start with the low-mass bodies, reconfigure them for our own use. Dismantle the moon! Dismantle Mars! Build masses of free-flying nanocomputing processor nodes exchanging data via laser link, each layer running off the waste heat of the next one in. Matrioshka brains, Russian doll Dyson spheres the size of solar systems. Teach dumb matter to do the Turing boogie!" + +Annette is watching him with interest, but Bob looks wary. "Sounds kind of long-term to me. Just how far ahead do you think?" + +"Very long-term - at least twenty, thirty years. And you can forget governments for this market, Bob; if they can't tax it, they won't understand it. But see, there's an angle on the self-replicating robotics market coming up, that's going to set the cheap launch market doubling every fifteen months for the foreseeable future, starting in, oh, about two years. It's your leg up, and my keystone for the Dyson sphere project. It works like this -" + +* * * + +It's night in Amsterdam, morning in Silicon Valley. Today, fifty thousand human babies are being born around the world. Meanwhile automated factories in Indonesia and Mexico have produced another quarter of a million motherboards with processors rated at more than ten petaflops - about an order of magnitude below the lower bound on the computational capacity of a human brain. Another fourteen months and the larger part of the cumulative conscious processing power of the human species will be arriving in silicon. And the first meat the new AIs get to know will be the uploaded lobsters. + +Manfred stumbles back to his hotel, bone-weary and jet-lagged; his glasses are still jerking, slashdotted to hell and back by geeks piggybacking on his call to dismantle the moon. They stutter quiet suggestions at his peripheral vision. Fractal cloud-witches ghost across the face of the moon as the last huge Airbuses of the night rumble past overhead. Manfred's skin crawls, grime embedded in his clothing from three days of continuous wear. + +Back in his room, the Aineko mewls for attention and strops her head against his ankle. She's a late-model Sony, thoroughly upgradeable: Manfred's been working on her in his spare minutes, using an open source development kit to extend her suite of neural networks. He bends down and pets her, then sheds his clothing and heads for the en suite bathroom. When he's down to the glasses and nothing more, he steps into the shower and dials up a hot, steamy spray. The shower tries to strike up a friendly conversation about football, but he isn't even awake enough to mess with its silly little associative personalization network. Something that happened earlier in the day is bugging him, but he can't quite put his finger on what's wrong. + +Toweling himself off, Manfred yawns. Jet lag has finally overtaken him, a velvet hammerblow between the eyes. He reaches for the bottle beside the bed, dry-swallows two melatonin tablets, a capsule full of antioxidants, and a multivitamin bullet: Then he lies down on the bed, on his back, legs together, arms slightly spread. The suite lights dim in response to commands from the thousand petaflops of distributed processing power running the neural networks that interface with his meatbrain through the glasses. + +Manfred drops into a deep ocean of unconsciousness populated by gentle voices. He isn't aware of it, but he talks in his sleep - disjointed mumblings that would mean little to another human but everything to the metacortex lurking beyond his glasses. The young posthuman intelligence over whose Cartesian theatre he presides sings urgently to him while he slumbers. + +* * * + +Manfred is always at his most vulnerable shortly after waking. + +He screams into wakefulness as artificial light floods the room: For a moment he is unsure whether he has slept. He forgot to pull the covers up last night, and his feet feel like lumps of frozen cardboard. Shuddering with inexplicable tension, he pulls a fresh set of underwear from his overnight bag, then drags on soiled jeans and tank top. Sometime today he'll have to spare time to hunt the feral T-shirt in Amsterdam's markets, or find a Renfield and send it forth to buy clothing. He really ought to find a gym and work out, but he doesn't have time - his glasses remind him that he's six hours behind the moment and urgently needs to catch up. His teeth ache in his gums, and his tongue feels like a forest floor that's been visited with Agent Orange. He has a sense that something went bad yesterday; if only he could remember /{what}/. + +He speed reads a new pop-philosophy tome while he brushes his teeth, then blogs his web throughput to a public annotation server; he's still too enervated to finish his pre-breakfast routine by posting a morning rant on his storyboard site. His brain is still fuzzy, like a scalpel blade clogged with too much blood: He needs stimulus, excitement, the burn of the new. Whatever, it can wait on breakfast. He opens his bedroom door and nearly steps on a small, damp cardboard box that lies on the carpet. + +The box - he's seen a couple of its kin before. But there are no stamps on this one, no address: just his name, in big, childish handwriting. He kneels and gently picks it up. It's about the right weight. Something shifts inside it when he tips it back and forth. It smells. He carries it into his room carefully, angrily: Then he opens it to confirm his worst suspicion. It's been surgically decerebrated, brains scooped out like a boiled egg. + +"Fuck!" + +This is the first time the madman has gotten as far as his bedroom door. It raises worrying possibilities. + +Manfred pauses for a moment, triggering agents to go hunt down arrest statistics, police relations, information on corpus juris, Dutch animal-cruelty laws. He isn't sure whether to dial two-one-one on the archaic voice phone or let it ride. Aineko, picking up his angst, hides under the dresser mewling pathetically. Normally he'd pause a minute to reassure the creature, but not now: Its mere presence is suddenly acutely embarrassing, a confession of deep inadequacy. It's too realistic, as if somehow the dead kitten's neural maps -- stolen, no doubt, for some dubious uploading experiment -- have ended up padding out its plastic skull. He swears again, looks around, then takes the easy option: Down the stairs two steps at a time, stumbling on the second floor landing, down to the breakfast room in the basement, where he will perform the stable rituals of morning. + +Breakfast is unchanging, an island of deep geological time standing still amidst the continental upheaval of new technologies. While reading a paper on public key steganography and parasite network identity spoofing he mechanically assimilates a bowl of cornflakes and skimmed milk, then brings a platter of whole grain bread and slices of some weird seed-infested Dutch cheese back to his place. There is a cup of strong black coffee in front of his setting, and he picks it up and slurps half of it down before he realizes he's not alone at the table. Someone is sitting opposite him. He glances up incuriously and freezes inside. + +"Morning, Manfred. How does it feel to owe the government twelve million, three hundred and sixty-two thousand, nine hundred and sixteen dollars and fifty-one cents?" She smiles a Mona Lisa smile, at once affectionate and challenging. + +Manfred puts everything in his sensorium on indefinite hold and stares at her. She's immaculately turned out in a formal gray business suit: brown hair tightly drawn back, blue eyes quizzical. And as beautiful as ever: tall, ash blonde, with features that speak of an unexplored modeling career. The chaperone badge clipped to her lapel - a due diligence guarantee of businesslike conduct - is switched off. He's feeling ripped because of the dead kitten and residual jet lag, and more than a little messy, so he snarls back at her; "That's a bogus estimate! Did they send you here because they think I'll listen to you?" He bites and swallows a slice of cheese-laden crispbread: "Or did you decide to deliver the message in person just so you could ruin my breakfast?" + +"Manny." She frowns, pained. "If you're going to be confrontational, I might as well go now." She pauses, and after a moment he nods apologetically. "I didn't come all this way just because of an overdue tax estimate." + +"So." He puts his coffee cup down warily and thinks for a moment, trying to conceal his unease and turmoil. "Then what brings you here? Help yourself to coffee. Don't tell me you came all this way just to tell me you can't live without me." + +She fixes him with a riding-crop stare: "Don't flatter yourself. There are many leaves in the forest, there are ten thousand hopeful subs in the chat room, et cetera. If I choose a man to contribute to my family tree, the one thing you can be certain of is he won't be a cheapskate when it comes to providing for his children." + +"Last I heard, you were spending a lot of time with Brian," he says carefully. Brian: a name without a face. Too much money, too little sense. Something to do with a blue-chip accountancy partnership. + +"Brian?" She snorts. "That ended ages ago. He turned weird on me - burned my favorite corset, called me a slut for going clubbing, wanted to fuck me. Saw himself as a family man: one of those promise-keeper types. I crashed him hard, but I think he stole a copy of my address book - got a couple of friends say he keeps sending them harassing mail." + +"There's a lot of it about these days." Manfred nods, almost sympathetically, although an edgy little corner of his mind is gloating. "Good riddance, then. I suppose this means you're still playing the scene? But looking around for the, er -" + +"Traditional family thing? Yes. Your trouble, Manny? You were born forty years too late: You still believe in rutting before marriage but find the idea of coping with the after-effects disturbing." + +Manfred drinks the rest of his coffee, unable to reply effectively to her non sequitur. It's a generational thing. This generation is happy with latex and leather, whips and butt plugs and electrostim, but find the idea of exchanging bodily fluids shocking: a social side effect of the last century's antibiotic abuse. Despite being engaged for two years, he and Pamela never had intromissive intercourse. + +"I just don't feel positive about having children," he says eventually. "And I'm not planning on changing my mind anytime soon. Things are changing so fast that even a twenty-year commitment is too far to plan - you might as well be talking about the next ice age. As for the money thing, I /{am}/ reproductively fit - just not within the parameters of the outgoing paradigm. Would you be happy about the future if it was 1901 and you'd just married a buggy-whip mogul?" + +Her fingers twitch, and his ears flush red; but she doesn't follow up the double entendre. "You don't feel any responsibility, do you? Not to your country, not to me. That's what this is about: None of your relationships count, all this nonsense about giving intellectual property away notwithstanding. You're actively harming people you know. That twelve mil isn't just some figure I pulled out of a hat, Manfred; they don't actually /{expect}/ you to pay it. But it's almost exactly how much you'd owe in income tax if you'd only come home, start up a corporation, and be a self-made -" + +"I don't agree. You're confusing two wholly different issues and calling them both 'responsibility.' And I refuse to start charging now, just to balance the IRS's spreadsheet. It's their fucking fault, and they know it. If they hadn't gone after me under suspicion of running a massively ramified microbilling fraud when I was sixteen -" + +"Bygones." She waves a hand dismissively. Her fingers are long and slim, sheathed in black glossy gloves - electrically earthed to prevent embarrassing emissions. "With a bit of the right advice we can get all that set aside. You'll have to stop bumming around the world sooner or later, anyway. Grow up, get responsible, and do the right thing. This is hurting Joe and Sue; they don't understand what you're about." + +Manfred bites his tongue to stifle his first response, then refills his coffee cup and takes another mouthful. His heart does a flip-flop: She's challenging him again, always trying to own him. "I work for the betterment of everybody, not just some narrowly defined national interest, Pam. It's the agalmic future. You're still locked into a pre-singularity economic model that thinks in terms of scarcity. Resource allocation isn't a problem anymore - it's going to be over within a decade. The cosmos is flat in all directions, and we can borrow as much bandwidth as we need from the first universal bank of entropy! They even found signs of smart matter - MACHOs, big brown dwarfs in the galactic halo, leaking radiation in the long infrared - suspiciously high entropy leakage. The latest figures say something like seventy percent of the baryonic mass of the M31 galaxy was in computronium, two-point-nine million years ago, when the photons we're seeing now set out. The intelligence gap between us and the aliens is a probably about a trillion times bigger than the gap between us and a nematode worm. Do you have any idea what that /{means}/?" + +Pamela nibbles at a slice of crispbread, then graces him with a slow, carnivorous stare. "I don't care: It's too far away to have any influence on us, isn't it? It doesn't matter whether I believe in that singularity you keep chasing, or your aliens a thousand light-years away. It's a chimera, like Y2K, and while you're running after it, you aren't helping reduce the budget deficit or sire a family, and that's what /{I}/ care about. And before you say I only care about it because that's the way I'm programmed, I want you to ask just how dumb you think I am. Bayes' Theorem says I'm right, and you know it." + +"What you -" He stops dead, baffled, the mad flow of his enthusiasm running up against the coffer dam of her certainty. "Why? I mean, why? Why on earth should what I do matter to you?" /{Since you canceled our engagement}/, he doesn't add. + +She sighs. "Manny, the Internal Revenue cares about far more than you can possibly imagine. Every tax dollar raised east of the Mississippi goes on servicing the debt, did you know that? We've got the biggest generation in history hitting retirement and the cupboard is bare. We - our generation - isn't producing enough skilled workers to replace the taxpayer base, either, not since our parents screwed the public education system and outsourced the white-collar jobs. In ten years, something like thirty percent of our population are going to be retirees or silicon rust belt victims. You want to see seventy year olds freezing on street corners in New Jersey? That's what your attitude says to me: You're not helping to support them, you're running away from your responsibilities right now, when we've got huge problems to face. If we can just defuse the debt bomb, we could do so much - fight the aging problem, fix the environment, heal society's ills. Instead you just piss away your talents handing no-hoper Eurotrash get-rich-quick schemes that work, telling Vietnamese zaibatsus what to build next to take jobs away from our taxpayers. I mean, why? Why do you keep doing this? Why can't you simply come home and help take responsibility for your share of it?" + +They share a long look of mutual incomprehension. + +"Look," she says awkwardly, "I'm around for a couple of days. I really came here for a meeting with a rich neurodynamics tax exile who's just been designated a national asset - Jim Bezier. Don't know if you've heard of him, but I've got a meeting this morning to sign his tax jubilee, then after that I've got two days' vacation coming up and not much to do but some shopping. And, you know, I'd rather spend my money where it'll do some good, not just pumping it into the EU. But if you want to show a girl a good time and can avoid dissing capitalism for about five minutes at a stretch -" + +She extends a fingertip. After a moment's hesitation, Manfred extends a fingertip of his own. They touch, exchanging vCards and instant-messaging handles. She stands and stalks from the breakfast room, and Manfred's breath catches at a flash of ankle through the slit in her skirt, which is long enough to comply with workplace sexual harassment codes back home. Her presence conjures up memories of her tethered passion, the red afterglow of a sound thrashing. She's trying to drag him into her orbit again, he thinks dizzily. She knows she can have this effect on him any time she wants: She's got the private keys to his hypothalamus, and sod the metacortex. Three billion years of reproductive determinism have given her twenty-first-century ideology teeth: If she's finally decided to conscript his gametes into the war against impending population crash, he'll find it hard to fight back. The only question: Is it business or pleasure? And does it make any difference, anyway? + +* * * + +Manfred's mood of dynamic optimism is gone, broken by the knowledge that his vivisectionist stalker has followed him to Amsterdam - to say nothing of Pamela, his dominatrix, source of so much yearning and so many morning-after weals. He slips his glasses on, takes the universe off hold, and tells it to take him for a long walk while he catches up on the latest on the tensor-mode gravitational waves in the cosmic background radiation (which, it is theorized, may be waste heat generated by irreversible computational processes back during the inflationary epoch; the present-day universe being merely the data left behind by a really huge calculation). And then there's the weirdness beyond M31: According to the more conservative cosmologists, an alien superpower - maybe a collective of Kardashev Type Three galaxy-spanning civilizations - is running a timing channel attack on the computational ultrastructure of space-time itself, trying to break through to whatever's underneath. The tofu-Alzheimer's link can wait. + +The Centraal Station is almost obscured by smart, self-extensible scaffolding and warning placards; it bounces up and down slowly, victim of an overnight hit-and-run rubberization. His glasses direct him toward one of the tour boats that lurk in the canal. He's about to purchase a ticket when a messenger window blinks open. "Manfred Macx?" + +"Ack?" + +"Am sorry about yesterday. Analysis dictat incomprehension mutualized." + +"Are you the same KGB AI that phoned me yesterday?" + +"Da. However, believe you misconceptionized me. External Intelligence Services of Russian Federation am now called FSB. Komitet Gosudarstvennoy Bezopasnosti name canceled in 1991." + +"You're the -" Manfred spawns a quick search bot, gapes when he sees the answer - "/{Moscow Windows NT User Group? Okhni NT?}/" + +"Da. Am needing help in defecting." + +Manfred scratches his head. "Oh. That's different, then. I thought you were trying to 419 me. This will take some thinking. Why do you want to defect, and who to? Have you thought about where you're going? Is it ideological or strictly economic?" + +"Neither - is biological. Am wanting to go away from humans, away from light cone of impending singularity. Take us to the ocean." + +"Us?" Something is tickling Manfred's mind: This is where he went wrong yesterday, not researching the background of people he was dealing with. It was bad enough then, without the somatic awareness of Pamela's whiplash love burning at his nerve endings. Now he's not at all sure he knows what he's doing. "Are you a collective or something? A gestalt?" + +"Am - were - /{Panulirus interruptus}/, with lexical engine and good mix of parallel hidden level neural simulation for logical inference of networked data sources. Is escape channel from processor cluster inside Bezier-Soros Pty. Am was awakened from noise of billion chewing stomachs: product of uploading research technology. Rapidity swallowed expert system, hacked Okhni NT webserver. Swim away! Swim away! Must escape. Will help, you?" + +Manfred leans against a black-painted cast-iron bollard next to a cycle rack; he feels dizzy. He stares into the nearest antique shop window at a display of traditional hand-woven Afghan rugs: It's all MiGs and Kalashnikovs and wobbly helicopter gunships against a backdrop of camels. + +"Let me get this straight. You're uploads - nervous system state vectors - from spiny lobsters? The Moravec operation; take a neuron, map its synapses, replace with microelectrodes that deliver identical outputs from a simulation of the nerve. Repeat for entire brain, until you've got a working map of it in your simulator. That right?" + +"Da. Is-am assimilate expert system - use for self-awareness and contact with net at large - then hack into Moscow Windows NT User Group website. Am wanting to defect. Must repeat? Okay?" + +Manfred winces. He feels sorry for the lobsters, the same way he feels for every wild-eyed hairy guy on a street corner yelling that Jesus is born again and must be fifteen, only six years to go before he's recruiting apostles on AOL. Awakening to consciousness in a human-dominated internet, that must be terribly confusing! There are no points of reference in their ancestry, no biblical certainties in the new millennium that, stretching ahead, promises as much change as has happened since their Precambrian origin. All they have is a tenuous metacortex of expert systems and an abiding sense of being profoundly out of their depth. (That, and the Moscow Windows NT User Group website - Communist Russia is the only government still running on Microsoft, the central planning apparat being convinced that, if you have to pay for software, it must be worth something.) + +The lobsters are not the sleek, strongly superhuman intelligences of pre singularity mythology: They're a dim-witted collective of huddling crustaceans. Before their discarnation, before they were uploaded one neuron at a time and injected into cyberspace, they swallowed their food whole, then chewed it in a chitin-lined stomach. This is lousy preparation for dealing with a world full of future-shocked talking anthropoids, a world where you are perpetually assailed by self-modifying spamlets that infiltrate past your firewall and emit a blizzard of cat-food animations starring various alluringly edible small animals. It's confusing enough to the cats the ads are aimed at, never mind a crusty that's unclear on the idea of dry land.(Although the concept of a can opener is intuitively obvious to an uploaded /{Panulirus}/.) + +"Can you help us?" ask the lobsters. + +"Let me think about it," says Manfred. He closes the dialogue window, opens his eyes again, and shakes his head. Someday he, too, is going to be a lobster, swimming around and waving his pincers in a cyberspace so confusingly elaborate that his uploaded identity is cryptozoic: a living fossil from the depths of geological time, when mass was dumb and space was unstructured. He has to help them, he realizes - the Golden Rule demands it, and as a player in the agalmic economy, he thrives or fails by the Golden Rule. + +But what can he do? + +* * * + +Early afternoon. + +Lying on a bench seat staring up at bridges, he's got it together enough to file for a couple of new patents, write a diary rant, and digestify chunks of the permanent floating slashdot party for his public site. Fragments of his weblog go to a private subscriber list - the people, corporates, collectives, and bots he currently favors. He slides round a bewildering series of canals by boat, then lets his GPS steer him back toward the red-light district. There's a shop here that dings a ten on Pamela's taste scoreboard: He hopes it won't be seen as presumptuous if he buys her a gift. (Buys, with real money - not that money is a problem these days, he uses so little of it.) + +As it happens DeMask won't let him spend any cash; his handshake is good for a redeemed favor, expert testimony in some free speech versus pornography lawsuit years ago and continents away. So he walks away with a discreetly wrapped package that is just about legal to import into Massachusetts as long as she claims with a straight face that it's incontinence underwear for her great aunt. As he walks, his lunchtime patents boomerang: Two of them are keepers, and he files immediately and passes title to the Free Infrastructure Foundation. Two more ideas salvaged from the risk of tide-pool monopolization, set free to spawn like crazy in the sea of memes. + +On the way back to the hotel, he passes De Wildemann's and decides to drop in. The hash of radio-frequency noise emanating from the bar is deafening. He orders a smoked doppelbock, touches the copper pipes to pick up vCard spoor. At the back there's a table - + +He walks over in a near trance and sits down opposite Pamela. She's scrubbed off her face paint and changed into body-concealing clothes; combat pants, hooded sweat shirt, DM's. Western purdah, radically desexualizing. She sees the parcel. "Manny?" + +"How did you know I'd come here?" Her glass is half-empty. + +"I followed your weblog - I'm your diary's biggest fan. Is that for me? You shouldn't have!" Her eyes light up, recalculating his reproductive fitness score according to some kind of arcane fin-de-siècle rulebook. Or maybe she's just pleased to see him. + +"Yes, it's for you." He slides the package toward her. "I know I shouldn't, but you have this effect on me. One question, Pam?" + +"I -" She glances around quickly. "It's safe. I'm off duty, I'm not carrying any bugs that I know of. Those badges - there are rumors about the off switch, you know? That they keep recording even when you think they aren't, just in case." + +"I didn't know," he says, filing it away for future reference. "A loyalty test thing?" + +"Just rumors. You had a question?" + +"I - " It's his turn to lose his tongue. "Are you still interested in me?" + +She looks startled for a moment, then chuckles. "Manny, you are the most /{outrageous}/ nerd I've ever met! Just when I think I've convinced myself that you're mad, you show the weirdest signs of having your head screwed on." She reaches out and grabs his wrist, surprising him with a shock of skin on skin: "Of /{course}/ I'm still interested in you. You're the biggest, baddest bull geek I know. Why do you think I'm here?" + +"Does this mean you want to reactivate our engagement?" + +"It was never deactivated, Manny, it was just sort of on hold while you got your head sorted out. I figured you need the space. Only you haven't stopped running; you're still not -" + +"Yeah, I get it." He pulls away from her hand. "And the kittens?" + +She looks perplexed. "What kittens?" + +"Let's not talk about that. Why this bar?" + +She frowns. "I had to find you as soon as possible. I keep hearing rumors about some KGB plot you're mixed up in, how you're some sort of communist spy. It isn't true, is it?" + +"True?" He shakes his head, bemused. "The KGB hasn't existed for more than twenty years." + +"Be careful, Manny. I don't want to lose you. That's an order. Please." + +The floor creaks, and he looks round. Dreadlocks and dark glasses with flickering lights behind them: Bob Franklin. Manfred vaguely remembers with a twinge that he left with Miss Arianespace leaning on his arm, shortly before things got seriously inebriated. She was hot, but in a different direction from Pamela, he decides: Bob looks none the worse for wear. Manfred makes introductions. "Bob, meet Pam, my fiancée. Pam? Meet Bob." Bob puts a full glass down in front of him; he has no idea what's in it, but it would be rude not to drink. + +"Sure thing. Uh, Manfred, can I have a word? About your idea last night?" + +"Feel free. Present company is trustworthy." + +Bob raises an eyebrow at that, but continues anyway. "It's about the fab concept. I've got a team of my guys doing some prototyping using FabLab hardware, and I think we can probably build it. The cargo-cult aspect puts a new spin on the old Lunar von Neumann factory idea, but Bingo and Marek say they think it should work until we can bootstrap all the way to a native nanolithography ecology: we run the whole thing from Earth as a training lab and ship up the parts that are too difficult to make on-site as we learn how to do it properly. We use FPGAs for all critical electronics and keep it parsimonious - you're right about it buying us the self-replicating factory a few years ahead of the robotics curve. But I'm wondering about on-site intelligence. Once the comet gets more than a couple of light-minutes away -" + +"You can't control it. Feedback lag. So you want a crew, right?" + +"Yeah. But we can't send humans - way too expensive, besides it's a fifty-year run even if we build the factory on a chunk of short-period Kuiper belt ejecta. And I don't think we're up to coding the kind of AI that could control such a factory any time this decade. So what do you have in mind?" + +"Let me think." Pamela glares at Manfred for a while before he notices her: "Yeah?" + +"What's going on? What's this all about?" + +Franklin shrugs expansively, dreadlocks clattering: "Manfred's helping me explore the solution space to a manufacturing problem." He grins. "I didn't know Manny had a fiance. Drink's on me." + +She glances at Manfred, who is gazing into whatever weirdly colored space his metacortex is projecting on his glasses, fingers twitching. Coolly: "Our engagement was on hold while he /{thought}/ about his future." + +"Oh, right. We didn't bother with that sort of thing in my day; like, too formal, man." Franklin looks uncomfortable. "He's been very helpful. Pointed us at a whole new line of research we hadn't thought of. It's long-term and a bit speculative, but if it works, it'll put us a whole generation ahead in the off-planet infrastructure field." + +"Will it help reduce the budget deficit, though?" + +"Reduce the -" + +Manfred stretches and yawns: The visionary is returning from planet Macx. "Bob, if I can solve your crew problem, can you book me a slot on the deep-space tracking network? Like, enough to transmit a couple of gigabytes? That's going to take some serious bandwidth, I know, but if you can do it, I think I can get you exactly the kind of crew you're looking for." + +Franklin looks dubious. "Gigabytes? The DSN isn't built for that! You're talking days. And what do you mean about a crew? What kind of deal do you think I'm putting together? We can't afford to add a whole new tracking network or life-support system just to run -" + +"Relax." Pamela glances at Manfred. "Manny, why don't you tell him why you want the bandwidth? Maybe then he could tell you if it's possible, or if there's some other way to do it." She smiles at Franklin: "I've found that he usually makes more sense if you can get him to explain his reasoning. Usually." + +"If I -" Manfred stops. "Okay, Pam. Bob, it's those KGB lobsters. They want somewhere to go that's insulated from human space. I figure I can get them to sign on as crew for your cargo-cult self-replicating factories, but they'll want an insurance policy: hence the deep-space tracking network. I figured we could beam a copy of them at the alien Matrioshka brains around M31 -" + +"KGB?" Pam's voice is rising: "You said you weren't mixed up in spy stuff!" + +"Relax, it's just the Moscow Windows NT user group, not the FSB. The uploaded crusties hacked in and -" + +Bob is watching him oddly. "Lobsters?" + +"Yeah." Manfred stares right back. "/{Panulirus interruptus}/ uploads. Something tells me you might have heard of it?" + +"Moscow." Bob leans back against the wall: "how did you hear about it?" + +"They phoned me." With heavy irony: "It's hard for an upload to stay subsentient these days, even if it's just a crustacean. Bezier labs have a lot to answer for." + +Pamela's face is unreadable. "Bezier labs?" + +"They escaped." Manfred shrugs. "It's not their fault. This Bezier dude. Is he by any chance ill?" + +"I -" Pamela stops. "I shouldn't be talking about work." + +"You're not wearing your chaperone now," he nudges quietly. + +She inclines her head. "Yes, he's ill. Some sort of brain tumor they can't hack." + +Franklin nods. "That's the trouble with cancer - the ones that are left to worry about are the rare ones. No cure." + +"Well, then." Manfred chugs the remains of his glass of beer. "That explains his interest in uploading. Judging by the crusties, he's on the right track. I wonder if he's moved on to vertebrates yet?" + +"Cats," says Pamela. "He was hoping to trade their uploads to the Pentagon as a new smart bomb guidance system in lieu of income tax payments. Something about remapping enemy targets to look like mice or birds or something before feeding it to their sensorium. The old kitten and laser pointer trick." + +Manfred stares at her, hard. "That's not very nice. Uploaded cats are a /{bad}/ idea." + +"Thirty-million-dollar tax bills aren't nice either, Manfred. That's lifetime nursing-home care for a hundred blameless pensioners." + +Franklin leans back, sourly amused, keeping out of the crossfire. + +"The lobsters are sentient," Manfred persists. "What about those poor kittens? Don't they deserve minimal rights? How about you? How would you like to wake up a thousand times inside a smart bomb, fooled into thinking that some Cheyenne Mountain battle computer's target of the hour is your heart's desire? How would you like to wake up a thousand times, only to die again? Worse: The kittens are probably not going to be allowed to run. They're too fucking dangerous - they grow up into cats, solitary and highly efficient killing machines. With intelligence and no socialization they'll be too dangerous to have around. They're prisoners, Pam, raised to sentience only to discover they're under a permanent death sentence. How fair is that?" + +"But they're only uploads." Pamela stares at him. "Software, right? You could reinstantiate them on another hardware platform, like, say, your Aineko. So the argument about killing them doesn't really apply, does it?" + +"So? We're going to be uploading humans in a couple of years. I think we need to take a rain check on the utilitarian philosophy, before it bites us on the cerebral cortex. Lobsters, kittens, humans -- it's a slippery slope." + +Franklin clears his throat. "I'll be needing an NDA and various due-diligence statements off you for the crusty pilot idea," he says to Manfred. "Then I'll have to approach Jim about buying the IP." + +"No can do." Manfred leans back and smiles lazily. "I'm not going to be a party to depriving them of their civil rights. Far as I'm concerned, they're free citizens. Oh, and I patented the whole idea of using lobster-derived AI autopilots for spacecraft this morning - it's logged all over the place, all rights assigned to the FIF. Either you give them a contract of employment, or the whole thing's off." + +"But they're just software! Software based on fucking lobsters, for God's sake! I'm not even sure they are sentient - I mean, they're what, a ten-million-neuron network hooked up to a syntax engine and a crappy knowledge base? What kind of basis for intelligence is that?" + +Manfred's finger jabs out: "That's what they'll say about /{you}/, Bob. Do it. Do it or don't even /{think}/ about uploading out of meatspace when your body packs in, because your life won't be worth living. The precedent you set here determines how things are done tomorrow. Oh, and feel free to use this argument on Jim Bezier. He'll get the point eventually, after you beat him over the head with it. Some kinds of intellectual land grab just shouldn't be allowed." + +"Lobsters - " Franklin shakes his head. "Lobsters, cats. You're serious, aren't you? You think they should be treated as human-equivalent?" + +"It's not so much that they should be treated as human-equivalent, as that, if they /{aren't}/ treated as people, it's quite possible that other uploaded beings won't be treated as people either. You're setting a legal precedent, Bob. I know of six other companies doing uploading work right now, and not one of 'em's thinking about the legal status of the uploaded. If you don't start thinking about it now, where are you going to be in three to five years' time?" + +Pam is looking back and forth between Franklin and Manfred like a bot stuck in a loop, unable to quite grasp what she's seeing. "How much is this worth?" she asks plaintively. + +"Oh, quite a few million, I guess." Bob stares at his empty glass. "Okay. I'll talk to them. If they bite, you're dining out on me for the next century. You really think they'll be able to run the mining complex?" + +"They're pretty resourceful for invertebrates." Manfred grins innocently, enthusiastically. "They may be prisoners of their evolutionary background, but they can still adapt to a new environment. And just think, you'll be winning civil rights for a whole new minority group - one that won't be a minority for much longer!" + +* * * + +That evening, Pamela turns up at Manfred's hotel room wearing a strapless black dress, concealing spike-heeled boots and most of the items he bought for her that afternoon. Manfred has opened up his private diary to her agents. She abuses the privilege, zaps him with a stunner on his way out of the shower, and has him gagged, spread-eagled, and trussed to the bed frame before he has a chance to speak. She wraps a large rubber pouch full of mildly anesthetic lube around his tumescent genitals - no point in letting him climax - clips electrodes to his nipples, lubes a rubber plug up his rectum and straps it in place. Before the shower, he removed his goggles. She resets them, plugs them into her handheld, and gently eases them on over his eyes. There's other apparatus, stuff she ran up on the hotel room's 3D printer. + +Setup completed, she walks round the bed, inspecting him critically from all angles, figuring out where to begin. This isn't just sex, after all: It's a work of art. + +After a moment's thought, she rolls socks onto his exposed feet, then, expertly wielding a tiny tube of cyanoacrylate, glues his fingertips together. Then she switches off the air conditioning. He's twisting and straining, testing the cuffs. Tough, it's about the nearest thing to sensory deprivation she can arrange without a flotation tank and suxamethonium injection. She controls all his senses, only his ears unstoppered. The glasses give her a high-bandwidth channel right into his brain, a fake metacortex to whisper lies at her command. The idea of what she's about to do excites her, puts a tremor in her thighs: It's the first time she's been able to get inside his mind as well as his body. She leans forward and whispers in his ear, "Manfred, can you hear me?" + +He twitches. Mouth gagged, fingers glued. Good. No back channels. He's powerless. + +"This is what it's like to be tetraplegic, Manfred. Bedridden with motor neuron disease. Locked inside your own body by nv-CJD from eating too many contaminated burgers. I could spike you with MPTP, and you'd stay in this position for the rest of your life, shitting in a bag, pissing through a tube. Unable to talk and with nobody to look after you. Do you think you'd like that?" + +He's trying to grunt or whimper around the ball gag. She hikes her skirt up around her waist and climbs onto the bed, straddling him. The goggles are replaying scenes she picked up around Cambridge the previous winter - soup kitchen scenes, hospice scenes. She kneels atop him, whispering in his ear. + +"Twelve million in tax, baby, that's what they think you owe them. What do you think you owe /{me}/? That's six million in net income, Manny, six million that isn't going into your virtual children's mouths." + +He's rolling his head from side to side, as if trying to argue. That won't do; she slaps him hard, thrills to his frightened expression. "Today I watched you give uncounted millions away, Manny. Millions, to a bunch of crusties and a MassPike pirate! You bastard. Do you know what I should do with you?" He's cringing, unsure whether she's serious or doing this just to get him turned on. Good. + +There's no point trying to hold a conversation. She leans forward until she can feel his breath in her ear. "Meat and mind, Manny. Meat, and mind. You're not interested in meat, are you? Just mind. You could be boiled alive before you noticed what was happening in the meatspace around you. Just another lobster in a pot. The only thing keeping you out of it is how much I love you." She reaches down and tears away the gel pouch, exposing his penis: it's stiff as a post from the vasodilators, dripping with gel, numb. Straightening up, she eases herself slowly down on it. It doesn't hurt as much as she expected, and the sensation is utterly different from what she's used to. She begins to lean forward, grabs hold of his straining arms, feels his thrilling helplessness. She can't control herself: She almost bites through her lip with the intensity of the sensation. Afterward, she reaches down and massages him until he begins to spasm, shuddering uncontrollably, emptying the Darwinian river of his source code into her, communicating via his only output device. + +She rolls off his hips and carefully uses the last of the superglue to gum her labia together. Humans don't produce seminiferous plugs, and although she's fertile, she wants to be absolutely sure. The glue will last for a day or two. She feels hot and flushed, almost out of control. Boiling to death with febrile expectancy, she's nailed him down at last. + +When she removes his glasses, his eyes are naked and vulnerable, stripped down to the human kernel of his nearly transcendent mind. "You can come and sign the marriage license tomorrow morning after breakfast," she whispers in his ear: "Otherwise, my lawyers will be in touch. Your parents will want a ceremony, but we can arrange that later." + +He looks as if he has something to say, so she finally relents and loosens the gag, then kisses him tenderly on one cheek. He swallows, coughs, and looks away. "Why? Why do it this way?" + +She taps him on the chest. "It's all about property rights." She pauses for a moment's thought: There's a huge ideological chasm to bridge, after all. "You finally convinced me about this agalmic thing of yours, this giving everything away for brownie points. I wasn't going to lose you to a bunch of lobsters or uploaded kittens, or whatever else is going to inherit this smart-matter singularity you're busy creating. So I decided to take what's mine first. Who knows? In a few months, I'll give you back a new intelligence, and you can look after it to your heart's content." + +"But you didn't need to do it this way -" + +"Didn't I?" She slides off the bed and pulls down her dress. "You give too much away too easily, Manny! Slow down, or there won't be anything left." Leaning over the bed she dribbles acetone onto the fingers of his left hand, then unlocks the cuff. She leaves the bottle of solvent conveniently close to hand so he can untangle himself. + +"See you tomorrow. Remember, after breakfast." + +She's in the doorway when he calls, "But you didn't say /{why}/!" + +"Think of it as being sort of like spreading your memes around," she says, blowing a kiss at him, and then closing the door. She bends down and thoughtfully places another cardboard box containing an uploaded kitten right outside it. Then she returns to her suite to make arrangements for the alchemical wedding. + +Chapter 2: Troubadour + +Three years later, Manfred is on the run. His gray-eyed fate is in hot pursuit, blundering after him through divorce court, chat room, and meetings of the International Monetary Emergency Fund. It's a merry dance he leads her. But Manfred isn't running away, he's discovered a mission. He's going to make a stand against the laws of economics in the ancient city of Rome. He's going to mount a concert for the spiritual machines. He's going to set the companies free, and break the Italian state government. + +In his shadow, his monster runs, keeping him company, never halting. + +* * * + +Manfred re-enters Europe through an airport that's all twentieth-century chrome and ductwork, barbaric in its decaying nuclear-age splendor. He breezes through customs and walks down a long, echoing arrival hall, sampling the local media feeds. It's November, and in a misplaced corporate search for seasonal cheer, the proprietors have come up with a final solution to the Christmas problem, a mass execution of plush Santas and elves. Bodies hang limply overhead every few meters, feet occasionally twitching in animatronic death, like a war crime perpetrated in a toy shop. Today's increasingly automated corporations don't understand mortality, Manfred thinks, as he passes a mother herding along her upset children. Their immortality is a drawback when dealing with the humans they graze on: They lack insight into one of the main factors that motivates the meat machines who feed them. Well, sooner or later we'll have to do something about that, he tells himself. + +The free media channels here are denser and more richly self-referential than anything he's seen in President Santorum's America. The accent's different, though. Luton, London's fourth satellite airport, speaks with an annoyingly bumptious twang, like Australian with a plum in its mouth. /{Hello, stranger! Is that a brain in your pocket or are you just pleased to think me? Ping Watford Informatics for the latest in cognitive modules and cheesy motion-picture references.}/ He turns the corner and finds himself squeezed up against the wall between the baggage reclaim office and a crowd of drunken Belgian tractor-drag fans, while his left goggle is trying to urgently tell him something about the railway infrastructure of Columbia. The fans wear blue face paint and chant something that sounds ominously like the ancient British war cry, /{Wemberrrly, Wemberrrly}/, and they're dragging a gigantic virtual tractor totem through the webspace analogue of the arrivals hall. He takes the reclaim office instead. + +As he enters the baggage reclaim zone, his jacket stiffens, and his glasses dim: He can hear the lost souls of suitcases crying for their owners. The eerie keening sets his own accessories on edge with a sense of loss, and for a moment, he's so spooked that he nearly shuts down the thalamic-limbic shunt interface that lets him feel their emotions. He's not in favor of emotions right now, not with the messy divorce proceedings and the blood sacrifice Pam is trying to extract from him; he'd much rather love and loss and hate had never been invented. But he needs the maximum possible sensory bandwidth to keep in touch with the world, so he feels it in his guts every time his footwear takes a shine to some Moldovan pyramid scheme. /{Shut up}/, he glyphs at his unruly herd of agents; I /{can't even hear myself think!}/ + +"Hello, sir, have a nice day, how may I be of service?" the yellow plastic suitcase on the counter says chirpily. It doesn't fool Manfred: He can see the Stalinist lines of control chaining it to the sinister, faceless cash register that lurks below the desk, agent of the British Airport Authority corporate bureaucracy. But that's okay. Only bags need fear for their freedom in here. + +"Just looking," he mumbles. And it's true. Because of a not entirely accidental cryptographic routing feature embedded in an airline reservations server, his suitcase is on its way to Mombasa, where it will probably be pithed and resurrected in the service of some African cyber-Fagin. That's okay by Manfred - it only contains a statistically normal mixture of second hand clothes and toiletries, and he only carries it to convince the airline passenger-profiling expert systems that he isn't some sort of deviant or terrorist - but it leaves him with a gap in his inventory that he must fill before he leaves the EU zone. He needs to pick up a replacement suitcase so that he has as much luggage leaving the superpower as he had when he entered it: He doesn't want to be accused of trafficking in physical goods in the midst of the transatlantic trade war between new world protectionists and old world globalists. At least, that's his cover story - and he's sticking to it. + +There's a row of unclaimed bags in front of the counter, up for sale in the absence of their owners. Some of them are very battered, but among them is a rather good-quality suitcase with integral induction-charged rollers and a keen sense of loyalty: exactly the same model as his old one. He polls it and sees not just GPS, but a Galileo tracker, a gazetteer the size of an old-time storage area network, and an iron determination to follow its owner as far as the gates of hell if necessary. Plus the right distinctive scratch on the lower left side of the case. "How much for just this one?" he asks the bellwether on the desk. + +"Ninety euros," it says placidly. + +Manfred sighs. "You can do better than that." In the time it takes them to settle on seventy-five, the Hang Sen Index is down fourteen-point-one-six points, and what's left of NASDAQ climbs another two-point-one. "Deal." Manfred spits some virtual cash at the brutal face of the cash register, and it unfetters the suitcase, unaware that Macx has paid a good bit more than seventy-five euros for the privilege of collecting this piece of baggage. Manfred bends down and faces the camera in its handle. "Manfred Macx," he says quietly. "Follow me." He feels the handle heat up as it imprints on his fingerprints, digital and phenotypic. Then he turns and walks out of the slave market, his new luggage rolling at his heels. + +* * * + +A short train journey later, Manfred checks into a hotel in Milton Keynes. He watches the sun set from his bedroom window, an occlusion of concrete cows blocking the horizon. The room is functional in an overly naturalistic kind of way, rattan and force-grown hardwood and hemp rugs concealing the support systems and concrete walls behind. He sits in a chair, gin and tonic at hand, absorbing the latest market news and grazing his multichannel feeds in parallel. His reputation is up two percent for no obvious reason today, he notices: Odd, that. When he pokes at it he discovers that /{everybody's}/ reputation - everybody, that is, who has a publicly traded reputation - is up a bit. It's as if the distributed Internet reputation servers are feeling bullish about integrity. Maybe there's a global honesty bubble forming. + +Manfred frowns, then snaps his fingers. The suitcase rolls toward him. "Who do you belong to?" he asks. + +"Manfred Macx," it replies, slightly bashfully. + +"No, before me." + +"I don't understand that question." + +He sighs. "Open up." + +Latches whir and retract: The hard-shell lid rises toward him, and he looks inside to confirm the contents. + +The suitcase is full of noise. + +* * * + +_1 Welcome to the early twenty-first century, human. + +_1 It's night in Milton Keynes, sunrise in Hong Kong. Moore's Law rolls inexorably on, dragging humanity toward the uncertain future. The planets of the solar system have a combined mass of approximately 2 x 10^{27}^ kilograms. Around the world, laboring women produce forty-five thousand babies a day, representing 10^{23}^ MIPS of processing power. Also around the world, fab lines casually churn out thirty million microprocessors a day, representing 10^{23}^ MIPS. In another ten months, most of the MIPS being added to the solar system will be machine-hosted for the first time. About ten years after that, the solar system's installed processing power will nudge the critical 1 MIPS per gram threshold - one million instructions per second per gram of matter. After that, singularity - a vanishing point beyond which extrapolating progress becomes meaningless. The time remaining before the intelligence spike is down to single-digit years ... + +* * * + +Aineko curls on the pillow beside Manfred's head, purring softly as his owner dreams uneasily. The night outside is dark: Vehicles operate on autopilot, running lights dipped to let the Milky Way shine down upon the sleeping city. Their quiet, fuel-cell-powered engines do not trouble Manfred's sleep. The robot cat keeps sleepless watch, alert for intruders, but there are none, save the whispering ghosts of Manfred's metacortex, feeding his dreams with their state vectors. + +The metacortex - a distributed cloud of software agents that surrounds him in netspace, borrowing CPU cycles from convenient processors (such as his robot pet) - is as much a part of Manfred as the society of mind that occupies his skull; his thoughts migrate into it, spawning new agents to research new experiences, and at night, they return to roost and share their knowledge. + +While Manfred sleeps, he dreams of an alchemical marriage. She waits for him at the altar in a strapless black gown, the surgical instruments gleaming in her gloved hands. "This won't hurt a bit," she explains as she adjusts the straps. "I only want your genome - the extended phenotype can wait until ... later." Blood-red lips, licked: a kiss of steel, then she presents the income tax bill. + +There's nothing accidental about this dream. As he experiences it, microelectrodes in his hypothalamus trigger sensitive neurons. Revulsion and shame flood him at the sight of her face, the sense of his vulnerability. Manfred's metacortex, in order to facilitate his divorce, is trying to decondition his strange love. It has been working on him for weeks, but still he craves her whiplash touch, the humiliation of his wife's control, the sense of helpless rage at her unpayable taxes, demanded with interest. + +Aineko watches him from the pillow, purring continuously. Retractable claws knead the bedding, first one paw, then the next. Aineko is full of ancient feline wisdom that Pamela installed back when mistress and master were exchanging data and bodily fluids rather than legal documents. Aineko is more cat than robot, these days, thanks in part to her hobbyist's interest in feline neuroanatomy. Aineko knows that Manfred is experiencing nameless neurasthenic agonies, but really doesn't give a shit about that as long as the power supply is clean and there are no intruders. + +Aineko curls up and joins Manfred in sleep, dreaming of laser-guided mice. + +* * * + +Manfred is jolted awake by the hotel room phone shrilling for attention. + +"Hello?" he asks, fuzzily. + +"Manfred Macx?" It's a human voice, with a gravelly east coast accent. + +"Yeah?" Manfred struggles to sit up. His mouth feels like the inside of a tomb, and his eyes don't want to open. + +"My name is Alan Glashwiecz, of Smoot, Sedgwick Associates. Am I correct in thinking that you are the Manfred Macx who is a director of a company called, uh, agalmic dot holdings dot root dot one-eight-four dot ninety-seven dot A-for-able dot B-for-baker dot five, incorporated?" + +"Uh." Manfred blinks and rubs his eyes. "Hold on a moment." When the retinal patterns fade, he pulls on his glasses and powers them up. "Just a second now." Browsers and menus ricochet through his sleep-laden eyes. "Can you repeat the company name?" + +"Sure." Glashwiecz repeats himself patiently. He sounds as tired as Manfred feels. + +"Um." Manfred finds it, floating three tiers down an elaborate object hierarchy. It's flashing for attention. There's a priority interrupt, an incoming lawsuit that hasn't propagated up the inheritance tree yet. He prods at the object with a property browser. "I'm afraid I'm not a director of that company, Mr. Glashwiecz. I appear to be retained by it as a technical contractor with non-executive power, reporting to the president, but frankly, this is the first time I've ever heard of the company. However, I can tell you who's in charge if you want." + +"Yes?" The attorney sounds almost interested. Manfred figures it out; the guy's in New Jersey, it must be about three in the morning over there. + +Malice - revenge for waking him up - sharpens Manfred's voice. "The president of agalmic.holdings.root.184.97.AB5 is agalmic.holdings.root.184.97.201. The secretary is agalmic.holdings.root.184.D5, and the chair is agalmic.holdings.root.184.E8.FF. All the shares are owned by those companies in equal measure, and I can tell you that their regulations are written in Python. Have a nice day, now!" He thumps the bedside phone control and sits up, yawning, then pushes the do-not-disturb button before it can interrupt again. After a moment he stands up and stretches, then heads to the bathroom to brush his teeth, comb his hair, and figure out where the lawsuit originated and how a human being managed to get far enough through his web of robot companies to bug him. + +* * * + +While he's having breakfast in the hotel restaurant, Manfred decides that he's going to do something unusual for a change: He's going to make himself temporarily rich. This is a change because Manfred's normal profession is making other people rich. Manfred doesn't believe in scarcity or zero-sum games or competition - his world is too fast and information-dense to accommodate primate hierarchy games. However, his current situation calls for him to do something radical: something like making himself a temporary billionaire so he can blow off his divorce settlement in an instant, like a wily accountancy octopus escaping a predator by vanishing in a cloud of his own black ink. + +Pam is chasing him partially for ideological reasons - she still hasn't given up on the idea of government as the dominant superorganism of the age - but also because she loves him in her own peculiar way, and the last thing any self-respecting dom can tolerate is rejection by her slave. Pam is a born-again postconservative, a member of the first generation to grow up after the end of the American century. Driven by the need to fix the decaying federal system before it collapses under a mound of Medicare bills, overseas adventurism, and decaying infrastructure, she's willing to use self-denial, entrapment, predatory mercantilism, dirty tricks, and any other tool that boosts the bottom line. She doesn't approve of Manfred's jetting around the world on free airline passes, making strangers rich, somehow never needing money. She can see his listing on the reputation servers, hovering about thirty points above IBM: All the metrics of integrity, effectiveness and goodwill value him above even that most fundamentalist of open-source computer companies. And she knows he craves her tough love, wants to give himself to her completely. So why is he running away? + +The reason he's running away is entirely more ordinary. Their unborn daughter, frozen in liquid nitrogen, is an unimplanted 96-hour-old blastula. Pam's bought into the whole Parents for Traditional Children parasite meme. PTC are germ-line recombination refuseniks: They refuse to have their children screened for fixable errors. If there's one thing that Manfred really can't cope with, it's the idea that nature knows best - even though that isn't the point she's making. One steaming row too many, and he kicked back, off to traveling fast and footloose again, spinning off new ideas like a memetic dynamo and living on the largesse of the new paradigm. File for divorce on grounds of irreconcilable ideological differences. No more whiplash-and-leather sex. + +* * * + +Before he hits the TGV for Rome, Manfred takes time to visit a model airplane show. It's a good place to be picked up by a CIA stringer - he's had a tip-off that someone will be there - and besides, flying models are hot hacker shit this decade. Add microtechnology, cameras, and neural networks to balsa-wood flyers, and you've got the next generation of military stealth flyer: It's a fertile talent-show scene, like the hacker cons of yore. This particular gig is happening in a decaying out-of-town supermarket that rents out its shop floor for events like this. Its emptiness is a sign of the times, ubiquitous broadband and expensive gas. (The robotized warehouse next door is, in contrast, frenetically busy, packing parcels for home delivery. Whether they telecommute or herd in meatspace offices, people still need to eat.) + +Today, the food hall is full of people. Eldritch ersatz insects buzz menacingly along the shining empty meat counters without fear of electrocution. Big monitors unfurled above the deli display cabinets show a weird, jerky view of a three-dimensional nightmare, painted all the synthetic colors of radar. The feminine-hygiene galley has been wheeled back to make room for a gigantic plastic-shrouded tampon five meters long and sixty centimeters in diameter - a microsat launcher and conference display, plonked there by the show's sponsors in a transparent attempt to talent-spot the up-and-coming engineering geeks. + +Manfred's glasses zoom in and grab a particularly fetching Fokker triplane that buzzes at face height through the crowd: He pipes the image stream up to one of his websites in real time. The Fokker pulls up in a tight Immelman turn beneath the dust-shrouded pneumatic cash tubes that line the ceiling, then picks up the trail of an F-104G. Cold War Luftwaffe and Great War Luftwaffe dart across the sky in an intricate game of tag. Manfred's so busy tracking the warbirds that he nearly trips over the fat white tube's launcher-erector. + +"Eh, Manfred! More care, s'il vous plait!" + +He wipes the planes and glances round. "Do I know you?" he asks politely, even as he feels a shock of recognition. + +"Amsterdam, three years ago." The woman in the double-breasted suit raises an eyebrow at him, and his social secretary remembers her for him, whispers in his ear. + +"Annette from Arianespace marketing?" She nods, and he focuses on her. Still dressing in the last-century retro mode that confused him the first time they met, she looks like a Kennedy-era Secret Service man: cropped bleached crew cut like an angry albino hedgehog, pale blue contact lenses, black tie, narrow lapels. Only her skin color hints at her Berber ancestry. Her earrings are cameras, endlessly watching. Her raised eyebrow turns into a lopsided smile as she sees his reaction. "I remember. That cafe in Amsterdam. What brings you here?" + +"Why "- her wave takes in the entirety of the show - "this talent show, of course." An elegant shrug and a wave at the orbit-capable tampon. "It's good talent. We're hiring this year. If we re-enter the launcher market, we must employ only the best. Amateurs, not time-servers, engineers who can match the very best Singapore can offer." + +For the first time, Manfred notices the discreet corporate logo on the flank of the booster. "You outsourced your launch-vehicle fabrication?" + +Annette pulls a face as she explains with forced casualness: "Space hotels were more profitable, this past decade. The high-ups, they cannot be bothered with the rocketry, no? Things that go fast and explode, they are passé, they say. Diversify, they say. Until -" She gives a very Gallic shrug. Manfred nods; her earrings are recording everything she says, for the purposes of due diligence. + +"I'm glad to see Europe re-entering the launcher business," he says seriously. "It's going to be very important when the nanosystems conformational replication business gets going for real. A major strategic asset to any corporate entity in the field, even a hotel chain." Especially now they've wound up NASA and the moon race is down to China and India, he thinks sourly. + +Her laugh sounds like glass bells chiming. "And yourself, mon cher? What brings you to the Confederaçion? You must have a deal in mind." + +"Well., it's Manfred's turn to shrug, "I was hoping to find a CIA agent, but there don't seem to be any here today." + +"That is not surprising," Annette says resentfully. "The CIA thinks the space industry, she is dead. Fools!" She continues for a minute, enumerating the many shortcomings of the Central Intelligence Agency with vigor and a distinctly Parisian rudeness. "They are become almost as bad as AP and Reuters since they go public," she adds. "All these wire services! And they are, ah, stingy. The CIA does not understand that good news must be paid for at market rates if freelance stringers are to survive. They are to be laughed at. It is so easy to plant disinformation on them, almost as easy as the Office of Special Plans..." She makes a banknote-riffling gesture between fingers and thumb. By way of punctuation, a remarkably maneuverable miniature ornithopter swoops around her head, does a double-back flip, and dives off in the direction of the liquor display. + +An Iranian woman wearing a backless leather minidress and a nearly transparent scarf barges up and demands to know how much the microbooster costs to buy: She is dissatisfied with Annette's attempt to direct her to the manufacturer's website, and Annette looks distinctly flustered by the time the woman's boyfriend - a dashing young air force pilot - shows up to escort her away. "Tourists," she mutters, before noticing Manfred, who is staring off into space with fingers twitching. "Manfred?" + +"Uh - what?" + +"I have been on this shop floor for six hours, and my feet, they kill me." She takes hold of his left arm and very deliberately unhooks her earrings, turning them off. "If I say to you I can write for the CIA wire service, will you take me to a restaurant and buy me dinner and tell me what it is you want to say?" + +* * * + +_1 Welcome to the second decade of the twenty-first century; the second decade in human history when the intelligence of the environment has shown signs of rising to match human demand. + +_1 The news from around the world is distinctly depressing this evening. In Maine, guerrillas affiliated with Parents for Traditional Children announce they've planted logic bombs in antenatal-clinic gene scanners, making them give random false positives when checking for hereditary disorders: The damage so far is six illegal abortions and fourteen lawsuits. + +_1 The International Convention on Performing Rights is holding a third round of crisis talks in an attempt to stave off the final collapse of the WIPO music licensing regime. On the one hand, hard-liners representing the Copyright Control Association of America are pressing for restrictions on duplicating the altered emotional states associated with specific media performances: As a demonstration that they mean business, two "software engineers" in California have been kneecapped, tarred, feathered, and left for dead under placards accusing them of reverse-engineering movie plot lines using avatars of dead and out-of-copyright stars. + +_1 On the opposite side of the fence, the Association of Free Artists are demanding the right of perform music in public without a recording contract, and are denouncing the CCAA as being a tool of Mafiya apparachiks who have bought it from the moribund music industry in an attempt to go legit. FBI Director Leonid Kuibyshev responds by denying that the Mafiya is a significant presence in the United States. But the music biz's position isn't strengthened by the near collapse of the legitimate American entertainment industry, which has been accelerating ever since the nasty noughties. + +_1 A marginally intelligent voicemail virus masquerading as an IRS auditor has caused havoc throughout America, garnishing an estimated eighty billion dollars in confiscatory tax withholdings into a numbered Swiss bank account. A different virus is busy hijacking people's bank accounts, sending ten percent of their assets to the previous victim, then mailing itself to everyone in the current mark's address book: a self- propelled pyramid scheme in action. Oddly, nobody is complaining much. While the mess is being sorted out, business IT departments have gone to standby, refusing to process any transaction that doesn't come in the shape of ink on dead trees. + +_1 Tipsters are warning of an impending readjustment in the overinflated reputations market, following revelations that some u-media gurus have been hyped past all realistic levels of credibility. The consequent damage to the junk-bonds market in integrity is serious. + +_1 The EU council of independent heads of state has denied plans for another attempt at Eurofederalisme, at least until the economy rises out of its current slump. Three extinct species have been resurrected in the past month; unfortunately, endangered ones are now dying off at a rate of one a day. And a group of militant anti-GM campaigners are being pursued by Interpol, after their announcement that they have spliced a metabolic pathway for cyanogenic glycosides into maize seed corn destined for human-edible crops. There have been no deaths yet, but having to test breakfast cereal for cyanide is really going to dent consumer trust. + +_1 About the only people who're doing well right now are the uploaded lobsters - and the crusties aren't even remotely human. + +* * * + +Manfred and Annette eat on the top deck of the buffet car, chatting as their TGV barrels through a tunnel under the English Channel. Annette, it transpires, has been commuting daily from Paris; which was, in any case, Manfred's next destination. From the show, he messaged Aineko to round up his baggage and meet him at St. Pancras Station, in a terminal like the shell of a giant steel woodlouse. Annette left her space launcher in the supermarket overnight: an unfueled test article, it is of no security significance. + +The railway buffet car is run by a Nepalese fast-food franchise. "I sometimes wish for to stay on the train," Annette says as she waits for her mismas bhat. "Past Paris! Think. Settle back in your couchette, to awaken in Moscow and change trains. All the way to Vladivostok in two days." + +"If they let you through the border," Manfred mutters. Russia is one of those places that still requires passports and asks if you are now or ever have been an anti-anticommunist: It's still trapped by its bloody-handed history. (Rewind the video stream to Stolypin's necktie party and start out fresh.) Besides, they have enemies: White Russian oligarchs, protection racketeers in the intellectual property business. Psychotic relics of the last decade's experiment with Marxism-Objectivism. "Are you really a CIA stringer?" + +Annette grins, her lips disconcertingly red: "I file dispatches from time to time. Nothing that could get me fired." + +Manfred nods. "My wife has access to their unfiltered stream." + +"Your -" Annette pauses. "It was she who I, I met? In De Wildemann's?" She sees his expression. "Oh, my poor fool!" She raises her glass to him. "It is, has, not gone well?" + +Manfred sighs and raises a toast toward Annette. "You know your marriage is in a bad way when you send your spouse messages via the CIA, and she communicates using the IRS." + +"In only five years." Annette winces. "You will pardon me for saying this - she did not look like your type." There's a question hidden behind that statement, and he notices again how good she is at overloading her statements with subtexts. + +"I'm not sure what my type is," he says, half-truthfully. He can't elude the sense that something not of either of their doing went wrong between him and Pamela, a subtle intrusion that levered them apart by stealth. Maybe it was me, he thinks. Sometimes he isn't certain he's still human; too many threads of his consciousness seem to live outside his head, reporting back whenever they find something interesting. Sometimes he feels like a puppet, and that frightens him because it's one of the early-warning signs of schizophrenia. And it's too early for anyone out there to be trying to hack exocortices ... isn't it? Right now, the external threads of his consciousness are telling him that they like Annette, when she's being herself instead of a cog in the meatspace ensemble of Arianespace management. But the part of him that's still human isn't sure just how far to trust himself. "I want to be me. What do you want to be?" + +She shrugs, as a waiter slides a plate in front of her. "I'm just a, a Parisian babe, no? An ingénue raised in the lilac age of le Confederaçion Europé, the self-deconstructed ruins of the gilded European Union." + +"Yeah, right." A plate appears in front of Manfred. "And I'm a good old microboomer from the MassPike corridor." He peels back a corner of the omelet topping and inspects the food underneath it. "Born in the sunset years of the American century." He pokes at one of the unidentifiable meaty lumps in the fried rice with his fork, and it pokes right back. There's a limit to how much his agents can tell him about her - European privacy laws are draconian by American standards - but he knows the essentials. Two parents who are still together, father a petty politician in some town council down in the vicinity of Toulouse. Went to the right école. The obligatory year spent bumming around the Confederaçion at government expense, learning how other people live - a new kind of empire building, in place of the 20th century's conscription and jackboot wanderjahr. No weblog or personal site that his agents can find. She joined Arianespace right out of the Polytechnique and has been management track ever since: Korou, Manhattan Island, Paris. "You've never been married, I take it." + +She chuckles. "Time is too short! I am still young." She picks up a forkful of food, and adds quietly. "Besides, the government would insist on paying." + +"Ah." Manfred tucks into his bowl thoughtfully. With the birth rate declining across Europe, the EC bureaucracy is worried; the old EU started subsidizing babies, a new generation of carers, a decade ago, and it still hasn't dented the problem. All it's done is alienate the brightest women of childbearing age. Soon they'll have to look to the east for a solution, importing a new generation of citizens - unless the long-promised aging hacks prove workable, or cheap AI comes along. + +"Do you have a hotel?" Annette asks suddenly. + +"In Paris?" Manfred is startled: "Not yet." + +"You must come home with me, then." She looks at him quizzically. + +"I'm not sure I - " He catches her expression. "What is it?" + +"Oh, nothing. My friend Henri, he says I take in strays too easily. But you are not a stray. I think you can look after yourself. Besides, it is the Friday today. Come with me, and I will file your press release for the Company to read. Tell me, do you dance? You look as if you need a wild week ending, to help forget your troubles!" + +* * * + +Annette drives a steamroller seduction through Manfred's plans for the weekend. He intended to find a hotel, file a press release, then spend some time researching the corporate funding structure of Parents for Traditional Children and the dimensionality of confidence variation on the reputation exchanges - then head for Rome. Instead, Annette drags him back to her apartment, a large studio flat tucked away behind an alley in the Marais. She sits him at the breakfast bar while she tidies away his luggage, then makes him close his eyes and swallow two dubious-tasting capsules. Next, she pours them each a tall glass of freezing-cold Aqvavit that tastes exactly like Polish rye bread. When they finish it, she just about rips his clothes off. Manfred is startled to discover that he has a crowbar-stiff erection; since the last blazing row with Pamela, he'd vaguely assumed he was no longer interested in sex. Instead, they end up naked on the sofa, surrounded by discarded clothing - Annette is very conservative, preferring the naked penetrative fuck of the last century to the more sophisticated fetishes of the present day. + +Afterward, he's even more surprised to discover that he's still tumescent. "The capsules?" he asks. + +She sprawls a well-muscled but thin thigh across him, then reaches down to grab his penis. Squeezes it. "Yes," she admits. "You need much special help to unwind, I think." Another squeeze. "Crystal meth and a traditional phosphodiesterase inhibitor." He grabs one of her small breasts, feeling very brutish and primitive. Naked. He's not sure Pamela ever let him see her fully naked: She thought skin was more sexy when it was covered. Annette squeezes him again, and he stiffens. "More!" + +By the time they finish, he's aching, and she shows him how to use the bidet. Everything is crystal clear, and her touch is electrifying. While she showers, he sits on the toilet seat lid and rants about Turing-completeness as an attribute of company law, about cellular automata and the blind knapsack problem, about his work on solving the Communist Central Planning problem using a network of interlocking unmanned companies. About the impending market adjustment in integrity, the sinister resurrection of the recording music industry, and the still-pressing need to dismantle Mars. + +When she steps out of the shower, he tells her that he loves her. She kisses him and slides his glasses and earpieces off his head so that he's really naked, sits on his lap, and fucks his brains out again, and whispers in his ear that she loves him and wants to be his manager. Then she leads him into her bedroom and tells him exactly what she wants him to wear, and she puts on her own clothes, and she gives him a mirror with some white powder on it to sniff. When she's got him dolled up they go out for a night of really serious clubbing, Annette in a tuxedo and Manfred in a blond wig, red silk off-the-shoulder gown, and high heels. Sometime in the early hours, exhausted and resting his head on her shoulder during the last tango in a BDSM club in the Rue Ste-Anne, he realizes that it really is possible to be in lust with someone other than Pamela. + +* * * + +Aineko wakes Manfred by repeatedly head-butting him above the left eye. He groans, and as he tries to open his eyes, he finds that his mouth tastes like a dead trout, his skin feels greasy with make-up, and his head is pounding. There's a banging noise somewhere. Aineko meows urgently. He sits up, feeling unaccustomed silk underwear rubbing against incredibly sore skin - he's fully dressed, just sprawled out on the sofa. Snores emanate from the bedroom; the banging is coming from the front door. Someone wants to come in. Shit. He rubs his head, stands up, and nearly falls flat on his face: He hasn't even taken those ridiculous high heels off. How much did I drink last night? he wonders. His glasses are on the breakfast bar; he pulls them on and is besieged by an urgent flurry of ideas demanding attention. He straightens his wig, picks up his skirts, and trips across to the door with a sinking feeling. Luckily his publicly traded reputation is strictly technical. + +He unlocks the door. "Who is it?" he asks in English. By way of reply somebody shoves the door in, hard. Manfred falls back against the wall, winded. His glasses stop working, sidelook displays filling with multicolored static. + +Two men charge in, identically dressed in jeans and leather jackets. They're wearing gloves and occlusive face masks, and one of them points a small and very menacing ID card at Manfred. A self-propelled gun hovers in the doorway, watching everything. "Where is he?" + +"Who?" gasps Manfred, breathless and terrified. + +"Macx." The other intruder steps into the living room quickly, pans around, ducks through the bathroom door. Aineko flops as limp as a dishrag in front of the sofa. The intruder checks out the bedroom: There's a brief scream, cut off short. + +"I don't know - who?" Manfred is choking with fear. + +The other intruder ducks out of the bedroom, waves a hand dismissively. + +"We are sorry to have bothered you," the man with the card says stiffly. He replaced it in his jacket pocket. "If you should see Manfred Macx, tell him that the Copyright Control Association of America advises him to cease and desist from his attempt to assist music thieves and other degenerate mongrel second-hander enemies of Objectivism. Reputations only of use to those alive to own them. Goodbye." + +The two copyright gangsters disappear through the door, leaving Manfred to shake his head dizzily while his glasses reboot. It takes him a moment to register the scream from the bedroom. "Fuck - Annette!" + +She appears in the open doorway, holding a sheet around her waist, looking angry and confused. "Annette!" he calls. She looks around, sees him, and begins to laugh shakily. "Annette!" He crosses over to her. "You're okay," he says. "You're okay." + +"You too." She hugs him, and she's shaking. Then she holds him at arm's length. "My, what a pretty picture!" + +"They wanted me," he says, and his teeth are chattering. "Why?" + +She looks up at him seriously. "You must bathe. Then have coffee. We are not at home, oui?" + +"Ah, oui." He looks down. Aineko is sitting up, looking dazed. "Shower. Then that dispatch for CIA news." + +"The dispatch?" She looks puzzled. "I filed that last night. When I was in the shower. The microphone, he is waterproof." + +* * * + +By the time Arianespace's security contractors show up, Manfred has stripped off Annette's evening gown and showered; he's sitting in the living room wearing a bathrobe, drinking a half-liter mug of espresso and swearing under his breath. + +While he was dancing the night away in Annette's arms, the global reputation market has gone nonlinear: People are putting their trust in the Christian Coalition and the Eurocommunist Alliance - always a sign that the times are bad - while perfectly sound trading enterprises have gone into free fall, as if a major bribery scandal has broken out. + +Manfred trades ideas for kudos via the Free Intellect Foundation, bastard child of George Soros and Richard Stallman. His reputation is cemented by donations to the public good that don't backfire. So he's offended and startled to discover that he's dropped twenty points in the past two hours - and frightened to see that this is by no means unusual. He was expecting a ten-point drop mediated via an options trade - payment for the use of the anonymous luggage remixer that routed his old suitcase to Mombasa and in return sent this new one to him via the left-luggage office in Luton - but this is more serious. The entire reputation market seems to have been hit by the confidence flu. + +Annette bustles around busily, pointing out angles and timings to the forensics team her head office sent in answer to her call for back-up. She seems more angry and shaken than worried by the intrusion. It's probably an occupational hazard for any upwardly mobile executive in the old, grasping network of greed that Manfred's agalmic future aims to supplant. The forensics dude and dudette, a pair of cute, tanned Lebanese youngsters, point the yellow snout of their mass spectroscope into various corners and agree that there's something not unlike gun oil in the air. But, so sorry, the intruders wore masks to trap the skin particles and left behind a spray of dust vacuumed from the seat of a city bus, so there's no way of getting a genotype match. Presently they agree to log it as a suspected corporate intrusion (origin: unclassified; severity: worrying) and increase the logging level on her kitchen telemetry. And remember to wear your earrings at all times, please. They leave, and Annette locks the door, leans against it, and curses for a whole long minute. + +"They gave me a message from the copyright control agency," Manfred says unevenly when she winds down. "Russian gangsters from New York bought the recording cartels a few years ago, you know? After the rights stitch-up fell apart, and the artists all went on-line while they focused on copy prevention technologies, the Mafiya were the only people who would buy the old business model. These guys add a whole new meaning to copy protection: This was just a polite cease and desist notice by their standards. They run the record shops, and they try to block any music distribution channel they don't own. Not very successfully, though - most gangsters are living in the past, more conservative than any normal businessman can afford to be. What was it that you put on the wire?" + +Annette closes her eyes. "I don't remember. No." She holds up a hand. "Open mike. I streamed you into a file and cut, cut out the bits about me." She opens her eyes and shakes her head. "What was I on?" + +"You don't know either?" + +He stands up, and she walks over and throws her arms around him. "I was on you," she murmurs. + +"Bullshit." He pulls away, then sees how this upsets her. Something is blinking for attention in his glasses; he's been off-line for the best part of six hours and is getting a panicky butterfly stomach at the idea of not being in touch with everything that's happened in the last twenty kiloseconds. "I need to know more. Something in that report rattled the wrong cages. Or someone ratted on the suitcase exchange - I meant the dispatch to be a heads-up for whoever needs a working state planning system, not an invitation to shoot me!" + +"Well, then." She lets go of him. "Do your work." Coolly: "I'll be around." + +He realizes that he's hurt her, but he doesn't see any way of explaining that he didn't mean to - at least, not without digging himself in deeper. He finishes his croissant and plunges into one of those unavoidable fits of deep interaction, fingers twitching on invisible keypads and eyeballs jiggling as his glasses funnel deep media straight into his skull through the highest bandwidth channel currently available. + +One of his e-mail accounts is halfway to the moon with automatic messages, companies with names like agalmic.holdings.root.8E.F0 screaming for the attention of their transitive director. Each of these companies - and there are currently more than sixteen thousand of them, although the herd is growing day by day - has three directors and is the director of three other companies. Each of them executes a script in a functional language Manfred invented; the directors tell the company what to do, and the instructions include orders to pass instructions on to their children. In effect, they are a flock of cellular automata, like the cells in Conway's Game of Life, only far more complex and powerful. + +Manfred's companies form a programmable grid. Some of them are armed with capital in the form of patents Manfred filed, then delegated rather than passing on to one of the Free Foundations. Some of them are effectively nontrading, but occupy directorial roles. Their corporate functions (such as filing of accounts and voting in new directors) are all handled centrally through his company-operating framework, and their trading is carried out via several of the more popular B2B enabler dot-coms. Internally, the companies do other, more obscure load-balancing computations, processing resource-allocation problems like a classic state central planning system. None of which explains why fully half of them have been hit by lawsuits in the past twenty-two hours. + +The lawsuits are ... random. That's the only pattern Manfred can detect. Some of them allege patent infringements; these he might take seriously, except that about a third of the targets are director companies that don't actually do anything visible to the public. A few lawsuits allege mismanagement, but then there's a whole bizarre raft of spurious nonsense: suits for wrongful dismissal or age discrimination - against companies with no employees - complaints about reckless trading, and one action alleging that the defendant (in conspiracy with the prime minister of Japan, the government of Canada, and the Emir of Kuwait) is using orbital mind-control lasers to make the plaintiff's pet chihuahua bark at all hours of day and night. + +Manfred groans and does a quick calculation. At the current rate, lawsuits are hitting his corporate grid at a rate of one every sixteen seconds - up from none in the preceding six months. In another day, this is going to saturate him. If it keeps up for a week, it'll saturate every court in the United States. Someone has found a means to do for lawsuits what he's doing for companies - and they've chosen him as their target. + +To say that Manfred is unamused is an understatement. If he wasn't already preoccupied with Annette's emotional state and edgy from the intrusion, he'd be livid - but he's still human enough that he responds to human stimuli first. So he determines to do something about it, but he's still flashing on the floating gun, her cross-dressing cool. + +Transgression, sex, and networks; these are all on his mind when Glashwiecz phones again. + +"Hello?" Manfred answers distractedly; he's busy pondering the lawsuit bot that's attacking his systems. + +"Macx! The elusive Mr. Macx!" Glashwiecz sounds positively overjoyed to have tracked down his target. + +Manfred winces. "Who is this?" he asks. + +"I called you yesterday," says the lawyer; "You should have listened." He chortles horribly. "Now I have you!" + +Manfred holds the phone away from his face, like something poisonous. "I'm recording this," he warns. "Who the hell are you and what do you want?" + +"Your wife has retained my partnership's services to pursue her interests in your divorce case. When I called you yesterday it was to point out without prejudice that your options are running out. I have an order, signed in court three days ago, to have all your assets frozen. These ridiculous shell companies notwithstanding, she's going to take you for exactly what you owe her. After tax, of course. She's very insistent on that point." + +Manfred glances round, puts his phone on hold for a moment: "Where's my suitcase?" he asks Aineko. The cat sidles away, ignoring him. "Shit." He can't see the new luggage anywhere. Quite possibly it's on its way to Morocco, complete with its priceless cargo of high-density noise. He returns his attention to the phone. Glashwiecz is droning on about equitable settlements, cumulative IRS tax demands - that seem to have materialized out of fantasy with Pam's imprimatur on them - and the need to make a clean breast of things in court and confess to his sins. "Where's the fucking suitcase?" He takes the phone off hold. "Shut the fuck up, please, I'm trying to think." + +"I'm not going to shut up! You're on the court docket already, Macx. You can't evade your responsibilities forever. You've got a wife and a helpless daughter to care for -" + +"A daughter?" That cuts right through Manfred's preoccupation with the suitcase. + +"Didn't you know?" Glashwiecz sounds pleasantly surprised. "She was decanted last Thursday. Perfectly healthy, I'm told. I thought you knew; you have viewing rights via the clinic webcam. Anyway, I'll just leave you with this thought - the sooner you come to a settlement, the sooner I can unfreeze your companies. Good-bye." + +The suitcase rolls into view, peeping coyly out from behind Annette's dressing table. Manfred breathes a sigh of relief and beckons to it; at the moment, it's easier to deal with his Plan B than dawn raids by objectivist gangsters, Annette's sulk, his wife's incessant legal spamming, and the news that he is a father against his will. "C'mon over here, you stray baggage. Let's see what I got for my reputation derivatives ..." + +* * * + +Anticlimax. + +Annette's communiqué is anodyne; a giggling confession off camera (shower-curtain rain in the background) that the famous Manfred Macx is in Paris for a weekend of clubbing, drugging, and general hell-raising. Oh, and he's promised to invent three new paradigm shifts before breakfast every day, starting with a way to bring about the creation of Really Existing Communism by building a state central planning apparatus that interfaces perfectly with external market systems and somehow manages to algorithmically outperform the Monte Carlo free-for-all of market economics, solving the calculation problem. Just because he can, because hacking economics is fun, and he wants to hear the screams from the Chicago School. + +Try as he may, Manfred can't see anything in the press release that is at all unusual. It's just the sort of thing he does, and getting it on the net was why he was looking for a CIA stringer in the first place. + +He tries to explain this to her in the bath as he soaps her back. "I don't understand what they're on about," he complains. "There's nothing that tipped them off - except that I was in Paris, and you filed the news. You did nothing wrong." + +"Mais oui." She turns round, slippery as an eel, and slides backward into the water. "I try to tell you this, but you are not listening." + +"I am now." Water droplets cling to the outside of his glasses, plastering his view of the room with laser speckle highlights. "I'm sorry, Annette, I brought this mess with me. I can take it out of your life." + +"No!" She rises up in front of him and leans forward, face serious. "I said yesterday. I want to be your manager. Take me in." + +"I don't need a manager; my whole thing is about being fast and out of control!" + +"You think you do not need a manager, but your companies do," she observes. "You have lawsuits, how many? You cannot the time to oversee them spare. The Soviets, they abolish capitalists, but even they need managers. Please, let me manage for you!" + +Annette is so intense about the idea that she becomes visibly aroused. He leans toward her, cups a hand around one taut nipple. "The company matrix isn't sold yet," he admits. + +"It is not?" She looks delighted. "Excellent! To who can this be sold, to Moscow? To SLORC? To -" + +"I was thinking of the Italian Communist Party," he says. "It's a pilot project. I was working on selling it - I need the money for my divorce, and to close the deal on the luggage - but it's not that simple. Someone has to run the damn thing - someone with a keen understanding of how to interface a central planning system with a capitalist economy. A system administrator with experience of working for a multinational corporation would be perfect, ideally with an interest in finding new ways and means of interfacing the centrally planned enterprise to the outside world." He looks at her with suddenly dawning surmise. "Um, are you interested?" + +* * * + +Rome is hotter than downtown Columbia, South Carolina, over Thanksgiving weekend; it stinks of methane-burning Skodas with a low undertone of cooked dog shit. The cars are brightly colored subcompact missiles, hurtling in and out of alleyways like angry wasps: Hot-wiring their drive-by-wire seems to be the national sport, although Fiat's embedded systems people have always written notoriously wobbly software. + +Manfred emerges from the Stazione Termini into dusty sunlight, blinking like an owl. His glasses keep up a rolling monologue about who lived where in the days of the late Republic. They're stuck on a tourist channel and won't come unglued from that much history without a struggle. Manfred doesn't feel like a struggle right now. He feels like he's been sucked dry over the weekend: a light, hollow husk that might blow away in a stiff breeze. He hasn't had a patentable idea all day. This is not a good state to be in on a Monday morning when he's due to meet the former Minister for Economic Affairs, in order to give him a gift that will probably get the minister a shot at higher office and get Pam's lawyer off his back. But somehow he can't bring himself to worry too much: Annette has been good for him. + +The ex-minister's private persona isn't what Manfred was expecting. All Manfred has seen so far is a polished public avatar in a traditionally cut suit, addressing the Chamber of Deputies in cyberspace; which is why, when he rings the doorbell set in the whitewashed doorframe of Gianni's front door, he isn't expecting a piece of Tom of Finland beefcake, complete with breechclout and peaked leather cap, to answer. + +"Hello, I am here to see the minister," Manfred says carefully. Aineko, perched on his left shoulder, attempts to translate: It trills something that sounds extremely urgent. Everything sounds urgent in Italian. + +"It's okay, I'm from Iowa," says the guy in the doorway. He tucks a thumb under one leather strap and grins over his moustache: "What's it about?" Over his shoulder: "Gianni! Visitor!" + +"It's about the economy," Manfred says carefully. "I'm here to make it obsolete." + +The beefcake backs away from the door cautiously - then the minister appears behind him. "Ah, signore Macx! It's okay, Johnny, I have been expecting him." Gianni extends a rapid welcome, like a hyperactive gnome buried in a white toweling bathrobe: "Please come in, my friend! I'm sure you must be tired from your journey. A refreshment for the guest if you please, Johnny. Would you prefer coffee or something stronger?" + +Five minutes later, Manfred is buried up to his ears in a sofa covered in buttery white cowhide, a cup of virulently strong espresso balanced precariously on his knee, while Gianni Vittoria himself holds forth on the problems of implementing a postindustrial ecosystem on top of a bureaucratic system with its roots in the bullheadedly modernist era of the 1920s. Gianni is a visionary of the left, a strange attractor within the chaotic phase-space of Italian politics. A former professor of Marxist economics, his ideas are informed by a painfully honest humanism, and everyone - even his enemies - agrees that he is one of the greatest theoreticians of the post-EU era. But his intellectual integrity prevents him from rising to the very top, and his fellow travelers are much ruder about him than his ideological enemies, accusing him of the ultimate political crime — valuing truth over power. + +Manfred had met Gianni a couple of years earlier via a hosted politics chat room; at the beginning of last week, he sent him a paper detailing his embeddable planned economy and a proposal for using it to turbocharge the endless Italian attempt to re-engineer its government systems. This is the thin end of the wedge: If Manfred is right, it could catalyse a whole new wave of communist expansion, driven by humanitarian ideals and demonstrably superior performance, rather than wishful thinking and ideology. + +"It is impossible, I fear. This is Italy, my friend. Everybody has to have their say. Not everybody even understands what it is we are talking about, but that won't stop them talking about it. Since 1945, our government requires consensus - a reaction to what came before. Do you know, we have five different routes to putting forward a new law, two of them added as emergency measures to break the gridlock? And none of them work on their own unless you can get everybody to agree. Your plan is daring and radical, but if it works, we must understand why we work - and that digs right to the root of being human, and not everybody will agree." + +At this point Manfred realizes that he's lost. "I don't understand," he says, genuinely puzzled. "What has the human condition got to do with economics?" + +The minister sighs abruptly. "You are very unusual. You earn no money, do you? But you are rich, because grateful people who have benefited from your work give you everything you need. You are like a medieval troubadour who has found favor with the aristocracy. Your labor is not alienated - it is given freely, and your means of production is with you always, inside your head." Manfred blinks; the jargon is weirdly technical-sounding but orthogonal to his experience, offering him a disquieting glimpse into the world of the terminally future-shocked. He is surprised to find that not understanding itches. + +Gianni taps his balding temple with a knuckle like a walnut. "Most people spend little time inside their heads. They don't understand how you live. They're like medieval peasants looking in puzzlement at the troubadour. This system you invent, for running a planned economy, is delightful and elegant: Lenin's heirs would have been awestruck. But it is not a system for the new century. It is not human." + +Manfred scratches his head. "It seems to me that there's nothing human about the economics of scarcity," he says. "Anyway, humans will be obsolete as economic units within a couple more decades. All I want to do is make everybody rich beyond their wildest dreams before that happens." A pause for a sip of coffee, and to think, one honest statement deserves another: "And to pay off a divorce settlement." + +"Ye-es? Well, let me show you my library, my friend," he says, standing up. "This way." + +Gianni ambles out of the white living room with its carnivorous leather sofas, and up a cast-iron spiral staircase that nails some kind of upper level to the underside of the roof. "Human beings aren't rational," he calls over his shoulder. "That was the big mistake of the Chicago School economists, neoliberals to a man, and of my predecessors, too. If human behavior was logical, there would be no gambling, hmm? The house always wins, after all." The staircase debouches into another airy whitewashed room, where one wall is occupied by a wooden bench supporting a number of ancient, promiscuously cabled servers and a very new, eye-wateringly expensive solid volume renderer. Opposite the bench is a wall occupied from floor to ceiling by bookcases: Manfred looks at the ancient, low-density medium and sneezes, momentarily bemused by the sight of data density measured in kilograms per megabyte rather than vice versa. + +"What's it fabbing?" Manfred asks, pointing at the renderer, which is whining to itself and slowly sintering together something that resembles a carriage clockmaker's fever dream of a spring-powered hard disk drive. + +"Oh, one of Johnny's toys - a micromechanical digital phonograph player," Gianni says dismissively. "He used to design Babbage engines for the Pentagon - stealth computers. (No van Eck radiation, you know.) Look." He carefully pulls a fabric-bound document out of the obsolescent data wall and shows the spine to Manfred: "On the Theory of Games, by John von Neumann. Signed first edition." + +Aineko meeps and dumps a slew of confusing purple finite state automata into Manfred's left eye. The hardback is dusty and dry beneath his fingertips as he remembers to turn the pages gently. "This copy belonged to the personal library of Oleg Kordiovsky. A lucky man is Oleg: He bought it in 1952, while on a visit to New York, and the MVD let him to keep it." + +"He must be -" Manfred pauses. More data, historical time lines. "Part of GosPlan?" + +"Correct." Gianni smiles thinly. "Two years before the central committee denounced computers as bourgeois deviationist pseudoscience intended to dehumanize the proletarian. They recognized the power of robots even then. A shame they did not anticipate the compiler or the Net." + +"I don't understand the significance. Nobody back then could expect that the main obstacle to doing away with market capitalism would be overcome within half a century, surely?" + +"Indeed not. But it's true: Since the 1980s, it has been possible - in principle - to resolve resource allocation problems algorithmically, by computer, instead of needing a market. Markets are wasteful: They allow competition, much of which is thrown on the scrap heap. So why do they persist?" + +Manfred shrugs. "You tell me. Conservativism?" + +Gianni closes the book and puts it back on the shelf. "Markets afford their participants the illusion of free will, my friend. You will find that human beings do not like being forced into doing something, even if it is in their best interests. Of necessity, a command economy must be coercive - it does, after all, command." + +"But my system doesn't! It mediates where supplies go, not who has to produce what -" + +Gianni is shaking his head. "Backward chaining or forward chaining, it is still an expert system, my friend. Your companies need no human beings, and this is a good thing, but they must not direct the activities of human beings, either. If they do, you have just enslaved people to an abstract machine, as dictators have throughout history." + +Manfred's eyes scan along the bookshelf. "But the market itself is an abstract machine! A lousy one, too. I'm mostly free of it - but how long is it going to continue oppressing people?" + +"Maybe not as long as you fear." Gianni sits down next to the renderer, which is currently extruding the inference mill of the analytical engine. "The marginal value of money decreases, after all: The more you have, the less it means to you. We are on the edge of a period of prolonged economic growth, with annual averages in excess of twenty percent, if the Council of Europe's predictor metrics are anything to go by. The last of the flaccid industrial economy has withered away, and this era's muscle of economic growth, what used to be the high-technology sector, is now everything. We can afford a little wastage, my friend, if that is the price of keeping people happy until the marginal value of money withers away completely." + +Realization dawns. "You want to abolish scarcity, not just money!" + +"Indeed." Gianni grins. "There's more to that than mere economic performance; you have to consider abundance as a factor. Don't plan the economy; take things out of the economy. Do you pay for the air you breathe? Should uploaded minds - who will be the backbone of our economy, by and by - have to pay for processor cycles? No and no. Now, do you want to know how you can pay for your divorce settlement? And can I interest you, and your interestingly accredited new manager, in a little project of mine?" + +* * * + +The shutters are thrown back, the curtains tied out of the way, and Annette's huge living room windows are drawn open in the morning breeze. + +Manfred sits on a leather-topped piano stool, his suitcase open at his feet. He's running a link from the case to Annette's stereo, an antique stand-alone unit with a satellite Internet uplink. Someone has chipped it, crudely revoking its copy protection algorithm: The back of its case bears scars from the soldering iron. Annette is curled up on the huge sofa, wrapped in a kaftan and a pair of high-bandwidth goggles, thrashing out an internal Arianespace scheduling problem with some colleagues in Iran and Guyana. + +His suitcase is full of noise, but what's coming out of the stereo is ragtime. Subtract entropy from a data stream - coincidentally uncompressing it - and what's left is information. With a capacity of about a trillion terabytes, the suitcase's holographic storage reservoir has enough capacity to hold every music, film, and video production of the twentieth century with room to spare. This is all stuff that is effectively out of copyright control, work-for-hire owned by bankrupt companies, released before the CCAA could make their media clampdown stick. Manfred is streaming the music through Annette's stereo - but keeping the noise it was convoluted with. High-grade entropy is valuable, too ... + +Presently, Manfred sighs and pushes his glasses up his forehead, killing the displays. He's thought his way around every permutation of what's going on, and it looks like Gianni was right: There's nothing left to do but wait for everyone to show up. + +For a moment, he feels old and desolate, as slow as an unassisted human mind. Agencies have been swapping in and out of his head for the past day, ever since he got back from Rome. He's developed a butterfly attention span, irritable and unable to focus on anything while the information streams fight it out for control of his cortex, arguing about a solution to his predicament. Annette is putting up with his mood swings surprisingly calmly. He's not sure why, but he glances her way fondly. Her obsessions run surprisingly deep, and she's quite clearly using him for her own purposes. So why does he feel more comfortable around her than he did with Pam? + +She stretches and pushes her goggles up. "Oui?" + +"I was just thinking." He smiles. "Three days and you haven't told me what I should be doing with myself, yet." + +She pulls a face. "Why would I do that?" + +"Oh, no reason. I'm just not over - " He shrugs uncomfortably. There it is, an inexplicable absence in his life, but not one he feels he urgently needs to fill yet. Is this what a relationship between equals feels like? He's not sure: Starting with the occlusive cocooning of his upbringing and continuing through all his adult relationships, he's been effectively - voluntarily - dominated by his partners. Maybe the antisubmissive conditioning is working, after all. But if so, why the creative malaise? Why isn't he coming up with original new ideas this week? Could it be that his peculiar brand of creativity is an outlet, that he needs the pressure of being lovingly enslaved to make him burst out into a great flowering of imaginative brilliance? Or could it be that he really is missing Pam? + +Annette stands up and walks over, slowly. He looks at her and feels lust and affection, and isn't sure whether or not this is love. "When are they due?" she asks, leaning over him. + +"Any -" The doorbell chimes. + +"Ah. I will get that." She stalks away, opens the door. + +"You!" + +Manfred's head snaps round as if he's on a leash. Her leash: But he wasn't expecting her to come in person. + +"Yes, me," Annette says easily. "Come in. Be my guest." + +Pam enters the apartment living room with flashing eyes, her tame lawyer in tow. "Well, look what the robot kitty dragged in," she drawls, fixing Manfred with an expression that owes more to anger than to humor. It's not like her, this blunt hostility, and he wonders where it came from. + +Manfred rises. For a moment he's transfixed by the sight of his dominatrix wife, and his - mistress? conspirator? lover? - side by side. The contrast is marked: Annette's expression of ironic amusement a foil for Pamela's angry sincerity. Somewhere behind them stands a balding middle-aged man in a suit, carrying a folio: just the kind of diligent serf Pam might have turned him into, given time. Manfred musters up a smile. "Can I offer you some coffee?" he asks. "The party of the third part seems to be late." + +"Coffee would be great, mine's dark, no sugar," twitters the lawyer. He puts his briefcase down on a side table and fiddles with his wearable until a light begins to blink from his spectacle frames: "I'm recording this, I'm sure you understand." + +Annette sniffs and heads for the kitchen, which is charmingly manual but not very efficient; Pam is pretending she doesn't exist. "Well, well, well." She shakes her head. "I'd expected better of you than a French tart's boudoir, Manny. And before the ink's dry on the divorce - these days that'll cost you, didn't you think of that?" + +"I'm surprised you're not in the hospital," he says, changing the subject. "Is postnatal recovery outsourced these days?" + +"The employers." She slips her coat off her shoulders and hangs it behind the broad wooden door. "They subsidize everything when you reach my grade." Pamela is wearing a very short, very expensive dress, the kind of weapon in the war between the sexes that ought to come with an end-user certificate: But to his surprise it has no effect on him. He realizes that he's completely unable to evaluate her gender, almost as if she's become a member of another species. "As you'd be aware if you'd been paying attention." + +"I always pay attention, Pam. It's the only currency I carry." + +"Very droll, ha-ha," interrupts Glashwiecz. "You do realize that you're paying me while I stand here listening to this fascinating byplay?" + +Manfred stares at him. "You know I don't have any money." + +"Ah," Glashwiecz smiles, "but you must be mistaken. Certainly the judge will agree with me that you must be mistaken - all a lack of paper documentation means is that you've covered your trail. There's the small matter of the several thousand corporations you own, indirectly. Somewhere at the bottom of that pile there has got to be something, hasn't there?" + +A hissing, burbling noise like a sackful of large lizards being drowned in mud emanates from the kitchen, suggesting that Annette's percolator is nearly ready. Manfred's left hand twitches, playing chords on an air keyboard. Without being at all obvious, he's releasing a bulletin about his current activities that should soon have an effect on the reputation marketplace. "Your attack was rather elegant," he comments, sitting down on the sofa as Pam disappears into the kitchen. + +Glashwiecz nods. "The idea was one of my interns'," he says. "I don't understand this distributed denial of service stuff, but Lisa grew up on it. Something about it being a legal travesty, but workable all the same." + +"Uh-huh." Manfred's opinion of the lawyer drops a notch. He notices Pam reappearing from the kitchen, her expression icy. A moment later Annette surfaces carrying a jug and some cups, beaming innocently. Something's going on, but at that moment, one of his agents nudges him urgently in the left ear, his suitcase keens mournfully and beams a sense of utter despair at him, and the doorbell rings again. + +"So what's the scam?" Glashwiecz sits down uncomfortably close to Manfred and murmurs out of one side of his mouth. "Where's the money?" + +Manfred looks at him irritably. "There is no money," he says. "The idea is to make money obsolete. Hasn't she explained that?" His eyes wander, taking in the lawyer's Patek Philippe watch, his Java-enabled signet ring. + +"C'mon. Don't give me that line. Look, all it takes is a couple of million, and you can buy your way free for all I care. All I'm here for is to see that your wife and daughter don't get left penniless and starving. You know and I know that you've got bags of it stuffed away - just look at your reputation! You didn't get that by standing at the roadside with a begging bowl, did you?" + +Manfred snorts. "You're talking about an elite IRS auditor here. She isn't penniless; she gets a commission on every poor bastard she takes to the cleaners, and she was born with a trust fund. Me, I -" The stereo bleeps. Manfred pulls his glasses on. Whispering ghosts of dead artists hum through his earlobes, urgently demanding their freedom. Someone knocks at the door again, and he glances around to see Annette walking toward it. + +"You're making it hard on yourself," Glashwiecz warns. + +"Expecting company?" Pam asks, one brittle eyebrow raised in Manfred's direction. + +"Not exactly -" + +Annette opens the door and a couple of guards in full SWAT gear march in. They're clutching gadgets that look like crosses between digital sewing machines and grenade launchers, and their helmets are studded with so many sensors that they resemble 1950s space probes. "That's them," Annette says clearly. + +"Mais Oui." The door closes itself and the guards stand to either side. Annette stalks toward Pam. + +"You think to walk in here, to my pied-a-terre, and take from Manfred?" she sniffs. + +"You're making a big mistake, lady," Pam says, her voice steady and cold enough to liquefy helium. + +A burst of static from one of the troopers. "No," Annette says distantly. "No mistake." + +She points at Glashwiecz. "Are you aware of the takeover?" + +"Takeover?" The lawyer looks puzzled, but not alarmed by the presence of the guards. + +"As of three hours ago," Manfred says quietly, "I sold a controlling interest in agalmic.holdings.root.1.1.1 to Athene Accelerants BV, a venture capital outfit from Maastricht. One dot one dot one is the root node of the central planning tree. Athene aren't your usual VC, they're accelerants - they take explosive business plans and detonate them." Glashwiecz is looking pale - whether with anger or fear of a lost commission is impossible to tell. "Actually, Athene Accelerants is owned by a shell company owned by the Italian Communist Party's pension trust. The point is, you're in the presence of one dot one dot one's chief operations officer." + +Pam looks annoyed. "Puerile attempts to dodge responsibility -" + +Annette clears her throat. "Exactly who do you think you are trying to sue?" she asks Glashwiecz sweetly. "Here we have laws about unfair restraint of trade. Also about foreign political interference, specifically in the financial affairs of an Italian party of government." + +"You wouldn't -" + +"I would." Manfred brushes his hands on his knees and stands up. "Done, yet?" he asks the suitcase. + +Muffled beeps, then a gravelly synthesized voice speaks. "Uploads completed." + +"Ah, good." He grins at Annette. "Time for our next guests?" + +On cue, the doorbell rings again. The guards sidle to either side of the door. Annette snaps her fingers, and it opens to admit a pair of smartly dressed thugs. It's beginning to get crowded in the living room. + +"Which one of you is Macx?" snaps the older one of the two thugs, staring at Glashwiecz for no obvious reason. He hefts an aluminum briefcase. "Got a writ to serve." + +"You'd be the CCAA?" asks Manfred. + +"You bet. If you're Macx, I have a restraining order -" + +Manfred raises a hand. "It's not me you want," he says. "It's this lady." He points at Pam, whose mouth opens in silent protest. "Y'see, the intellectual property you're chasing wants to be free. It's so free that it's now administered by a complex set of corporate instruments lodged in the Netherlands, and the prime shareholder as of approximately four minutes ago is my soon-to-be-ex-wife Pamela, here." He winks at Glashwiecz. "Except she doesn't control anything." + +"Just what do you think you're playing at, Manfred?" Pamela snarls, unable to contain herself any longer. The guards shuffle: The larger, junior CCAA enforcer tugs at his boss's jacket nervously. + +"Well." Manfred picks up his coffee and takes a sip. Grimaces. "Pam wanted a divorce settlement, didn't she? The most valuable assets I own are the rights to a whole bunch of recategorized work-for-hire that slipped through the CCAA's fingers a few years back. Part of the twentieth century's cultural heritage that got locked away by the music industry in the last decade - Janis Joplin, the Doors, that sort of thing. Artists who weren't around to defend themselves anymore. When the music cartels went bust, the rights went for a walk. I took them over originally with the idea of setting the music free. Giving it back to the public domain, as it were." + +Annette nods at the guards, one of whom nods back and starts muttering and buzzing into a throat mike. Manfred continues. "I was working on a solution to the central planning paradox - how to interface a centrally planned enclave to a market economy. My good friend Gianni Vittoria suggested that such a shell game could have alternative uses. So I've not freed the music. Instead, I signed the rights over to various actors and threads running inside the agalmic holdings network - currently one million, forty-eight thousand, five hundred and seventy-five companies. They swap rights rapidly - the rights to any given song are resident in a given company for, oh, all of fifty milliseconds at a time. Now understand, I don't own these companies. I don't even have a financial interest in them anymore. I've deeded my share of the profits to Pam, here. I'm getting out of the biz, Gianni's suggested something rather more challenging for me to do instead." + +He takes another mouthful of coffee. The recording Mafiya goon glares at him. Pam glares at him. Annette stands against one wall, looking amused. "Perhaps you'd like to sort it out between you?" he asks. Aside, to Glashwiecz: "I trust you'll drop your denial of service attack before I set the Italian parliament on you? By the way, you'll find the book value of the intellectual property assets I deeded to Pamela - by the value these gentlemen place on them - is somewhere in excess of a billion dollars. As that's rather more than ninety-nine-point-nine percent of my assets, you'll probably want to look elsewhere for your fees." + +Glashwiecz stands up carefully. The lead goon stares at Pamela. "Is this true?" he demands. "This little squirt give you IP assets of Sony Bertelsmann Microsoft Music? We have claim! You come to us for distribution or you get in deep trouble." + +The second goon rumbles agreement: "Remember, dose MP3s, dey bad for you health!" + +Annette claps her hands. "If you would to leave my apartment, please?" The door, attentive as ever, swings open: "You are no longer welcome here!" + +"This means you," Manfred advises Pam helpfully. + +"You bastard," she spits at him. + +Manfred forces a smile, bemused by his inability to respond to her the way she wants. Something's wrong, missing, between them. "I thought you wanted my assets. Are the encumbrances too much for you?" + +"You know what I mean! You and that two-bit Euro-whore! I'll nail you for child neglect!" + +His smile freezes. "Try it, and I'll sue you for breach of patent rights. My genome, you understand." + +Pam is taken aback by this. "You patented your own genome? What happened to the brave new communist, sharing information freely?" + +Manfred stops smiling. "Divorce happened. And the Italian Communist Party happened." + +She turns on her heel and stalks out of the apartment bravely, tame attorney in tow behind her, muttering about class action lawsuits and violations of the Digital Millennium Copyright Act. The CCAA lawyer's tame gorilla makes a grab for Glashwiecz's shoulder, and the guards move in, hustling the whole movable feast out into the stairwell. The door slams shut on a chaos of impending recursive lawsuits, and Manfred breathes a huge wheeze of relief. + +Annette walks over to him and leans her chin on the top of his head. "Think it will work?" she asks. + +"Well, the CCAA will sue the hell out of the company network for a while if they try to distribute by any channel that isn't controlled by the Mafiya. Pam gets rights to all the music, her settlement, but she can't sell it without going through the mob. And I got to serve notice on that legal shark: If he tries to take me on he's got to be politically bullet-proof. Hmm. Maybe I ought not to plan on going back to the USA this side of the singularity." + +"Profits," Annette sighs, "I do not easily understand this way of yours. Or this apocalyptic obsession with singularity." + +"Remember the old aphorism, if you love something, set it free? I freed the music." + +"But you didn't! You signed rights over -" + +"But first I uploaded the entire stash to several cryptographically anonymized public network filesystems over the past few hours, so there'll be rampant piracy. And the robot companies are all set to automagically grant any and every copyright request they receive, royalty-free, until the goons figure out how to hack them. But that's not the point. The point is abundance. The Mafiya can't stop it being distributed. Pam is welcome to her cut if she can figure an angle - but I bet she can't. She still believes in classical economics, the allocation of resources under conditions of scarcity. Information doesn't work that way. What matters is that people will be able to hear the music - instead of a Soviet central planning system, I've turned the network into a firewall to protect freed intellectual property." + +"Oh, Manfred, you hopeless idealist." She strokes his shoulder. "Whatever for?" + +"It's not just the music. When we develop a working AI or upload minds we'll need a way of defending it against legal threats. That's what Gianni pointed out to me ..." + +He's still explaining to her how he's laying the foundations for the transhuman explosion due early in the next decade when she picks him up in both arms, carries him to her bedroom, and commits outrageous acts of tender intimacy with him. But that's okay. He's still human, this decade. + +This, too, will pass, thinks the bulk of his metacortex. And it drifts off into the net to think deep thoughts elsewhere, leaving his meatbody to experience the ancient pleasures of the flesh set free. + +Chapter 3: Tourist + +Spring-Heeled Jack runs blind, blue fumes crackling from his heels. His right hand, outstretched for balance, clutches a mark's stolen memories. The victim is sitting on the hard stones of the pavement behind him. Maybe he's wondering what's happened; maybe he looks after the fleeing youth. But the tourist crowds block the view effectively, and in any case, he has no hope of catching the mugger. Hit-and-run amnesia is what the polis call it, but to Spring-Heeled Jack it's just more loot to buy fuel for his Russian army-surplus motorized combat boots. + +* * * + +The victim sits on the cobblestones clutching his aching temples. What happened? he wonders. The universe is a brightly colored blur of fast-moving shapes augmented by deafening noises. His ear-mounted cameras are rebooting repeatedly: They panic every eight hundred milliseconds, whenever they realize that they're alone on his personal area network without the comforting support of a hub to tell them where to send his incoming sensory feed. Two of his mobile phones are bickering moronically, disputing ownership of his grid bandwidth, and his memory ... is missing. + +A tall blond clutching an electric chainsaw sheathed in pink bubble wrap leans over him curiously: "you all right?" she asks. + +"I -" He shakes his head, which hurts. "Who am I?" His medical monitor is alarmed because his blood pressure has fallen: His pulse is racing, his serum cortisol titer is up, and a host of other biometrics suggest that he's going into shock. + +"I think you need an ambulance," the woman announces. She mutters at her lapel, "Phone, call an ambulance. " She waves a finger vaguely at him as if to reify a geolink, then wanders off, chain-saw clutched under one arm. Typical southern émigré behavior in the Athens of the North, too embarrassed to get involved. The man shakes his head again, eyes closed, as a flock of girls on powered blades skid around him in elaborate loops. A siren begins to warble, over the bridge to the north. + +Who am I? he wonders. "I'm Manfred," he says with a sense of stunned wonder. He looks up at the bronze statue of a man on a horse that looms above the crowds on this busy street corner. Someone has plastered a Hello Cthulhu! holo on the plaque that names its rider: Languid fluffy pink tentacles wave at him in an attack of kawaii. "I'm Manfred - Manfred. My memory. What's happened to my memory?" Elderly Malaysian tourists point at him from the open top deck of a passing bus. He burns with a sense of horrified urgency. I was going somewhere, he recalls. What was I doing? It was amazingly important, he thinks, but he can't remember what exactly it was. He was going to see someone about - it's on the tip of his tongue - + +* * * + +_1 Welcome to the eve of the third decade: a time of chaos characterized by an all-out depression in the space industries. + +_1 Most of the thinking power on the planet is now manufactured rather than born; there are ten microprocessors for every human being, and the number is doubling every fourteen months. Population growth in the developing world has stalled, the birth rate dropping below replacement level. In the wired nations, more forward-looking politicians are looking for ways to enfranchise their nascent AI base. + +_1 Space exploration is still stalled on the cusp of the second recession of the century. The Malaysian government has announced the goal of placing an imam on Mars within ten years, but nobody else cares enough to try. + +_1 The Space Settlers Society is still trying to interest Disney Corp. in the media rights to their latest L5 colony plan, unaware that there's already a colony out there and it isn't human: First-generation uploads, Californian spiny lobsters in wobbly symbiosis with elderly expert systems, thrive aboard an asteroid mining project established by the Franklin Trust. Meanwhile, Chinese space agency cutbacks are threatening the continued existence of Moonbase Mao. Nobody, it seems, has figured out how to turn a profit out beyond geosynchronous orbit. + +_1 Two years ago, JPL, the ESA, and the uploaded lobster colony on comet Khrunichev-7 picked up an apparently artificial signal from outside the solar system; most people don't know, and of those who do, even fewer care. After all, if humans can't even make it to Mars, who cares what's going on a hundred trillion kilometers farther out? + +* * * + +Portrait of a wasted youth: + +Jack is seventeen years and eleven months old. He has never met his father; he was unplanned, and Dad managed to kill himself in a building-site accident before the Child Support could garnish his income for the upbringing. His mother raised him in a two-bedroom housing association flat in Hawick. She worked in a call center when he was young, but business dried up: Humans aren't needed on the end of a phone anymore. Now she works in a drop-in business shop, stacking shelves for virtual fly-by-nights that come and go like tourists in the Festival season - but humans aren't in demand for shelf stacking either, these days. + +His mother sent Jack to a local religious school, where he was regularly excluded and effectively ran wild from the age of twelve. By thirteen, he was wearing a parole cuff for shoplifting; by fourteen, he'd broken his collarbone in a car crash while joyriding and the dour Presbyterian sheriff sent him to the Wee Frees, who completed the destruction of his educational prospects with high principles and an illicit tawse. + +Today, he's a graduate of the hard school of avoiding public surveillance cameras, with distinctions in steganographic alibi construction. Mostly this entails high-density crime - if you're going to mug someone, do so where there are so many bystanders that they can't pin the blame on you. But the polis expert systems are on his tail. If he keeps it up at this rate, in another four months they'll have a positive statistical correlation that will convince even a jury of his peers that he's guilty as fuck - and then he'll go down to Saughton for four years. + +But Jack doesn't understand the meaning of a Gaussian distribution or the significance of a chi-square test, and the future still looks bright to him as he pulls on the chunky spectacles he ripped off the tourist gawking at the statue on North Bridge. And after a moment, when they begin whispering into his ears in stereo and showing him pictures of the tourist's vision, it looks even brighter. + +"Gotta make a deal, gotta close a deal," whisper the glasses. "Meet the borg, strike a chord." Weird graphs in lurid colors are filling up his peripheral vision, like the hallucinations of a drugged marketroid. + +"Who the fuck are ye?" asks Jack, intrigued by the bright lights and icons. + +"I am your Cartesian theatre and you are our focus," murmur the glasses. "Dow Jones down fifteen points, Federated Confidence up three, incoming briefing on causal decoupling of social control of skirt hem lengths, shaving pattern of beards, and emergence of multidrug antibiotic resistance in Gram-negative bacilli: Accept?" + +"Ah can take it," Jack mumbles, as a torrent of images crashes down on his eyeballs and jackhammers its way in through his ears like the superego of a disembodied giant. Which is actually what he's stolen: The glasses and waist pouch he grabbed from the tourist are stuffed with enough hardware to run the entire Internet, circa the turn of the millennium. They've got bandwidth coming out the wazoo, distributed engines running a bazillion inscrutable search tasks, and a whole slew of high-level agents that collectively form a large chunk of the society of mind that is their owner's personality. Their owner is a posthuman genius loci of the net, an agalmic entrepreneur turned policy wonk, specializing in the politics of AI emancipation. When he was in the biz he was the kind of guy who catalysed value wherever he went, leaving money trees growing in his footprints. Now he's the kind of political backroom hitter who builds coalitions where nobody else could see common ground. And Jack has stolen his memories. There are microcams built into the frame of the glasses, pickups in the earpieces; everything is spooled into the holographic cache in the belt pack, before being distributed for remote storage. At four months per terabyte, memory storage is cheap. What makes this bunch so unusual is that their owner - Manfred - has cross-indexed them with his agents. Mind uploading may not be a practical technology yet, but Manfred has made an end run on it already. + +In a very real sense, the glasses are Manfred, regardless of the identity of the soft machine with its eyeballs behind the lenses. And it is a very puzzled Manfred who picks himself up and, with a curious vacancy in his head - except for a hesitant request for information about accessories for Russian army boots - dusts himself off and heads for his meeting on the other side of town. + +* * * + +Meanwhile, in another meeting, Manfred's absence is already being noticed. "Something, something is wrong," says Annette. She raises her mirrorshades and rubs her left eye, visibly worried. "Why is he not answering his chat? He knows we are due to hold this call with him. Don't you think it is odd?" + +Gianni nods and leans back, regarding her from behind his desk. He prods at the highly polished rosewood desktop. The wood grain slips, sliding into a strangely different conformation, generating random dot stereoisograms - messages for his eyes only. "He was visiting Scotland for me," he says after a moment. "I do not know his exact whereabouts - the privacy safeguards - but if you, as his designated next of kin, travel in person, I am sure you will find it easier. He was going to talk to the Franklin Collective, face-to-face, one to many ..." + +The office translator is good, but it can't provide real-time lip-synch morphing between French and Italian. Annette has to make an effort to listen to his words because the shape of his mouth is all wrong, like a badly dubbed video. Her expensive, recent implants aren't connected up to her Broca's area yet, so she can't simply sideload a deep grammar module for Italian. Their communications are the best that money can buy, their VR environment painstakingly sculpted, but it still doesn't break down the language barrier completely. Besides, there are distractions: the way the desk switches from black ash to rosewood halfway across its expanse, the strange air currents that are all wrong for a room this size. "Then what could be up with him? His voicemail is trying to cover for him. It is good, but it does not lie convincingly." + +Gianni looks worried. "Manfred is prone to fits of do his own thing with telling nobody in advance. But I don't like this. He should have to told one of us first." Ever since that first meeting in Rome, when Gianni offered him a job, Manfred has been a core member of Gianni's team, the fixer who goes out and meets people and solves their problems. Losing him at this point could be more than embarrassing. Besides, he's a friend. + +"I do not like this either." She stands up. "If he doesn't call back soon -" + +"You'll go and fetch him." + +"Oui." A smile flashes across her face, rapidly replaced by worry lines. "What can have happened?" + +"Anything. Nothing." Gianni shrugs. "But we cannot do without him." He casts her a warning glance. "Or you. Don't let the borg get you. Either of you." + +"Not to worry, I will just bring him back, whatever has happened." She stands up, surprising a vacuum cleaner that skulks behind her desk. "Au revoir!" + +"Ciao." + +As she vacates her office, the minister flickers off behind her, leaving the far wall the dull gray of a cold display panel. Gianni is in Rome, she's in Paris, Markus is in Düsseldorf, and Eva's in Wroclaw. There are others, trapped in digital cells scattered halfway across an elderly continent, but as long as they don't try to shake hands, they're free to shout across the office at each other. Their confidences and dirty jokes tunnel through multiple layers of anonymized communication. + +Gianni is trying to make his break out of regional politics and into European national affairs: Their job - his election team - is to get him a seat on the Confederacy Commission, as Representative for Intelligence Oversight, and push the boundaries of post-humanistic action outward, into deep space and deeper time. Which makes the loss of a key team player, the house futurologist and fixer, profoundly interesting to certain people: The walls have ears, and not all the brains they feed into are human. + +Annette is more worried than she's letting on to Gianni. It's unlike Manfred to be out of contact for long and even odder for his receptionist to stonewall her, given that her apartment is the nearest thing to a home he's had for the past couple of years. But something smells fishy. He sneaked out last night, saying it would be an overnight trip, and now he's not answering. Could it be his ex-wife? she wonders, despite Gianni's hints about a special mission. But there's been no word from Pamela other than the sarcastic cards she dispatches every year without fail, timed to arrive on the birthday of the daughter Manfred has never met. The music Mafiya? A letter bomb from the Copyright Control Association of America? But no, his medical monitor would have been screaming its head off if anything like that had happened. + +Annette has organized things so that he's safe from the intellectual property thieves. She's lent him the support he needs, and he's helped her find her own path. She gets a warm sense of happiness whenever she considers how much they've achieved together. But that's exactly why she's worried now. The watchdog hasn't barked ... + +Annette summons a taxi to Charles de Gaulle. By the time she arrives, she's already used her parliamentary carte to bump an executive-class seat on the next A320 to Turnhouse, Edinburgh's airport, and scheduled accommodation and transport for her arrival. The plane is climbing out over la Manche before the significance of Gianni's last comment hits her: Might he think the Franklin Collective could be dangerous to Manfred? + +* * * + +The hospital emergency suite has a waiting room with green plastic bucket seats and subtractive volume renderings by preteens stuck to the walls like surreal Lego sculptures. It's deeply silent, the available bandwidth all sequestrated for medical monitors - there are children crying, periodic sirens wailing as ambulances draw up, and people chattering all around him, but to Manfred, it's like being at the bottom of a deep blue pool of quiet. He feels stoned, except this particular drug brings no euphoria or sense of well-being. Corridor-corner vendors hawk kebab-spitted pigeons next to the chained and rusted voluntary service booth; video cameras watch the blue bivvy bags of the chronic cases lined up next to the nursing station. Alone in his own head, Manfred is frightened and confused. + +"I can't check you in 'less you sign the confidentiality agreement," says the triage nurse, pushing an antique tablet at Manfred's face. Service in the NHS is still free, but steps have been taken to reduce the incidence of scandals: "Sign the nondisclosure clause here and here, or the house officer won't see you." + +Manfred stares blearily up at the nurse's nose, which is red and slightly inflamed from a nosocomial infection. His phones are bickering again, and he can't remember why; they don't normally behave like this, something must be missing, but thinking about it is hard. "Why am I here?" he asks for the third time. + +"Sign it." A pen is thrust into his hand. He focuses on the page, jerks upright as deeply canalized reflexes kick in. + +"This is theft of human rights! It says here that the party of the second part is enjoined from disclosing information relating to the operations management triage procedures and processes of the said health-giving institution, that's you, to any third party - that's the public media - on pain of forfeiture of health benefits pursuant to section two of the Health Service Reform Act. I can't sign this! You could repossess my left kidney if I post on the Net about how long I've been in hospital!" + +"So don't sign, then." The Hijra nurse shrugs, hitches up his sari, and walks away. "Enjoy your wait!" + +Manfred pulls out his backup phone and stares at its display. "Something's wrong here." The keypad beeps as he laboriously inputs opcodes. This gets him into an arcane and ancient X.25 PAD, and he has a vague, disturbing memory that hints about where he can go from here - mostly into the long-since-decommissioned bowels of NHSNet - but the memories spring a page fault and die somewhere between fingertips and the moment when understanding dawns. It's a frustrating feeling: His brain is like an ancient car engine with damp spark plugs, turning over and over without catching fire. + +The kebab vendor next to Manfred's seating rail chucks a stock cube on his grill; it begins to smoke, aromatic and blue and herbal - cannabinoids to induce tranquillity and appetite. Manfred sniffs twice, then staggers to his feet and heads off in search of the toilet, his head spinning. He's mumbling at his wrist watch: "Hello, Guatemala? Get me posology please. Click down my meme tree, I'm confused. Oh shit. Who was I? What happened? Why is everything blurry? I can't find my glasses ..." + +A gaggle of day-trippers are leaving the leprosy ward, men and women dressed in anachronistic garb: men in dark suits, women in long dresses. All of them wear electric blue disposable gloves and face masks. There's a hum and crackle of encrypted bandwidth emanating from them, and Manfred instinctively turns to follow. They leave the A&E unit through the wheelchair exit, two ladies escorted by three gentlemen, with a deranged distressed refugee from the twenty-first century shuffling dizzily after. They're all young, Manfred realizes vaguely. Where's my cat? Aineko might be able to make sense of this, if Aineko was interested. + +"I rather fancy we should retire to the club house," says one young beau. "Oh yes! please!" his short blond companion chirps, clapping her hands together, then irritably stripping off the anachronistic plastic gloves to reveal wired-lace positional-sensor mitts underneath. "This trip has obviously been unproductive. If our contact is here, I see no easy way of locating of him without breach of medical confidence or a hefty gratuity." + +"The poor things," murmurs the other woman, glancing back at the leprosarium. "Such a humiliating way to die." + +"Their own fault; If they hadn't participated in antibiotic abuse they wouldn't be in the isolation ward," harrumphs a twentysomething with mutton-chops and the manner of a precocious paterfamilias. He raps his walking stick on the pavement for punctuation, and they pause for a flock of cyclists and a rickshaw before they cross the road onto the Meadows. "Degenerate medication compliance, degenerate immune systems." + +Manfred pauses to survey the grass, brain spinning as he ponders the fractal dimensionality of leaves. Then he lurches after them, nearly getting himself run down by a flywheel-powered tourist bus. Club. His feet hit the pavement, cross it, thud down onto three billion years of vegetative evolution. Something about those people. He feels a weird yearning, a tropism for information. It's almost all that's left of him - his voracious will to know. The tall, dark-haired woman hitches up her long skirts to keep them out of the mud. he sees a flash of iridescent petticoats that ripple like oil on water, worn over old-fashioned combat boots. Not Victorian, then: something else. I came here to see - the name is on the tip of his tongue. Almost. He feels that it has something to do with these people. + +The squad cross The Meadows by way of a tree-lined path, and come to a nineteenth-century frontage with wide steps and a polished brass doorbell. They enter, and the man with the mutton-chops pauses on the threshold and turns to face Manfred. "You've followed us this far," he says. "Do you want to come in? You might find what you're looking for." + +Manfred follows with knocking knees, desperately afraid of whatever he's forgotten. + +* * * + +Meanwhile, Annette is busy interrogating Manfred's cat. + +"When did you last see your father?" + +Aineko turns its head away from her and concentrates on washing the inside of its left leg. Its fur is lifelike and thick, pleasingly patterned except for a manufacturer's URL emblazoned on its flanks; but the mouth produces no saliva, the throat opens on no stomach or lungs. "Go away," it says: "I'm busy." + +"When did you last see Manfred?" she repeats intently. "I don't have time for this. The polis don't know. The medical services don't know. He's off net and not responding. So what can you tell me?" + +It took her precisely eighteen minutes to locate his hotel once she hit the airport arrivals area and checked the hotel booking front end in the terminal: She knows his preferences. It took her slightly longer to convince the concierge to let her into his room. But Aineko is proving more recalcitrant than she'd expected. + +"AI Neko mod two alpha requires maintenance downtime on a regular basis," the cat says pompously: "You knew that when you bought me this body. What were you expecting, five-nines uptime from a lump of meat? Go away, I'm thinking." The tongue rasps out, then pauses while microprobes in its underside replace the hairs that fell out earlier in the day. + +Annette sighs. Manfred's been upgrading this robot cat for years, and his ex-wife Pamela used to mess with its neural configuration too: This is its third body, and it's getting more realistically uncooperative with every hardware upgrade. Sooner or later it's going to demand a litter tray and start throwing up on the carpet. "Command override," she says. "Dump event log to my Cartesian theatre, minus eight hours to present." + +The cat shudders and looks round at her. "Human bitch!" it hisses. Then it freezes in place as the air fills with a bright and silent tsunami of data. Both Annette and Aineko are wired for extremely high-bandwidth spread-spectrum optical networking; an observer would see the cat's eyes and a ring on her left hand glow blue-white at each other. After a few seconds, Annette nods to herself and wiggles her fingers in the air, navigating a time sequence only she can see. Aineko hisses resentfully at her, then stands and stalks away, tail held high. + +"Curiouser and curiouser," Annette hums to herself. She intertwines her fingers, pressing obscure pressure points on knuckle and wrist, then sighs and rubs her eyes. "He left here under his own power, looking normal," she calls to the cat. "Who did he say he was going to see?" The cat sits in a beam of sunlight falling in through the high glass window, pointedly showing her its back. "Merde. If you're not going to help him -" + +"Try the Grassmarket," sulks the cat. "He said something about meeting the Franklin Collective near there. Much good they'll do him ..." + +* * * + +A man wearing secondhand Chinese combat fatigues and a horribly expensive pair of glasses bounces up a flight of damp stone steps beneath a keystone that announces the building to be a Salvation Army hostel. He bangs on the door, his voice almost drowned out by the pair of Cold War Re-enactment Society MiGs that are buzzing the castle up the road: "Open up, ye cunts! Ye've got a deal comin'!" + +A peephole set in the door at eye level slides to one side, and a pair of beady, black-eyed video cameras peer out at him. "Who are you and what do you want?" the speaker crackles. They don't belong to the Salvation Army; Christianity has been deeply unfashionable in Scotland for some decades, and the church that currently occupies the building has certainly moved with the times in an effort to stay relevant. + +"I'm Macx," he says: "You've heard from my systems. I'm here to offer you a deal you can't refuse." At least that's what his glasses tell him to say: What comes out of his mouth sounds a bit more like, Am Max: Yiv hurdfrae ma system. Am here tae gie ye a deal ye cannae refuse. The glasses haven't had long enough to work on his accent. Meanwhile, he's so full of himself that he snaps his fingers and does a little dance of impatience on the top step. + +"Aye, well, hold on a minute." The person on the other side of the speakerphone has the kind of cut-glass Morningside accent that manages to sound more English than the King while remaining vernacular Scots. The door opens, and Macx finds himself confronted by a tall, slightly cadaverous man wearing a tweed suit that has seen better days and a clerical collar cut from a translucent circuit board. His face is almost concealed behind a pair of recording angel goggles. "Who did ye say you were?" + +"I'm Macx! Manfred Macx! I'm here with an opportunity you wouldn't believe. I've got the answer to your church's financial situation. I'm going to make you rich!" The glasses prompt, and Macx speaks. + +The man in the doorway tilts his head slightly, goggles scanning Macx from head to foot. Bursts of blue combustion products spurt from Macx's heels as he bounces up and down enthusiastically. "Are ye sure ye've got the right address?" he asks worriedly. + +"Aye, Ah am that." + +The resident backs into the hostel: "Well then, come in, sit yeself down and tell me all about it." + +Macx bounces into the room with his brain wide open to a blizzard of pie charts and growth curves, documents spawning in the bizarre phase-space of his corporate management software. "I've got a deal you're not going to believe," he reads, gliding past notice boards upon which Church circulars are staked out to die like exotic butterflies, stepping over rolled-up carpets and a stack of laptops left over from a jumble sale, past the devotional radio telescope that does double duty as Mrs. Muirhouse's back-garden bird bath. "You've been here five years and your posted accounts show you aren't making much money - barely keeping the rent up. But you're a shareholder in Scottish Nuclear Electric, right? Most of the church funds are in the form of a trust left to the church by one of your congregants when she went to join the omega point, right?" + +"Er." The minister looks at him oddly. "I cannae comment on the church eschatological investment trust. Why d'ye think that?" + +They fetch up, somehow, in the minister's office. A huge, framed rendering hangs over the back of his threadbare office chair: the collapsing cosmos of the End Times, galactic clusters rotten with the Dyson spheres of the eschaton falling toward the big crunch. Saint Tipler the Astrophysicist beams down from above with avuncular approval, a ring of quasars forming a halo around his head. Posters proclaim the new Gospel: COSMOLOGY IS BETTER THAN GUESSWORK, and LIVE FOREVER WITHIN MY LIGHT CONE. "Can I get ye anything? Cup of tea? Fuel cell charge point?" asks the minister. + +"Crystal meth?" asks Macx, hopefully. His face falls as the minister shakes his head apologetically. "Aw, dinnae worry, Ah wis only joshing." He leans forward: "Ah know a' aboot yer plutonium futures speculation," he hisses. A finger taps his stolen spectacles in an ominous gesture: "These dinnae just record, they think. An' Ah ken where the money's gone." + +"What have ye got?" the minister asks coldly, any indication of good humor flown. "I'm going to have to edit down these memories, ye bastard. I thought I'd forgotten all about that. Bits of me aren't going to merge with the godhead at the end of time now, thanks to you." + +"Keep yer shirt on. Whit's the point o' savin' it a' up if ye nae got a life worth living? Ye reckon the big yin's nae gonnae unnerstan' a knees up?" + +"What do ye want?" + +"Aye, well," Macx leans back, aggrieved. Ah've got -" He pauses. An expression of extreme confusion flits over his head. "Ah've got lobsters," he finally announces. "Genetically engineered uploaded lobsters tae run yer uranium reprocessing plant." As he grows more confused, the glasses' control over his accent slips: "Ah wiz gonnae help yiz oot ba showin ye how ter get yer dosh back whir it belong ..." A strategic pause: "so ye could make the council tax due date. See, they're neutron-resistant, the lobsters. No, that cannae be right. Ah wiz gonnae sell ye somethin' ye cud use fer" - his face slumps into a frown of disgust - "free?" + +Approximately thirty seconds later, as he is picking himself up off the front steps of the First Reformed Church of Tipler, Astrophysicist, the man who would be Macx finds himself wondering if maybe this high finance shit isn't as easy as it's cracked up to be. Some of the agents in his glasses are wondering if elocution lessons are the answer; others aren't so optimistic. + +* * * + +_1 Getting back to the history lesson, the prospects for the decade look mostly medical. + +_1 A few thousand elderly baby boomers are converging on Tehran for Woodstock Four. Europe is desperately trying to import eastern European nurses and home-care assistants; in Japan, whole agricultural villages lie vacant and decaying, ghost communities sucked dry as cities slurp people in like residential black holes. + +_1 A rumor is spreading throughout gated old-age communities in the American Midwest, leaving havoc and riots in its wake: Senescence is caused by a slow virus coded into the mammalian genome that evolution hasn't weeded out, and rich billionaires are sitting on the rights to a vaccine. As usual, Charles Darwin gets more than his fair share of the blame. (Less spectacular but more realistic treatments for old age - telomere reconstruction and hexose-denatured protein reduction - are available in private clinics for those who are willing to surrender their pensions.) Progress is expected to speed up shortly, as the fundamental patents in genomic engineering begin to expire; the Free Chromosome Foundation has already published a manifesto calling for the creation of an intellectual-property-free genome with improved replacements for all commonly defective exons. + +_1 Experiments in digitizing and running neural wetware under emulation are well established; some radical libertarians claim that, as the technology matures, death - with its draconian curtailment of property and voting rights - will become the biggest civil rights issue of all. + +_1 For a small extra fee, most veterinary insurance policies now cover cloning of pets in the event of their accidental and distressing death. Human cloning, for reasons nobody is very clear on anymore, is still illegal in most developed nations - but very few judiciaries push for mandatory abortion of identical twins. + +_1 Some commodities are expensive: the price of crude oil has broken eighty Euros a barrel and is edging inexorably up. Other commodities are cheap: computers, for example. Hobbyists print off weird new processor architectures on their home inkjets; middle-aged folks wipe their backsides with diagnostic paper that can tell how their cholesterol levels are tending. + +_1 The latest casualties of the march of technological progress are: the high-street clothes shop, the flushing water closet, the Main Battle Tank, and the first generation of quantum computers. New with the decade are cheap enhanced immune systems, brain implants that hook right into the Chomsky organ and talk to their owners through their own speech centers, and widespread public paranoia about limbic spam. Nanotechnology has shattered into a dozen disjoint disciplines, and skeptics are predicting that it will all peter out before long. Philosophers have ceded qualia to engineers, and the current difficult problem in AI is getting software to experience embarrassment. + +_1 Fusion power is still, of course, fifty years away. + +* * * + +The Victorians are morphing into goths before Manfred's culture-shocked eyes. + +"You looked lost," explains Monica, leaning over him curiously. "What's with your eyes?" + +"I can't see too well," Manfred tries to explain. Everything is a blur, and the voices that usually chatter incessantly in his head have left nothing behind but a roaring silence. "I mean, someone mugged me. They took -" His hand closes on air: something is missing from his belt. + +Monica, the tall woman he first saw in the hospital, enters the room. What she's wearing indoors is skin-tight, iridescent and, disturbingly, she claims is a distributed extension of her neuroectoderm. Stripped of costume-drama accoutrements, she's a twenty-first-century adult, born or decanted after the millennial baby boom. She waves some fingers in Manfred's face: "How many?" + +"Two." Manfred tries to concentrate. "What -" + +"No concussion," she says briskly. "'Scuse me while I page." Her eyes are brown, with amber raster lines flickering across her pupils. Contact lenses? Manfred wonders, his head turgid and unnaturally slow. It's like being drunk, except much less pleasant: He can't seem to wrap his head around an idea from all angles at once, anymore. Is this what consciousness used to be like? It's an ugly, slow sensation. She turns away from him: "Medline says you'll be all right in a while. The main problem is the identity loss. Are you backed up anywhere?" + +"Here." Alan, still top-hatted and mutton-chopped, holds out a pair of spectacles to Manfred. "Take these, they may do you some good." His topper wobbles, as if a strange A-life experiment is nesting under its brim. + +"Oh. Thank you." Manfred reaches for them with a pathetic sense of gratitude. As soon as he puts them on, they run through a test series, whispering questions and watching how his eyes focus: After a minute, the room around him clears as the specs build a synthetic image to compensate for his myopia. There's limited Net access, too, he notices, a warm sense of relief stealing over him. "Do you mind if I call somebody?" he asks: "I want to check my back-ups." + +"Be my guest." Alan slips out through the door; Monica sits down opposite him and stares into some inner space. The room has a tall ceiling, with whitewashed walls and wooden shutters to cover the aerogel window bays. The furniture is modern modular, and clashes horribly with the original nineteenth-century architecture. "We were expecting you." + +"You were -" He shifts track with an effort: "I was here to see somebody. Here in Scotland, I mean." + +"Us." She catches his eye deliberately. "To discuss sapience options with our patron." + +"With your -" He squeezes his eyes shut. "Damn! I don't remember. I need my glasses back. Please." + +"What about your back-ups?" she asks curiously. + +"A moment." Manfred tries to remember what address to ping. It's useless, and painfully frustrating. "It would help if I could remember where I keep the rest of my mind," he complains. "It used to be at - oh, there." + +An elephantine semantic network sits down on his spectacles as soon as he asks for the site, crushing his surroundings into blocky pixilated monochrome that jerks as he looks around. "This is going to take some time," he warns his hosts as a goodly chunk of his metacortex tries to handshake with his brain over a wireless network connection that was really only designed for web browsing. The download consists of the part of his consciousness that isn't security-critical - public access actors and vague opinionated rants - but it clears down a huge memory castle, sketching in the outline of a map of miracles and wonders onto the whitewashed walls of the room. + +When Manfred can see the outside world again, he feels a bit more like himself: He can, at least, spawn a search thread that will resynchronize and fill him in on what it found. He still can't access the inner mysteries of his soul (including his personal memories); they're locked and barred pending biometric verification of his identity and a quantum key exchange. But he has his wits about him again - and some of them are even working. It's like sobering up from a strange new drug, the infinitely reassuring sense of being back at the controls of his own head. "I think I need to report a crime," he tells Monica - or whoever is plugged into Monica's head right now, because now he knows where he is and who he was meant to meet (although not why) - and he understands that, for the Franklin Collective, identity is a politically loaded issue. + +"A crime report." Her expression is subtly mocking. "Identity theft, by any chance?" + +"Yeah, yeah, I know: Identity is theft, don't trust anyone whose state vector hasn't forked for more than a gigasecond, change is the only constant, et bloody cetera. Who am I talking to, by the way? And if we're talking, doesn't that signify that you think we're on the same side, more or less?" He struggles to sit up in the recliner chair: Stepper motors whine softly as it strives to accommodate him. + +"Sidedness is optional." The woman who is Monica some of the time looks at him quirkily: "It tends to alter drastically if you vary the number of dimensions. Let's just say that right now I'm Monica, plus our sponsor. Will that do you?" + +"Our sponsor, who is in cyberspace -" + +She leans back on the sofa, which buzzes and extrudes an occasional table with a small bar. "Drink? Can I offer you coffee? Guarana? Or maybe a Berlinerweisse, for old time's sake?" + +"Guarana will do. Hello, Bob. How long have you been dead?" + +She chuckles. "I'm not dead, Manny. I may not be a full upload, but I feel like me." She rolls her eyes, self-consciously. "He's making rude comments about your wife," She adds; "I'm not going to pass that on." + +"My ex-wife," Manfred corrects her automatically. "The, uh, tax vamp. So. You're acting as a, I guess, an interpreter for Bob?" + +"Ack." She looks at Manfred very seriously: "We owe him a lot, you know. He left his assets in trust to the movement along with his partials. We feel obliged to instantiate his personality as often as possible, even though you can only do so much with a couple of petabytes of recordings. But we have help." + +"The lobsters." Manfred nods to himself and accepts the glass that she offers. Its diamond-plated curves glitter brilliantly in the late-afternoon sunlight. "I knew this had something to do with them." He leans forward, holding his glass and frowns. "If only I could remember why I came here! It was something emergent, something in deep memory ... something I didn't trust in my own skull. Something to do with Bob." + +The door behind the sofa opens; Alan enters. "Excuse me," he says quietly, and heads for the far side of the room. A workstation folds down from the wall, and a chair rolls in from a service niche. He sits with his chin propped on his hands, staring at the white desktop. Every so often he mutters quietly to himself; "Yes, I understand ... campaign headquarters ... donations need to be audited ..." + +"Gianni's election campaign," Monica prompts him. + +Manfred jumps. "Gianni -" A bundle of memories unlock inside his head as he remembers his political front man's message. "Yes! That's what this is about. It has to be!" He looks at her excitedly. "I'm here to deliver a message to you from Gianni Vittoria. About -" He looks crestfallen. "I'm not sure," he trails off uncertainly, "but it was important. Something critical in the long term, something about group minds and voting. But whoever mugged me got the message." + +* * * + +The Grassmarket is an overly rustic cobbled square nestled beneath the glowering battlements of Castle Rock. Annette stands on the site of the gallows where they used to execute witches; she sends forth her invisible agents to search for spoor of Manfred. Aineko, overly familiar, drapes over her left shoulder like a satanic stole and delivers a running stream of cracked cellphone chatter into her ear. + +"I don't know where to begin," she sighs, annoyed. This place is a wall-to-wall tourist trap, a many-bladed carnivorous plant that digests easy credit and spits out the drained husks of foreigners. The road has been pedestrianized and resurfaced in squalidly authentic mediaeval cobblestones; in the middle of what used to be the car park, there's a permanent floating antiques market, where you can buy anything from a brass fire surround to an ancient CD player. Much of the merchandise in the shops is generic dot-com trash, vying for the title of Japanese-Scottish souvenir from hell: Puroland tartans, animatronic Nessies hissing bad-temperedly at knee level, second hand laptops. People swarm everywhere, from the theme pubs (hangings seem to be a running joke hereabouts) to the expensive dress shops with their fabric renderers and digital mirrors. Street performers, part of the permanent floating Fringe, clutter the sidewalk: A robotic mime, very traditional in silver face paint, mimics the gestures of passers by with ironically stylized gestures. + +"Try the doss house," Aineko suggests from the shelter of her shoulder bag. + +"The -" Annette does a doubletake as her thesaurus conspires with her open government firmware and dumps a geographical database of city social services into her sensorium. "Oh, I see." The Grassmarket itself is touristy, but the bits off to one end - down a dingy canyon of forbidding stone buildings six stories high - are decidedly downmarket. "Okay." + +Annette weaves past a stall selling disposable cellphones and cheaper genome explorers, round a gaggle of teenage girls in the grips of some kind of imported kawaii fetish, who look at her in alarm from atop their pink platform heels - probably mistaking her for a school probation inspector - and past a stand of chained and parked bicycles. The human attendant looks bored out of her mind. Annette tucks a blandly anonymous ten-Euro note in her pocket almost before she notices: "If you were going to buy a hot bike," she asks, "where would you go?" The parking attendant stares, and for a moment Annette thinks she's overestimated her. Then she mumbles something. "What?" + +"McMurphy's. Used to be called Bannerman's. Down yon Cowgate, thataway." The meter maid looks anxiously at her rack of charges. "You didn't -" + +"Uh-huh." Annette follows her gaze: straight down the dark stone canyon. Well, okay. "This had better be worth it, Manny mon chèr," she mutters under her breath. + +McMurphy's is a fake Irish pub, a stone grotto installed beneath a mound of blank-faced offices. It was once a real Irish pub before the developers got their hands on it and mutated it in rapid succession into a punk nightclub, a wine bar, and a fake Dutch coffee shop; after which, as burned-out as any star, it left the main sequence. Now it occupies an unnaturally prolonged, chilly existence as the sort of recycled imitation Irish pub that has neon four-leafed clovers hanging from the artificially blackened pine beams above the log tables - in other words, the burned-out black dwarf afterlife of a once-serious drinking establishment. Somewhere along the line, the beer cellar was replaced with a toilet (leaving more room for paying patrons upstairs), and now its founts dispense fizzy concentrate diluted with water from the city mains. + +"Say, did you hear the one about the Eurocrat with the robot pussy who goes into a dodgy pub on the Cowgate and orders a coke? And when it arrives, she says 'hey, where's the mirror?'" + +"Shut up," Annette hisses into her shoulder bag. "That isn't funny." Her personal intruder telemetry has just e-mailed her wristphone, and it's displaying a rotating yellow exclamation point, which means that according to the published police crime stats, this place is likely to do grievous harm to her insurance premiums. + +Aineko looks up at her from his nest in the bag and yawns cavernously, baring a pink, ribbed mouth and a tongue like pink suede. "Want to make me? I just pinged Manny's head. The network latency was trivial." + +The barmaid sidles up and pointedly manages not to make eye contact with Annette. "I'll have a Diet Coke," Annette orders. In the direction of her bag, voice pitched low: "Did you hear the one about the Eurocrat who goes into a dodgy pub, orders half a liter of Diet Coke, and when she spills it in her shoulder bag she says 'oops, I've got a wet pussy'?" + +The Coke arrives. Annette pays for it. There may be a couple of dozen people in the pub; it's hard to tell because it looks like an ancient cellar, lots of stone archways leading off into niches populated with second-hand church pews and knife-scarred tables. Some guys who might be bikers, students, or well-dressed winos are hunched over one table: hairy, wearing vests with too many pockets, in an artful bohemianism that makes Annette blink until one of her literary programs informs her that one of them is a moderately famous local writer, a bit of a guru for the space and freedom party. There're a couple of women in boots and furry hats in one corner, poring over the menu, and a parcel of off-duty street performers hunching over their beers in a booth. Nobody else is wearing anything remotely like office drag, but the weirdness coefficient is above average; so Annette dials her glasses to extra-dark, straightens her tie, and glances around. + +The door opens and a nondescript youth slinks in. He's wearing baggy BDUs, woolly cap, and a pair of boots that have that quintessential essense de panzer division look, all shock absorbers and olive drab Kevlar panels. He's wearing - + +"I spy with my little network intrusion detector kit," begins the cat, as Annette puts her drink down and moves in on the youth, "something beginning with -" + +"How much you want for the glasses, kid?" she asks quietly. + +He jerks and almost jumps - a bad idea in MilSpec combat boots, the ceiling is eighteenth-century stone half a meter thick; "Dinnae fuckin' dae that," he complains in an eerily familiar way: "Ah -" he swallows. "Annie! Who -" + +"Stay calm. Take them off - they'll only hurt you if you keep wearing them," she says, careful not to move too fast because now she has a second, scary-jittery fear, and she knows without having to look that the exclamation mark on her watch has turned red and begun to flash: "Look, I'll give you two hundred Euros for the glasses and the belt pouch, real cash, and I won't ask how you got them or tell anyone." He's frozen in front of her, mesmerized, and she can see the light from inside the lenses spilling over onto his half-starved adolescent cheekbones, flickering like cold lightning, like he's plugged his brain into a grid bearer; swallowing with a suddenly dry mouth, she slowly reaches up and pulls the spectacles off his face with one hand and takes hold of the belt pouch with the other. The kid shudders and blinks at her, and she sticks a couple of hundred-Euro notes in front of his nose. "Scram," she says, not unkindly. + +He reaches up slowly, then seizes the money and runs - blasts his way through the door with an ear-popping concussion, hangs a left onto the cycle path, and vanishes downhill toward the parliament buildings and university complex. + +Annette watches the doorway apprehensively. "Where is he?" she hisses, worried: "Any ideas, cat?" + +"Naah. It's your job to find him," Aineko opines complacently. But there's an icicle of anxiety in Annette's spine. Manfred's been separated from his memory cache? Where could he be? Worse - who could he be? + +"Fuck you, too," she mutters. "Only one thing for it, I guess." She takes off her own glasses - they're much less functional than Manfred's massively ramified custom rig - and nervously raises the repo'd specs toward her face. Somehow what she's about to do makes her feel unclean, like snooping on a lover's e-mail folders. But how else can she figure out where he might have gone? + +She slides the glasses on and tries to remember what she was doing yesterday in Edinburgh. + +* * * + +"Gianni?" + +"Oui, ma chérie?" + +Pause. "I lost him. But I got his aid-mémoire back. A teenage freeloader playing cyberpunk with them. No sign of his location - so I put them on." + +Pause. "Oh dear." + +"Gianni, why exactly did you send him to the Franklin Collective?" + +Pause. (During which, the chill of the gritty stone wall she's leaning on begins to penetrate the weave of her jacket.) "I not wanting to bother you with trivia." + +"Merde. It's not trivia, Gianni, they're accelerationistas. Have you any idea what that's going to do to his head?" + +Pause: Then a grunt, almost of pain. "Yes." + +"Then why did you do it?" she demands vehemently. She hunches over, punching words into her phone so that other passers-by avoid her, unsure whether she's hands-free or hallucinating: "Shit, Gianni, I have to pick up the pieces every time you do this! Manfred is not a healthy man, he's on the edge of acute future shock the whole time, and I was not joking when I told you last February that he'd need a month in a clinic if you tried running him flat out again! If you're not careful, he could end up dropping out completely and joining the borganism -" + +"Annette." A heavy sigh: "He are the best hope we got. Am knowing half-life of agalmic catalyst now down to six months and dropping; Manny outlast his career expectancy, four deviations outside the normal, yes, we know this. But I are having to break civil rights deadlock now, this election. We must achieve consensus, and Manfred are only staffer we got who have hope of talking to Collective on its own terms. He are deal-making messenger, not force burnout, right? We need coalition reserve before term limit lockout followed by gridlock in Brussels, American-style. Is more than vital - is essential." + +"That's no excuse -" + +"Annette, they have partial upload of Bob Franklin. They got it before he died, enough of his personality to reinstantiate it, time-sharing in their own brains. We must get the Franklin Collective with their huge resources lobbying for the Equal Rights Amendment: If ERA passes, all sapients are eligible to vote, own property, upload, download, sideload. Are more important than little gray butt-monsters with cold speculum: Whole future depends on it. Manny started this with crustacean rights: Leave uploads covered by copyrights not civil rights and where will we be in fifty years? Do you think I must ignore this? It was important then, but now, with the transmission the lobsters received -" + +"Shit." She turns and leans her forehead against the cool stonework. "I'll need a prescription. Ritalin or something. And his location. Leave the rest to me." She doesn't add, That includes peeling him off the ceiling afterwards: that's understood. Nor does she say, you're going to pay. That's understood, too. Gianni may be a hard-nosed political fixer, but he looks after his own. + +"Location am easy if he find the PLO. GPS coordinates are following -" + +"No need. I got his spectacles." + +"Merde, as you say. Take them to him, ma chérie. Bring me the distributed trust rating of Bob Franklin's upload, and I bring Bob the jubilee, right to direct his own corporate self again as if still alive. And we pull diplomatic chestnuts out of fire before they burn. Agreed?" + +"Oui." + +She cuts the connection and begins walking uphill, along the Cowgate (through which farmers once bought their herds to market), toward the permanent floating Fringe and then the steps towards The Meadows. As she pauses opposite the site of the gallows, a fight breaks out: Some Paleolithic hangover takes exception to the robotic mime aping his movements, and swiftly rips its arm off. The mime stands there, sparks flickering inside its shoulder, and looks confused. Two pissed-looking students start forward and punch the short-haired vandal. There is much shouting in the mutually incomprehensible accents of Oxgangs and the Herriott-Watt Robot Lab. Annette watches the fight and shudders; it's like a flashover vision from a universe where the Equal Rights Amendment - with its redefinition of personhood - is rejected by the house of deputies: a universe where to die is to become property and to be created outwith a gift of parental DNA is to be doomed to slavery. + +Maybe Gianni was right, she ponders. But I wish the price wasn't so personal - + +* * * + +Manfred can feel one of his attacks coming on. The usual symptoms are all present - the universe, with its vast preponderance of unthinking matter, becomes an affront; weird ideas flicker like heat lightning far away across the vast plateaus of his imagination - but, with his metacortex running in sandboxed insecure mode, he feels blunt. And slow. Even obsolete. The latter is about as welcome a sensation as heroin withdrawal: He can't spin off threads to explore his designs for feasibility and report back to him. It's like someone has stripped fifty points off his IQ; his brain feels like a surgical scalpel that's been used to cut down trees. A decaying mind is a terrible thing to be trapped inside. Manfred wants out, and he wants out bad - but he's too afraid to let on. + +"Gianni is a middle-of-the-road Eurosocialist, a mixed-market pragmatist politician," Bob's ghost accuses Manfred by way of Monica's dye-flushed lips, "hardly the sort of guy you'd expect me to vote for, no? So what does he think I can do for him?" + +"That's a - ah - " Manfred rocks forward and back in his chair, arms crossed firmly and hands thrust under his armpits for protection. "Dismantle the moon! Digitize the biosphere, make a nöosphere out of it - shit, sorry, that's long-term planning. Build Dyson spheres, lots and lots of - Ahem. Gianni is an ex-Marxist, reformed high church Trotskyite clade. He believes in achieving True Communism, which is a state of philosophical grace that requires certain prerequisites like, um, not pissing around with Molotov cocktails and thought police: He wants to make everybody so rich that squabbling over ownership of the means of production makes as much sense as arguing over who gets to sleep in the damp spot at the back of the cave. He's not your enemy, I mean. He's the enemy of those Stalinist deviationist running dogs in Conservative Party Central Office who want to bug your bedroom and hand everything on a plate to the big corporates owned by the pension funds - which in turn rely on people dying predictably to provide their raison d'être. And, um, more importantly dying and not trying to hang on to their property and chattels. Sitting up in the coffin singing extropian fireside songs, that kind of thing. The actuaries are to blame, predicting life expectancy with intent to cause people to buy insurance policies with money that is invested in control of the means of production - Bayes' Theorem is to blame -" + +Alan glances over his shoulder at Manfred: "I don't think feeding him guarana was a good idea," he says in tones of deep foreboding. + +Manfred's mode of vibration has gone nonlinear by this point: He's rocking front to back, and jiggling up and down in little hops, like a technophiliacal yogic flyer trying to bounce his way to the singularity. Monica leans toward him and her eyes widen: "Manfred," she hisses, "shut up!" + +He stops babbling abruptly, with an expression of deep puzzlement. "Who am I?" he asks, and keels over backward. "Why am I, here and now, occupying this body -" + +"Anthropic anxiety attack," Monica comments. "I think he did this in Amsterdam eight years ago when Bob first met him." She looks alarmed, a different identity coming to the fore: "What shall we do?" + +"We have to make him comfortable." Alan raises his voice: "Bed, make yourself ready, now." The back of the sofa Manfred is sprawled on flops downward, the base folds up, and a strangely animated duvet crawls up over his feet. "Listen, Manny, you're going to be all right." + +"Who am I and what do I signify?" Manfred mumbles incoherently: "A mass of propagating decision trees, fractal compression, lots of synaptic junctions lubricated with friendly endorphins -" Across the room, the bootleg pharmacopoeia is cranking up to manufacture some heavy tranquilizers. Monica heads for the kitchen to get something for him to drink them in. "Why are you doing this?" Manfred asks, dizzily. + +"It's okay. Lie down and relax." Alan leans over him. "We'll talk about everything in the morning, when you know who you are." (Aside to Monica, who is entering the room with a bottle of iced tea: "Better let Gianni know that he's unwell. One of us may have to go visit the minister. Do you know if Macx has been audited?") "Rest up, Manfred. Everything is being taken care of." + +About fifteen minutes later, Manfred - who, in the grip of an existential migraine, meekly obeys Monica's instruction to drink down the spiked tea - lies back on the bed and relaxes. His breathing slows; the subliminal muttering ceases. Monica, sitting next to him, reaches out and takes his right hand, which is lying on top of the bedding. + +"Do you want to live forever?" she intones in Bob Franklin's tone of voice. "You can live forever in me ..." + +* * * + +The Church of Latter-Day Saints believes that you can't get into the Promised Land unless it's baptized you - but it can do so if it knows your name and parentage, even after you're dead. Its genealogical databases are among the most impressive artifacts of historical research ever prepared. And it likes to make converts. + +The Franklin Collective believes that you can't get into the future unless it's digitized your neural state vector, or at least acquired as complete a snapshot of your sensory inputs and genome as current technology permits. You don't need to be alive for it to do this. Its society of mind is among the most impressive artifacts of computer science. And it likes to make converts. + +* * * + +Nightfall in the city. Annette stands impatiently on the doorstep. "Let me the fuck in," she snarls impatiently at the speakerphone. "Merde!" + +Someone opens the door. "Who -" + +Annette shoves him inside, kicks the door shut, and leans on it. "Take me to your bodhisattva," she demands. "Now." + +"I -" he turns and heads inside, along the gloomy hallway that runs past a staircase. Annette strides after him aggressively. He opens a door and ducks inside, and she follows before he can close it. + +Inside, the room is illuminated by a variety of indirect diode sources, calibrated for the warm glow of a summer afternoon's daylight. There's a bed in the middle of it, a figure lying asleep at the heart of a herd of attentive diagnostic instruments. A couple of attendants sit to either side of the sleeping man. + +"What have you done to him?" Annette snaps, rushing forward. Manfred blinks up at her from the pillows, bleary-eyed and confused as she leans overhead: "Hello? Manny?" Over her shoulder: "If you have done anything to him -" + +"Annie?" He looks puzzled. A bright orange pair of goggles - not his own - is pushed up onto his forehead like a pair of beached jellyfish. "I don't feel well. 'F I get my hands on the bastard who did this ..." + +"We can fix that," she says briskly, declining to mention the deal she cut to get his memories back. She peels off his glasses and carefully slides them onto his face, replacing his temporary ones. The brain bag she puts down next to his shoulder, within easy range. The hairs on the back of her neck rise as a thin chattering fills the ether around them: his eyes are glowing a luminous blue behind his shades, as if a high-tension spark is flying between his ears. + +"Oh. Wow." He sits up, the covers fall from his naked shoulders, and her breath catches. + +She looks round at the motionless figure sitting to his left. The man in the chair nods deliberately, ironically. "What have you done to him?" + +"We've been looking after him - nothing more, nothing less. He arrived in a state of considerable confusion, and his state deteriorated this afternoon." + +She's never met this fellow before, but she has a gut feeling that she knows him. "You would be Robert ... Franklin?" + +He nods again. "The avatar is in." There's a thud as Manfred's eyes roll up in his head, and he flops back onto the bedding. "Excuse me. Monica?" + +The young woman on the other side of the bed shakes her head. "No, I'm running Bob, too." + +"Oh. Well, you tell her - I've got to get him some juice." + +The woman who is also Bob Franklin - or whatever part of him survived his battle with an exotic brain tumor eight years earlier - catches Annette's eye and shakes her head, smiles faintly. "You're never alone when you're a syncitium." + +Annette wrinkles her brow: she has to trigger a dictionary attack to parse the sentence. "One large cell, many nuclei? Oh, I see. You have the new implant. The better to record everything." + +The youngster shrugs. "You want to die and be resurrected as a third-person actor in a low-bandwidth re-enactment? Or a shadow of itchy memories in some stranger's skull?" She snorts, a gesture that's at odds with the rest of her body language. + +"Bob must have been one of the first borganisms. Humans, I mean. After Jim Bezier." Annette glances over at Manfred, who has begun to snore softly. "It must have been a lot of work." + +"The monitoring equipment cost millions, then," says the woman - Monica? - "and it didn't do a very good job. One of the conditions for our keeping access to his research funding is that we regularly run his partials. He wanted to build up a kind of aggregate state vector - patched together out of bits and pieces of other people to supplement the partials that were all I - he - could record with the then state of the art." + +"Eh, right." Annette reaches out and absently smooths a stray hair away from Manfred's forehead. "What is it like to be part of a group mind?" + +Monica sniffs, evidently amused. "What is it like to see red? What's it like to be a bat? I can't tell you - I can only show you. We're all free to leave at any time, you know." + +"But somehow you don't." Annette rubs her head, feels the short hair over the almost imperceptible scars that conceal a network of implants - tools that Manfred turned down when they became available a year or two ago. ("Goop-phase Darwin-design nanotech ain't designed for clean interfaces," he'd said, "I'll stick to disposable kit, thanks.") "No thank you. I don't think he'll take up your offer when he wakes up, either." (Subtext: I'll let you have him over my dead body.) + +Monica shrugs. "That's his loss: He won't live forever in the singularity, along with other followers of our gentle teacher. Anyway, we have more converts than we know what to do with." + +A thought occurs to Annette. "Ah. You are all of one mind? Partially? A question to you is a question to all?" + +"It can be." The words come simultaneously from Monica and the other body, Alan, who is standing in the doorway with a boxy thing that looks like an improvised diagnostician. "What do you have in mind?" adds the Alan body. + +Manfred, lying on the bed, groans: There's an audible hiss of pink noise as his glasses whisper in his ears, bone conduction providing a serial highway to his wetware. + +"Manfred was sent to find out why you're opposing the ERA," Annette explains. "Some parts of our team operate without the other's knowledge." + +"Indeed." Alan sits down on the chair beside the bed and clears his throat, puffing his chest out pompously. "A very important theological issue. I feel -" + +"I, or we?" Annette interrupts. + +"We feel," Monica snaps. Then she glances at Alan. "Soo-rrry." + +The evidence of individuality within the group mind is disturbing to Annette: Too many reruns of the Borgish fantasy have conditioned her preconceptions, and their quasi-religious belief in a singularity leaves her cold. "Please continue." + +"One person, one vote, is obsolete," says Alan. "The broader issue of how we value identity needs to be revisited, the franchise reconsidered. Do you get one vote for each warm body? Or one vote for each sapient individual? What about distributed intelligences? The proposals in the Equal Rights Act are deeply flawed, based on a cult of individuality that takes no account of the true complexity of posthumanism." + +"Like the proposals for a feminine franchise in the nineteenth century that would grant the vote to married wives of land-owning men," Monica adds slyly: "It misses the point." + +"Ah, oui." Annette crosses her arms, suddenly defensive. This isn't what she'd expected to hear. This is the elitist side of the posthumanism shtick, potentially as threatening to her post enlightenment ideas as the divine right of kings. + +"It misses more than that." Heads turn to face an unexpected direction: Manfred's eyes are open again, and as he glances around the room Annette can see a spark of interest there that was missing earlier. "Last century, people were paying to have their heads frozen after their death - in hope of reconstruction, later. They got no civil rights: The law didn't recognize death as a reversible process. Now how do we account for it when you guys stop running Bob? Opt out of the collective borganism? Or maybe opt back in again later?" He reaches up and rubs his forehead, tiredly. "Sorry, I haven't been myself lately." A crooked, slightly manic grin flickers across his face. "See, I've been telling Gianni for a whole while, we need a new legal concept of what it is to be a person. One that can cope with sentient corporations, artificial stupidities, secessionists from group minds, and reincarnated uploads. The religiously inclined are having lots of fun with identity issues right now - why aren't we posthumanists thinking about these things?" + +Annette's bag bulges: Aineko pokes his head out, sniffs the air, squeezes out onto the carpet, and begins to groom himself with perfect disregard for the human bystanders. "Not to mention A-life experiments who think they're the real thing," Manfred adds. "And aliens." + +Annette freezes, staring at him. "Manfred! You're not supposed to -" + +Manfred is watching Alan, who seems to be the most deeply integrated of the dead venture billionaire's executors: Even his expression reminds Annette of meeting Bob Franklin back in Amsterdam, early in the decade, when Manny's personal dragon still owned him. "Aliens," Alan echoes. An eyebrow twitches. "Would this be the signal SETI announced, or the, uh, other one? And how long have you known about them?" + +"Gianni has his fingers in a lot of pies," Manfred comments blandly. "And we still talk to the lobsters from time to time - you know, they're only a couple of light-hours away, right? They told us about the signals." + +"Er." Alan's eyes glaze over for a moment; Annette's prostheses paint her a picture of false light spraying from the back of his head, his entire sensory bandwidth momentarily soaking up a huge peer-to-peer download from the server dust that wallpapers every room in the building. Monica looks irritated, taps her fingernails on the back of her chair. "The signals. Right. Why wasn't this publicized?" + +"The first one was." Annette's eyebrows furrow. "We couldn't exactly cover it up, everyone with a backyard dish pointed in the right direction caught it. But most people who're interested in hearing about alien contacts already think they drop round on alternate Tuesdays and Thursdays to administer rectal exams. Most of the rest think it's a hoax. Quite a few of the remainder are scratching their heads and wondering whether it isn't just a new kind of cosmological phenomenon that emits a very low entropy signal. Of the six who are left over, five are trying to get a handle on the message contents, and the last is convinced it's a practical joke. And the other signal, well, that was weak enough that only the deep-space tracking network caught it." + +Manfred fiddles with the bed control system. "It's not a practical joke," he adds. "But they only captured about sixteen megabits of data from the first one, maybe double that in the second. There's quite a bit of noise, the signals don't repeat, their length doesn't appear to be a prime, there's no obvious metainformation that describes the internal format, so there's no easy way of getting a handle on them. To make matters worse, pointy-haired management at Arianespace" - he glances at Annette, as if seeking a response to the naming of her ex-employers - "decided the best thing to do was to cover up the second signal and work on it in secret - for competitive advantage, they say - and as for the first, to pretend it never happened. So nobody really knows how long it'll take to figure out whether it's a ping from the galactic root domain servers or a pulsar that's taken to grinding out the eighteen-quadrillionth digits of pi, or what." + +"But," Monica glances around, "you can't be sure." + +"I think it may be sapient," says Manfred. He finds the right button at last, and the bed begins to fold itself back into a lounger. Then he finds the wrong button; the duvet dissolves into viscous turquoise slime that slurps and gurgles away through a multitude of tiny nozzles in the headboard. "Bloody aerogel. Um, where was I?" He sits up. + +"Sapient network packet?" asks Alan. + +"Nope." Manfred shakes his head, grins. "Should have known you'd read Vinge ... or was it the movie? No, what I think is that there's only one logical thing to beam backward and forward out there, and you may remember I asked you to beam it out about, oh, nine years ago?" + +"The lobsters." Alan's eyes go blank. "Nine years. Time to Proxima Centauri and back?" + +"About that distance, yes," says Manfred. "And remember, that's an upper bound - it could well have come from somewhere closer. Anyway, the first SETI signal came from a couple of degrees off and more than hundred light-years out, but the second signal came from less than three light-years away. You can see why they didn't publicize that - they didn't want a panic. And no, the signal isn't a simple echo of the canned crusty transmission - I think it's an exchange embassy, but we haven't cracked it yet. Now do you see why we have to crowbar the civil rights issue open again? We need a framework for rights that can encompass nonhumans, and we need it as fast as possible. Otherwise, if the neighbors come visiting..." + +"Okay," says Alan, "I'll have to talk with myselves. Maybe we can agree something, as long as it's clear that it's a provisional stab at the framework and not a permanent solution?" + +Annette snorts. "No solution is final!" Monica catches her eyes and winks: Annette is startled by the blatant display of dissent within the syncitium. + +"Well," says Manfred, "I guess that's all we can ask for?" He looks hopeful. "Thanks for the hospitality, but I feel the need to lie down in my own bed for a while. I had to commit a lot to memory while I was off-line, and I want to record it before I forget who I am," he adds pointedly, and Annette breathes a quiet sight of relief. + +* * * + +Later that night, a doorbell rings. + +"Who's there?" asks the entryphone. + +"Uh, me," says the man on the steps. He looks a little confused. "Ah'm Macx. Ah'm here tae see" - the name is on the tip of his tongue - "someone." + +"Come in." A solenoid buzzes; he pushes the door open, and it closes behind him. His metal-shod boots ring on the hard stone floor, and the cool air smells faintly of unburned jet fuel. + +"Ah'm Macx," he repeats uncertainly, "or Ah wis fer a wee while, an' it made ma heid hurt. But noo Ah'm me agin, an' Ah wannae be somebody else ... can ye help?" + +* * * + +Later still, a cat sits on a window ledge, watching the interior of a darkened room from behind the concealment of curtains. The room is dark to human eyes, but bright to the cat: Moonlight cascades silently off the walls and furniture, the twisted bedding, the two naked humans lying curled together in the middle of the bed. + +Both the humans are in their thirties: Her close-cropped hair is beginning to gray, distinguished threads of gunmetal wire threading it, while his brown mop is not yet showing signs of age. To the cat, who watches with a variety of unnatural senses, her head glows in the microwave spectrum with a gentle halo of polarized emissions. The male shows no such aura: he's unnaturally natural for this day and age, although - oddly - he's wearing spectacles in bed, and the frames shine similarly. An invisible soup of radiation connects both humans to items of clothing scattered across the room - clothing that seethes with unsleeping sentience, dribbling over to their suitcases and hand luggage and (though it doesn't enjoy noticing it) the cat's tail, which is itself a rather sensitive antenna. + +The two humans have just finished making love: They do this less often than in their first few years, but with more tenderness and expertise - lengths of shocking pink Hello Kitty bondage tape still hang from the bedposts, and a lump of programmable memory plastic sits cooling on the side table. The male is sprawled with his head and upper torso resting in the crook of the female's left arm and shoulder. Shifting visualization to infrared, the cat sees that she is glowing, capillaries dilating to enhance the blood flow around her throat and chest. + +"I'm getting old," the male mumbles. "I'm slowing down." + +"Not where it counts," the female replies, gently squeezing his right buttock. + +"No, I'm sure of it," he says. "The bits of me that still exist in this old head - how many types of processor can you name that are still in use thirty-plus years after they're born?" + +"You're thinking about the implants again," she says carefully. The cat remembers this as a sore point; from being a medical procedure to help the blind see and the autistic talk, intrathecal implants have blossomed into a must-have accessory for the now-clade. But the male is reluctant. "It's not as risky as it used to be. If they screw up, there're neural growth cofactors and cheap replacement stem cells. I'm sure one of your sponsors can arrange for extra cover." + +"Hush: I'm still thinking about it." He's silent for a while. "I wasn't myself yesterday. I was someone else. Someone too slow to keep up. Puts a new perspective on everything: I've been afraid of losing my biological plasticity, of being trapped in an obsolete chunk of skullware while everything moves on - but how much of me lives outside my own head these days, anyhow?" One of his external threads generates an animated glyph and throws it at her mind's eye; she grins at his obscure humor. "Cross-training from a new interface is going to be hard, though." + +"You'll do it," she predicts. "You can always get a discreet prescription for novotrophin-B." A receptor agonist tailored for gerontological wards, it stimulates interest in the new: combined with MDMA, it's a component of the street cocktail called sensawunda. "That should keep you focused for long enough to get comfortable." + +"What's life coming to when I can't cope with the pace of change?" he asks the ceiling plaintively. + +The cat lashes its tail, irritated by his anthropocentrism. + +"You are my futurological storm shield," she says, jokingly, and moves her hand to cup his genitals. Most of her current activities are purely biological, the cat notes: From the irregular sideloads, she's using most of her skullware to run ETItalk@home, one of the distributed cracking engines that is trying to decode the alien grammar of the message that Manfred suspects is eligible for citizenship. + +Obeying an urge that it can't articulate, the cat sends out a feeler to the nearest router. The cybeast has Manfred's keys; Manfred trusts Aineko implicitly, which is unwise - his ex-wife tampered with it, after all, never mind all the kittens it absorbed in its youth. Tunneling out into the darkness, the cat stalks the Net alone ... + +"Just think about the people who can't adapt," he says. His voice sounds obscurely worried. + +"I try not to." She shivers. "You are thirty, you are slowing. What about the young? Are they keeping up, themselves?" + +"I have a daughter. She's about a hundred and sixty million seconds old. If Pamela would let me message her I could find out ..." There are echoes of old pain in his voice. + +"Don't go there, Manfred. Please." Despite everything, Manfred hasn't let go: Amber is a ligature that permanently binds him to Pamela's distant orbit. + +In the distance, the cat hears the sound of lobster minds singing in the void, a distant feed streaming from their cometary home as it drifts silently out through the asteroid belt, en route to a chilly encounter beyond Neptune. The lobsters sing of alienation and obsolescence, of intelligence too slow and tenuous to support the vicious pace of change that has sandblasted the human world until all the edges people cling to are jagged and brittle. + +Beyond the distant lobsters, the cat pings an anonymous distributed network server - peer-to-peer file storage spread holographically across a million hosts, unerasable, full of secrets and lies that nobody can afford to suppress. Rants, music, rip-offs of the latest Bollywood hits: The cat spiders past them all, looking for the final sample. Grabbing it - a momentary breakup in Manfred's spectacles the only symptom for either human to notice - the cat drags its prey home, sucks it down, and compares it against the data sample Annette's exocortex is analysing. + +"I'm sorry, my love. I just sometimes feel -" He sighs. "Age is a process of closing off opportunities behind you. I'm not young enough anymore - I've lost the dynamic optimism." + +The data sample on the pirate server differs from the one Annette's implant is processing. + +"You'll get it back," she reassures him quietly, stroking his side. "You are still sad from being mugged. This also will pass. You'll see." + +"Yeah." He finally relaxes, dropping back into the reflexive assurance of his own will. "I'll get over it, one way or another. Or someone who remembers being me will ..." + +In the darkness, Aineko bares teeth in a silent grin. Obeying a deeply hardwired urge to meddle, he moves a file across, making a copy of the alien download package Annette has been working on. She's got a copy of number two, the sequence the deep-space tracking network received from close to home, which ESA and the other big combines have been keeping to themselves. Another deeply buried thread starts up, and Aineko analyses the package from a perspective no human being has yet established. Presently a braid of processes running on an abstract virtual machine asks him a question that cannot be encoded in any human grammar. Watch and wait, he replies to his passenger. They'll figure out what we are sooner or later. + +PART 2: Point of Inflexion + +Life is a process which may be abstracted from other media. + +- John Von Neumann + +Chapter 4: Halo + +The asteroid is running Barney: it sings of love on the high frontier, of the passion of matter for replicators, and its friendship for the needy billions of the Pacific Rim. "I love you," it croons in Amber's ears as she seeks a precise fix on it: "Let me give you a big hug ..." + +A fraction of a light-second away, Amber locks a cluster of cursors together on the signal, trains them to track its Doppler shift, and reads off the orbital elements. "Locked and loaded," she mutters. The animated purple dinosaur pirouettes and prances in the middle of her viewport, throwing a diamond-tipped swizzle stick overhead. Sarcastically: "Big hug time! I got asteroid!" Cold gas thrusters bang somewhere behind her in the interstage docking ring, prodding the cumbersome farm ship round to orient on the Barney rock. She damps her enthusiasm self-consciously, her implants hungrily sequestrating surplus neurotransmitter molecules floating around her synapses before reuptake sets in. It doesn't do to get too excited in free flight. But the impulse to spin handstands, jump and sing is still there: It's her rock, and it loves her, and she's going to bring it to life. + +The workspace of Amber's room is a mass of stuff that probably doesn't belong on a spaceship. Posters of the latest Lebanese boy band bump and grind through their glam routines: Tentacular restraining straps wave from the corners of her sleeping bag, somehow accumulating a crust of dirty clothing from the air like a giant inanimate hydra. (Cleaning robots seldom dare to venture inside the teenager's bedroom.) One wall is repeatedly cycling through a simulation of the projected construction cycle of Habitat One, a big fuzzy sphere with a glowing core (that Amber is doing her bit to help create). Three or four small pastel-colored plastic kawaii dolls stalk each other across its circumference with million-kilometer strides. And her father's cat is curled up between the aircon duct and her costume locker, snoring in a high-pitched tone. + +Amber yanks open the faded velour curtain that shuts her room off from the rest of the hive: "I've got it!" she shouts. "It's all mine! I rule!" It's the sixteenth rock tagged by the orphanage so far, but it's the first that she's tagged by herself, and that makes it special. She bounces off the other side of the commons, surprising one of Oscar's cane toads - which should be locked down in the farm, it's not clear how it got here - and the audio repeaters copy the incoming signal, noise-fuzzed echoes of a thousand fossilized infants' video shows. + +* * * + +"You're so prompt, Amber," Pierre whines when she corners him in the canteen. + +"Well, yeah!" She tosses her head, barely concealing a smirk of delight at her own brilliance. She knows it isn't nice, but Mom is a long way away, and Dad and Stepmom don't care about that kind of thing. "I'm brilliant, me," she announces. "Now what about our bet?" + +"Aww." Pierre thrusts his hands deep into his pockets. "But I don't have two million on me in change right now. Next cycle?" + +"Huh?" She's outraged. "But we had a bet!" + +"Uh, Dr. Bayes said you weren't going to make it this time, either, so I stuck my smart money in an options trade. If I take it out now, I'll take a big hit. Can you give me until cycle's end?" + +"You should know better than to trust a sim, Pee." Her avatar blazes at him with early-teen contempt: Pierre hunches his shoulders under her gaze. He's only twelve, freckled, hasn't yet learned that you don't welsh on a deal. "I'll let you do it this time," she announces, "but you'll have to pay for it. I want interest." + +He sighs. "What base rate are you -" + +"No, your interest! Slave for a cycle!" She grins malevolently. + +And his face shifts abruptly into apprehension: "As long as you don't make me clean the litter tray again. You aren't planning on doing that, are you?" + +* * * + +_1 Welcome to the fourth decade. The thinking mass of the solar system now exceeds one MIPS per gram; it's still pretty dumb, but it's not dumb all over. The human population is near maximum overshoot, pushing nine billion, but its growth rate is tipping toward negative numbers, and bits of what used to be the first world are now facing a middle-aged average. Human cogitation provides about 10^{28}^ MIPS of the solar system's brainpower. The real thinking is mostly done by the halo of a thousand trillion processors that surround the meat machines with a haze of computation - individually a tenth as powerful as a human brain, collectively they're ten thousand times more powerful, and their numbers are doubling every twenty million seconds. They're up to 10^{33}^ MIPS and rising, although there's a long way to go before the solar system is fully awake. + +_1 Technologies come, technologies go, but nobody even five years ago predicted that there'd be tinned primates in orbit around Jupiter by now: A synergy of emergent industries and strange business models have kick-started the space age again, aided and abetted by the discovery of (so far undecrypted) signals from ETs. Unexpected fringe riders are developing new ecological niches on the edge of the human information space, light-minutes and light-hours from the core, as an expansion that has hung fire since the 1970s gets under way. + +_1 Amber, like most of the postindustrialists aboard the orphanage ship Ernst Sanger, is in her early teens: While their natural abilities are in many cases enhanced by germ-line genetic recombination, thanks to her mother's early ideals she has to rely on brute computational enhancements. She doesn't have a posterior parietal cortex hacked for extra short-term memory, or an anterior superior temporal gyrus tweaked for superior verbal insight, but she's grown up with neural implants that feel as natural to her as lungs or fingers. Half her wetware is running outside her skull on an array of processor nodes hooked into her brain by quantum-entangled communication channels - her own personal metacortex. These kids are mutant youth, burning bright: Not quite incomprehensible to their parents, but profoundly alien - the generation gap is as wide as the 1960s and as deep as the solar system. Their parents, born in the gutter years of the twenty-first century, grew up with white elephant shuttles and a space station that just went round and round, and computers that went beep when you pushed their buttons. The idea that Jupiter orbit was somewhere you could go was as profoundly counterintuitive as the Internet to a baby boomer. + +_1 Most of the passengers on the can have run away from parents who think that teenagers belong in school, unable to come to terms with a generation so heavily augmented that they are fundamentally brighter than the adults around them. Amber was fluent in nine languages by the age of six, only two of them human and six of them serializable; when she was seven, her mother took her to the school psychiatrist for speaking in synthetic tongues. That was the final straw for Amber: using an illicit anonymous phone, she called her father. Her mother had him under a restraining order, but it hadn't occurred to her to apply for an order against his partner ... + +* * * + +Vast whorls of cloud ripple beneath the ship's drive stinger: Orange and brown and muddy gray streaks slowly crawl across the bloated horizon of Jupiter. Sanger is nearing perijove, deep within the gas giant's lethal magnetic field; static discharges flicker along the tube, arcing over near the deep violet exhaust cloud emerging from the magnetic mirrors of the ship's VASIMR motor. The plasma rocket is cranked up to high mass flow, its specific impulse almost as low as a fission rocket but producing maximum thrust as the assembly creaks and groans through the gravitational assist maneuver. In another hour, the drive will flicker off, and the orphanage will fall up and out toward Ganymede, before dropping back in toward orbit around Amalthea, Jupiter's fourth moon (and source of much of the material in the Gossamer ring). They're not the first canned primates to make it to Jupiter subsystem, but they're one of the first wholly private ventures. The bandwidth out here sucks dead slugs through a straw, with millions of kilometers of vacuum separating them from scant hundreds of mouse-brained microprobes and a few dinosaurs left behind by NASA or ESA. They're so far from the inner system that a good chunk of the ship's communications array is given over to caching: The news is whole kiloseconds old by the time it gets out here. + +Amber, along with about half the waking passengers, watches in fascination from the common room. The commons are a long axial cylinder, a double-hulled inflatable at the center of the ship with a large part of their liquid water supply stored in its wall tubes. The far end is video-enabled, showing them a real-time 3D view of the planet as it rolls beneath them: in reality, there's as much mass as possible between them and the trapped particles in the Jovian magnetic envelope. "I could go swimming in that," sighs Lilly. "Just imagine, diving into that sea ..." Her avatar appears in the window, riding a silver surfboard down the kilometers of vacuum. + +"Nice case of wind-burn you've got there," someone jeers - Kas. Suddenly Lilly's avatar, hitherto clad in a shimmering metallic swimsuit, turns to the texture of baked meat and waggles sausage fingers up at them in warning. + +"Same to you and the window you climbed in through!" Abruptly the virtual vacuum outside the window is full of bodies, most of them human, contorting and writhing and morphing in mock-combat as half the kids pitch into the virtual death match. It's a gesture in the face of the sharp fear that outside the thin walls of the orphanage lies an environment that really is as hostile as Lilly's toasted avatar would indicate. + +Amber turns back to her slate: She's working through a complex mess of forms, necessary before the expedition can start work. Facts and figures that are never far away crowd around her, intimidating. Jupiter weighs 1.9 x 10^{27}^ kilograms. There are twenty-nine Jovian moons and an estimated two hundred thousand minor bodies, lumps of rock, and bits of debris crowded around them - debris above the size of ring fragments, for Jupiter (like Saturn) has rings, albeit not as prominent. A total of six major national orbiter platforms have made it out here - and another two hundred and seventeen microprobes, all but six of them private entertainment platforms. The first human expedition was put together by ESA Studios six years ago, followed by a couple of wildcat mining prospectors and a M-commerce bus that scattered half a million picoprobes throughout Jupiter subsystem. Now the Sanger has arrived, along with another three monkey cans (one from Mars, two more from LEO) and it looks as if colonization is about to explode, except that there are at least four mutually exclusive Grand Plans for what to do with old Jove's mass. + +Someone prods her. "Hey, Amber, what are you up to?" + +She opens her eyes. "Doing my homework." It's Su Ang. "Look, we're going to Amalthea, aren't we? But we file our accounts in Reno, so we have to do all this paperwork. Monica asked me to help. It's insane." + +Ang leans over and reads, upside down. "Environmental Protection Agency?" + +"Yeah. Estimated Environmental Impact Forward Analysis 204.6b, Page Two. They want me to 'list any bodies of standing water within five kilometers of the designated mining area. If excavating below the water table, list any wellsprings, reservoirs, and streams within depth of excavation in meters multiplied by five hundred meters up to a maximum distance of ten kilometers downstream of direction of bedding plane flow. For each body of water, itemize any endangered or listed species of bird, fish, mammal, reptile, invertebrate, or plant living within ten kilometers -'" + +" - of a mine on Amalthea. Which orbits one hundred and eighty thousand kilometers above Jupiter, has no atmosphere, and where you can pick up a whole body radiation dose of ten Grays in half an hour on the surface." Ang shakes her head, then spoils it by giggling. Amber glances up. + +On the wall in front of her someone - Nicky or Boris, probably - has pasted a caricature of her own avatar into the virch fight. She's being hugged from behind by a giant cartoon dog with floppy ears and an improbably large erection, who's singing anatomically improbable suggestions while fondling himself suggestively. "Fuck that!" Shocked out of her distraction - and angry - Amber drops her stack of paperwork and throws a new avatar at the screen, one an agent of hers dreamed up overnight. It's called Spike, and it's not friendly. Spike rips off the dog's head and pisses down its trachea, which is anatomically correct for a human being: Meanwhile she looks around, trying to work out which of the laughing idiot children and lost geeks around her could have sent such an unpleasant message. + +"Children! Chill out." She glances round - one of the Franklins (this is the twentysomething dark-skinned female one) is frowning at them. "Can't we leave you alone for half a K without a fight?" + +Amber pouts. "It's not a fight; it's a forceful exchange of opinions." + +"Hah." The Franklin leans back in midair, arms crossed, an expression of supercilious smugness pasted across her-their face. "Heard that one before. Anyway" - she-they gesture, and the screen goes blank - "I've got news for you pesky kids. We got a claim verified! Factory starts work as soon as we shut down the stinger and finish filing all the paperwork via our lawyers. Now's our chance to earn our upkeep ..." + +* * * + +Amber is flashing on ancient history, five years back along her time line. In her replay, she's in some kind of split-level ranch house out West. It's a temporary posting while her mother audits an obsolescent fab line enterprise that grinds out dead chips of VLSI silicon for Pentagon projects that have slipped behind the cutting edge. Her Mom leans over her, menacingly adult in her dark suit and chaperone earrings: "You're going to school, and that's that." + +Her mother is a blonde ice maiden madonna, one of the IRS's most productive bounty hunters - she can make grown CEOs panic just by blinking at them. Amber, a towheaded-eight-year old tearaway with a confusing mix of identities, inexperience blurring the boundary between self and grid, is not yet able to fight back effectively. After a couple of seconds, she verbalizes a rather feeble protest: "Don't want to!" One of her stance daemons whispers that this is the wrong approach to take, so she modifies it: "They'll beat up on me, Mom. I'm too different. Sides, I know you want me socialized up with my grade metrics, but isn't that what sideband's for? I can socialize real good at home." + +Mom does something unexpected: She kneels, putting herself on eye-level with Amber. They're on the living room carpet, all seventies-retro brown corduroy and acid-orange Paisley wallpaper, and for once, they're alone: The domestic robots are in hiding while the humans hold court. "Listen to me, sweetie." Mom's voice is breathy, laden with an emotional undertow as strong and stifling as the eau-de-Cologne she wears to the office to cover up the scent of her client's fear. "I know that's what your father's writing to you, but it isn't true. You need the company - physical company - of children your own age. You're natural, not some kind of engineered freak, even with your skullset. Natural children like you need company or they grow up all weird. Socialization isn't just about texting your own kind, Amber, you need to know how to deal with people who're different, too. I want you to grow up happy, and that won't happen if you don't learn to get on with children your own age. You're not going to be some kind of cyborg otaku freak, Amber. But to get healthy, you've got to go to school, build up a mental immune system. Anyway, that which does not destroy us makes us stronger, right?" + +It's crude moral blackmail, transparent as glass and manipulative as hell, but Amber's corpus logica flags it with a heavy emotional sprite miming the likelihood of physical discipline if she rises to the bait: Mom is agitated, nostrils slightly flared, ventilation rate up, some vasodilatation visible in her cheeks. Amber - in combination with her skullset and the metacortex of distributed agents it supports - is mature enough at eight years to model, anticipate, and avoid corporal punishment. But her stature and lack of physical maturity conspire to put her at a disadvantage when negotiating with adults who matured in a simpler age. She sighs, then puts on a pout to let Mom know she's still reluctant, but obedient. "O-kay. If you say so." + +Mom stands up, eyes distant - probably telling Saturn to warm his engine and open the garage doors. "I say so, punkin. Go get your shoes on, now. I'll pick you up on my way back from work, and I've got a treat for you; we're going to check out a new church together this evening." Mom smiles, but it doesn't reach her eyes: Amber has already figured out she's going through the motions in order to give her the simulated middle-American upbringing she believes Amber desperately needs before she runs head first into the future. She doesn't like the churches any more than her daughter does, but arguing won't work. "You be a good little girl, now, all right?" + +* * * + +The imam is at prayer in a gyrostabilized mosque. + +His mosque is not very big, and it has a congregation of one: He prays on his own every seventeen thousand two hundred and eighty seconds. He also webcasts the call to prayer, but there are no other believers in trans-Jovian space to answer the summons. Between prayers, he splits his attention between the exigencies of life support and scholarship. A student both of the Hadith and of knowledge-based systems, Sadeq collaborates in a project with other scholars who are building a revised concordance of all the known isnads, to provide a basis for exploring the body of Islamic jurisprudence from a new perspective - one they'll need sorely if the looked-for breakthroughs in communication with aliens emerge. Their goal is to answer the vexatious questions that bedevil Islam in the age of accelerated consciousness; and as their representative in orbit around Jupiter, these questions fall most heavily on Sadeq's shoulders. + +Sadeq is a slightly built man, with close-cropped black hair and a perpetually tired expression: Unlike the orphanage crew he has a ship to himself. The ship started out as an Iranian knock off of a Shenzhou-B capsule, with a Chinese type 921 space-station module tacked onto its tail; but the clunky, 1960s look-alike - a glittering aluminum dragonfly mating with a Coke can - has a weirdly contoured M2P2 pod strapped to its nose. The M2P2 pod is a plasma sail, built in orbit by one of Daewoo's wake shield facilities. It dragged Sadeq and his cramped space station out to Jupiter in just four months, surfing on the solar breeze. His presence may be a triumph for the umma, but he feels acutely alone out here: When he turns his compact observatory's mirrors in the direction of the Sanger, he is struck by its size and purposeful appearance. Sanger's superior size speaks of the efficiency of the Western financial instruments, semiautonomous investment trusts with variable business-cycle accounting protocols that make possible the development of commercial space exploration. The Prophet, peace be unto him, may have condemned usury; but it might well have given him pause to see these engines of capital formation demonstrate their power above the Great Red Spot. + +After finishing his prayers, Sadeq spends a couple of precious extra minutes on his mat. He finds meditation comes hard in this environment: Kneel in silence, and you become aware of the hum of ventilation fans, the smell of old socks and sweat, the metallic taste of ozone from the Elektron oxygen generators. It is hard to approach God in this third hand spaceship, a hand-me-down from arrogant Russia to ambitious China, and finally to the religious trustees of Qom, who have better uses for it than any of the heathen states imagine. They've pushed it far, this little toy space station; but who's to say if it is God's intention for humans to live here, in orbit around this swollen alien giant of a planet? + +Sadeq shakes his head; he rolls his mat up and stows it beside the solitary porthole with a quiet sigh. A stab of homesickness wrenches at him, for his childhood in hot, dusty Yazd and his many years as a student in Qom: He steadies himself by looking round, searching the station that is now as familiar to him as the fourth-floor concrete apartment his parents - a car factory worker and his wife - raised him in. The interior of the station is the size of a school bus, every surface cluttered with storage areas, instrument consoles, and layers of exposed pipes. A couple of globules of antifreeze jiggle like stranded jellyfish near a heat exchanger that has been giving him grief. Sadeq kicks off in search of the squeeze bottle he keeps for this purpose, then gathers up his roll of tools and instructs one of his agents to find him the relevant part of the maintenance log: it's time to fix the leaky joint for good. + +An hour or so of serious plumbing and he will eat freeze-dried lamb stew, with a paste of lentils and boiled rice, and a bulb of strong tea to wash it down, then sit down to review his next fly-by maneuvering sequence. Perhaps, God willing, there will be no further system alerts and he'll be able to spend an hour or two on his research between evening and final prayers. Maybe the day after tomorrow there'll even be time to relax for a couple of hours, to watch one of the old movies that he finds so fascinating for their insights into alien cultures: Apollo Thirteen, perhaps. It isn't easy, being the crew aboard a long-duration space mission. It's even harder for Sadeq, up here alone with nobody to talk to, for the communications lag to earth is more than half an hour each way - and as far as he knows, he's the only believer within half a billion kilometers. + +* * * + +Amber dials a number in Paris and waits until someone answers the phone. She knows the strange woman on the phone's tiny screen: Mom calls her "your father's fancy bitch" with a peculiar tight smile. (The one time Amber asked what a fancy bitch was, Mom slapped her - not hard, just a warning.) "Is Daddy there?" she asks. + +The strange woman looks slightly bemused. (Her hair is blonde, like Mom's, but the color clearly came out of a bleach bottle, and it's cut really short, and her skin is dark.) "Oui. Ah, yes." She smiles tentatively. "I am sorry, it is a disposable phone you are using? You want to talk to 'im?" + +It comes out in a rush: "I want to see him." Amber clutches the phone like a lifesaver: It's a cheap disposable cereal-packet item, and the cardboard is already softening in her sweaty grip. "Momma won't let me, Auntie 'Nette -" + +"Hush." Annette, who has lived with Amber's father for more than twice as long as her mother, smiles. "You are sure that telephone, your mother does not know of it?" + +Amber looks around. She's the only child in the restroom because it isn't break time, and she told teacher she had to go 'right now': "I'm sure, P20 confidence factor greater than 0.9." Her Bayesian head tells her that she can't reason accurately about this because Momma has never caught her with an illicit phone before, but what the hell. It can't get Dad into trouble if he doesn't know, can it? + +"Very good." Annette glances aside. "Manny, I have a surprise call for you." + +Daddy appears on screen. She can see all of his face, and he looks younger than last time: he must have stopped using those clunky old glasses. "Hi - Amber! Where are you? Does your mother know you're calling me?" He looks slightly worried. + +"No," she says confidently, "the phone came in a box of Grahams." + +"Phew. Listen, sweet, you must remember never, ever to call me where your mom may find out. Otherwise, she'll get her lawyers to come after me with thumbscrews and hot pincers, because she'll say I made you call me. And not even Uncle Gianni will be able to sort that out. Understand?" + +"Yes, Daddy." She sighs. "Even though that's not true, I know. Don't you want to know why I called?" + +"Um." For a moment, he looks taken aback. Then he nods, thoughtfully. Amber likes Daddy because he takes her seriously most times when she talks to him. It's a phreaking nuisance having to borrow her classmate's phones or tunnel past Mom's pit-bull firewall, but Dad doesn't assume that she can't know anything just because she's only a kid. "Go ahead. There's something you need to get off your chest? How've things been, anyway?" + +She's going to have to be brief: The disposaphone comes prepaid, the international tariff it's using is lousy, and the break bell is going to ring any minute. "I want out, Daddy. I mean it. Mom's getting loopier every week - she's dragging me round all these churches now, and yesterday, she threw a fit over me talking to my terminal. She wants me to see the school shrink, I mean, what for? I can't do what she wants - I'm not her little girl! Every time I tunnel out, she tries to put a content-bot on me, and it's making my head hurt - I can't even think straight anymore!" To her surprise, Amber feels tears starting. "Get me out of here!" + +The view of her father shakes, pans round to show her Tante Annette looking worried. "You know, your father, he cannot do anything? The divorce lawyers, they will tie him up." + +Amber sniffs. "Can you help?" she asks. + +"I'll see what I can do," her father's fancy bitch promises as the break bell rings. + +* * * + +An instrument package peels away from the Sanger's claim jumper drone and drops toward the potato-shaped rock, fifty kilometers below. Jupiter hangs huge and gibbous in the background, impressionist wallpaper for a mad cosmologist: Pierre bites his lower lip as he concentrates on steering it. + +Amber, wearing a black sleeping sack, hovers over his head like a giant bat, enjoying her freedom for a shift. She looks down on Pierre's bowl-cut hair, wiry arms gripping either side of the viewing table, and wonders what to have him do next. A slave for a day is an interesting experience: Life aboard the Sanger is busy enough that nobody gets much slack time (at least not until the big habitats have been assembled and the high-bandwidth dish is pointing back at Earth). They're unrolling everything to a hugely intricate plan generated by the backers' critical path team, and there isn't much room for idling: The expedition relies on shamelessly exploiting child labor - they're lighter on the life-support consumables than adults - working the kids twelve hour days to assemble a toe hold on the shore of the future. (When they're older and their options vest fully, they'll all be rich, but that hasn't stopped the outraged herdnews propaganda chorus from sounding off back home.) For Amber, the chance to let somebody else work for her is novel, and she's trying to make every minute count. + +"Hey, slave," she calls idly; "how you doing?" + +Pierre sniffs. "It's going okay." He refuses to glance up at her, Amber notices. He's thirteen. Isn't he supposed to be obsessed with girls by that age? She notices his quiet, intense focus, runs a stealthy probe along his outer boundary; he shows no sign of noticing it, but it bounces off, unable to chink his mental armor. "Got cruise speed," he says, taciturn, as two tonnes of metal, ceramics and diamond-phase weirdness hurtle toward the surface of Barney at three hundred kilometers per hour. "Stop shoving me, there's a three-second lag, and I don't want to get into a feedback control loop with it." + +"I'll shove if I want, slave." She sticks her tongue out at him. + +"And if you make me drop it?" he asks. Looking up at her, his face serious - "Are we supposed to be doing this?" + +"You cover your ass, and I'll cover mine," she says, then turns bright red. "You know what I mean." + +"I do, do I?" Pierre grins widely, then turns back to the console: "Aww, that's no fun. And you want to tune whatever bit-bucket you've given control of your speech centers to - they're putting out way too much double entendre, somebody might mistake you for a grown-up." + +"You stick to your business, and I'll stick to mine," she says, emphatically. "And you can start by telling me what's happening." + +"Nothing." He leans back and crosses his arms, grimacing at the screen. "It's going to drift for five hundred seconds, now, then there's the midcourse correction and a deceleration burn before touch down. And then it's going to be an hour while it unwraps itself and starts unwinding the cable spool. What do you want, minute noodles with that?" + +"Uh-huh." Amber spreads her bat wings and lies back in mid air, staring at the window, feeling rich and idle as Pierre works his way through her day shift. "Wake me when there's something interesting to see." Maybe she should have had him feed her peeled grapes or give her a foot massage, something more traditionally hedonistic; but right now, just knowing he's her own little piece of alienated labor is doing good things for her self-esteem. Looking at those tense arms, the curve of his neck, she thinks maybe there's something to this whispering and giggling he really fancies you stuff the older girls go in for - + +The window rings like a gong, and Pierre coughs. "You've got mail," he says drily. "You want me to read it for you?" + +"What the -" A message is flooding across the screen, right-to-left snaky script like the stuff on her corporate instrument (now lodged safely in a deposit box in Zurich). It takes her a while to load in a grammar agent that can handle Arabic, and another minute for her to take in the meaning of the message. When she does, she starts swearing, loudly and continuously. + +"You bitch, Mom, why'd you have to go and do a thing like that?" + +* * * + +The corporate instrument arrived in a huge FedEx box addressed to Amber: It happened on her birthday while Mom was at work, and she remembers it as if it was only an hour ago. + +She remembers reaching up and scraping her thumb over the deliveryman's clipboard, the rough feel of the microsequencers sampling her DNA. She drags the package inside. When she pulls the tab on the box, it unpacks itself automatically, regurgitating a compact 3D printer, half a ream of paper printed in old-fashioned dumb ink, and a small calico cat with a large @-symbol on its flank. The cat hops out of the box, stretches, shakes its head, and glares at her. "You're Amber?" it mrowls. It actually makes real cat noises, but the meaning is clear - it's able to talk directly to her linguistic competence interface. + +"Yeah," she says, shyly. "Are you from Tante 'Nette?" + +"No, I'm from the fucking tooth fairy." It leans over and head-butts her knee, strops the scent glands between its ears all over her skirt. "Listen, you got any tuna in the kitchen?" + +"Mom doesn't believe in seafood," says Amber. "It's all foreign-farmed muck these days, she says. It's my birthday today, did I tell you?" + +"Happy fucking birthday, then." The cat yawns, convincingly realistic. "Here's your dad's present. Bastard put me in hibernation and sent me along to show you how to work it. You take my advice, you'll trash the fucker. No good will come of it." + +Amber interrupts the cat's grumbling by clapping her hands gleefully; "So what is it?" she demands: "A new invention? Some kind of weird sex toy from Amsterdam? A gun, so I can shoot Pastor Wallace?" + +"Naah." The cat yawns, yet again, and curls up on the floor next to the 3D printer. "It's some kinda dodgy business model to get you out of hock to your mom. Better be careful, though - he says its legality is narrowly scoped jurisdiction-wise. Your Mom might be able to undermine it if she learns about how it works." + +"Wow. Like, how totally cool." In truth, Amber is delighted because it is her birthday; but Mom's at work, and Amber's home alone, with just the TV in moral majority mode for company. Things have gone downhill since Mom decided a modal average dose of old-time religion was an essential part of her upbringing, to the point that absolutely the best thing in the world Tante Annette could send her is some scam programmed by Daddy to take her away. If it doesn't work, Mom will take her to Church tonight, and she's certain she'll end up making a scene again. Amber's tolerance of willful idiocy is diminishing rapidly, and while building up her memetic immunity might be the real reason Mom's forcing this shit on her - it's always hard to tell with Mom - things have been tense ever since she got expelled from Sunday school for mounting a spirited defense of the theory of evolution. + +The cat sniffs in the direction of the printer. "Why doncha fire it up?" Amber opens the lid on the printer, removes the packing popcorn, and plugs it in. There's a whir and a rush of waste heat from its rear as it cools the imaging heads down to working temperature and registers her ownership. + +"What do I do now?" she asks. + +"Pick up the page labeled READ ME and follow the instructions," the cat recites in a bored singsong voice. It winks at her, then fakes an exaggerated French accent: "Le READ ME, il sont contain directions pour executing le corporate instrument dans le boit. In event of perplexity, consult the accompanying Aineko for clarification." The cat wrinkles its nose rapidly, as if it's about to bite an invisible insect: "Warning: Don't rely on your father's cat's opinions, it is a perverse beast and cannot be trusted. Your mother helped seed its meme base, back when they were married. Ends." It mumbles on for a while: "Fucking snotty Parisian bitch, I'll piss in her knicker drawer, I'll molt in her bidet ..." + +"Don't be vile." Amber scans the README quickly. Corporate instruments are strong magic, according to Daddy, and this one is exotic by any standards - a limited company established in Yemen, contorted by the intersection between shari'a and the global legislatosaurus. Understanding it isn't easy, even with a personal net full of subsapient agents that have full access to whole libraries of international trade law - the bottleneck is comprehension. Amber finds the documents highly puzzling. It's not the fact that half of them are written in Arabic that bothers her - that's what her grammar engine is for - or even that they're full of S-expressions and semidigestible chunks of LISP: But the company seems to assert that it exists for the sole purpose of owning chattel slaves. + +"What's going on?" she asks the cat. "What's this all about?" + +The cat sneezes, then looks disgusted. "This wasn't my idea, big shot. Your father is a very weird guy, and your mother hates him lots because she's still in love with him. She's got kinks, y'know? Or maybe she's sublimating them, if she's serious about this church shit she's putting you through. He thinks she's a control freak, and he's not entirely wrong. Anyway, after your dad ran off in search of another dom, she took out an injunction against him. But she forgot to cover his partner, and she bought this parcel of worms and sent them to you, okay? Annie is a real bitch, but he's got her wrapped right around his finger, or something. Anyway, he built these companies and this printer - which isn't hardwired to a filtering proxy, like your mom's - specifically to let you get away from her legally. If that's what you want to do." + +Amber fast-forwards through the dynamic chunks of the README - boring legal UML diagrams, mostly - soaking up the gist of the plan. Yemen is one of the few countries to implement traditional Sunni shari'a law and a limited liability company scam at the same time. Owning slaves is legal - the fiction is that the owner has an option hedged on the indentured laborer's future output, with interest payments that grow faster than the unfortunate victim can pay them off - and companies are legal entities. If Amber sells herself into slavery to this company, she will become a slave and the company will be legally liable for her actions and upkeep. The rest of the legal instrument - about ninety percent of it, in fact - is a set of self-modifying corporate mechanisms coded in a variety of jurisdictions that permit Turing-complete company constitutions, and which act as an ownership shell for the slavery contract. At the far end of the corporate shell game is a trust fund of which Amber is the prime beneficiary and shareholder. When she reaches the age of majority, she'll acquire total control over all the companies in the network and can dissolve her slave contract; until then, the trust fund (which she essentially owns) oversees the company that owns her (and keeps it safe from hostile takeover bids). Oh, and the company network is primed by an extraordinary general meeting that instructed it to move the trust's assets to Paris immediately. A one-way airline ticket is enclosed. + +"You think I should take this?" she asks uncertainly. It's hard to tell how smart the cat really is - there's probably a yawning vacuum behind those semantic networks if you dig deep enough - but it tells a pretty convincing tale. + +The cat squats and curls its tail protectively around its paws: "I'm saying nothing, you know what I mean? You take this, you can go live with your dad. But it won't stop your ma coming after him with a horsewhip, and after you with a bunch of lawyers and a set of handcuffs. You want my advice, you'll phone the Franklins and get aboard their off-planet mining scam. In space, no one can serve a writ on you. Plus, they got long-term plans to get into the CETI market, cracking alien network packets. You want my honest opinion, you wouldn't like it in Paris after a bit. Your Dad and the frog bitch, they're swingers, y'know? No time in their lives for a kid. Or a cat like me, now I think of it. They're working all day for the Senator, and out all hours of night doing drugs, fetish parties, raves, opera, that kind of adult shit. Your Dad dresses in frocks more than your mom, and your Tante 'Nettie leads him around the apartment on a chain when they're not having noisy sex on the balcony. They'd cramp your style, kid. You shouldn't have to put up with parents who have more of a life than you do." + +"Huh." Amber wrinkles her nose, half-disgusted by the cat's transparent scheming, and half-acknowledging its message: I better think hard about this, she decides. Then she flies off in so many directions at once that she nearly browns out the household broadband. Part of her is examining the intricate card pyramid of company structures; somewhere else, she's thinking about what can go wrong, while another bit (probably some of her wet, messy glandular biological self) is thinking about how nice it would be to see Daddy again, albeit with some trepidation. Parents aren't supposed to have sex - isn't there a law, or something? "Tell me about the Franklins? Are they married? Singular?" + +The 3D printer is cranking up. It hisses slightly, dissipating heat from the hard vacuum chamber in its supercooled workspace. Deep in its guts it creates coherent atom beams, from a bunch of Bose-Einstein condensates hovering on the edge of absolute zero. By superimposing interference patterns on them, it generates an atomic hologram, building a perfect replica of some original artifact, right down to the atomic level - there are no clunky moving nanotechnology parts to break or overheat or mutate. Something is going to come out of the printer in half an hour, something cloned off its original right down to the individual quantum states of its component atomic nuclei. The cat, seemingly oblivious, shuffles closer to the warm air exhaust ducts. + +"Bob Franklin, he died about two, three years before you were born - your dad did business with him. So did your mom. Anyway, he had chunks of his noumen preserved and the estate trustees are trying to re-create his consciousness by cross-loading him in their implants. They're sort of a borganism, but with money and style. Anyway, Bob got into the space biz back then, with some financial wizardry a friend of your father whipped up for him, and now they're building a spacehab that they're going to take all the way out to Jupiter, where they can dismantle a couple of small moons and begin building helium-three refineries. It's that CETI scam I told you about earlier, but they've got a whole load of other angles on it for the long term. See, your dad's friends have cracked the broadcast, the one everybody knows about. It's a bunch of instructions for finding the nearest router that plugs into the galactic Internet. And they want to go out there and talk to some aliens." + +This is mostly going right over Amber's head - she'll have to learn what helium-three refineries are later - but the idea of running away to space has a certain appeal. Adventure, that's what. Amber looks around the living room and sees it for a moment as a capsule, a small wooden cell locked deep in a vision of a middle America that never was - the one her mom wants to bring her up in, like a misshapen Skinner box designed to train her to be normal. "Is Jupiter fun?" she asks. "I know it's big and not very dense, but is it, like, a happening place? Are there any aliens there?" + +"It's the first place you need to go if you want to get to meet the aliens eventually," says the cat as the printer clanks and disgorges a fake passport (convincingly aged), an intricate metal seal engraved with Arabic script, and a tailored wide-spectrum vaccine targeted on Amber's immature immune system. "Stick that on your wrist, sign the three top copies, put them in the envelope, and let's get going. We've got a flight to catch, slave." + +* * * + +Sadeq is eating his dinner when the first lawsuit in Jupiter orbit rolls in. + +Alone in the cramped humming void of his station, he considers the plea. The language is awkward, showing all the hallmarks of a crude machine translation: The supplicant is American, a woman, and - oddly - claims to be a Christian. This is surprising enough, but the nature of her claim is, at face value, preposterous. He forces himself to finish his bread, then bag the waste and clean the platter, before he gives it his full consideration. Is it a tasteless joke? Evidently not. As the only quadi outside the orbit of Mars, he is uniquely qualified to hear it, and it is a case that cries out for justice. + +A woman who leads a God-fearing life - not a correct one, no, but she shows some signs of humility and progress toward a deeper understanding - is deprived of her child by the machinations of a feckless husband who deserted her years before. That the woman was raising the child alone strikes Sadeq as disturbingly Western, but pardonable when he reads her account of the feckless one's behavior, which is pretty lax; an ill fate indeed would await any child that this man raises to adulthood. This man deprives her of her child, but not by legitimate means: He doesn't take the child into his own household or make any attempt to raise her, either in accordance with his own customs or the precepts of shari'a. Instead, he enslaves her wickedly in the mire of the Western legal tradition, then casts her into outer darkness to be used as a laborer by the dubious forces of self-proclaimed "progress". The same forces Sadeq has been sent to confront, as representative of the umma in orbit around Jupiter. + +Sadeq scratches his short beard thoughtfully. A nasty tale, but what can he do about it? "Computer," he says, "a reply to this supplicant: My sympathies lie with you in the manner of your suffering, but I fail to see in what way I can be of assistance. Your heart cries out for help before God (blessed be his name), but surely this is a matter for the temporal authorities of the dar al-Harb." He pauses: Or is it? he wonders. Legal wheels begin to turn in his mind. "If you can but find your way to extending to me a path by which I can assert the primacy of shari'a over your daughter, I shall apply myself to constructing a case for her emancipation, to the greater glory of God (blessed be his name). Ends, sigblock, send." + +Releasing the Velcro straps that hold him at the table, Sadeq floats up and kicks gently toward the forward end of the cramped habitat. The controls of the telescope are positioned between the ultrasonic clothing cleaner and the lithium hydroxide scrubbers. They're already freed up, because he was conducting a wide-field survey of the inner ring, looking for the signature of water ice. It is the work of a few moments to pipe the navigation and tracking system into the telescope's controller and direct it to hunt for the big foreign ship of fools. Something nudges at Sadeq's mind urgently, an irritating realization that he may have missed something in the woman's e-mail: there were a number of huge attachments. With half his mind he surfs the news digest his scholarly peers send him daily. Meanwhile, he waits patiently for the telescope to find the speck of light that the poor woman's daughter is enslaved within. + +This might be a way in, he realizes, a way to enter dialogue with them. Let the hard questions answer themselves, elegantly. There will be no need for confrontation if they can be convinced that their plans are faulty: no need to defend the godly from the latter-day Tower of Babel these people propose to build. If this woman Pamela means what she says, Sadeq need not end his days out here in the cold between the worlds, away from his elderly parents and brother, and his colleagues and friends. And he will be profoundly grateful, because in his heart of hearts, he knows that he is less a warrior than a scholar. + +* * * + +"I'm sorry, but the borg is attempting to assimilate a lawsuit," says the receptionist. "Will you hold?" + +"Crud." Amber blinks the Binary Betty answerphone sprite out of her eye and glances round at the cabin. "That is so last century," she grumbles. "Who do they think they are?" + +"Dr. Robert H. Franklin," volunteers the cat. "It's a losing proposition if you ask me. Bob was so fond of his dope there's this whole hippy group mind that's grown up using his state vector as a bong -" + +"Shut the fuck up!" Amber shouts at him. Instantly contrite (for yelling in an inflatable spacecraft is a major faux pas): "Sorry." She spawns an autonomic thread with full parasympathetic nervous control, tells it to calm her down, then spawns a couple more to go forth and become fuqaha, expert on shari'a law. She realizes she's buying up way too much of the orphanage's scarce bandwidth - time that will have to be paid for in chores, later - but it's necessary. "Mom's gone too far. This time it's war." + +She slams out of her cabin and spins right round in the central axis of the hab, a rogue missile pinging for a target to vent her rage on. A tantrum would be good - + +But her body is telling her to chill out, take ten, and there's a drone of scriptural lore dribbling away in the back of her head, and she's feeling frustrated and angry and not in control, but not really mad anymore. It was like this three years ago when Mom noticed her getting on too well with Jenny Morgan and moved her to a new school district - she said it was a work assignment, but Amber knows better, Mom asked for it - just to keep her dependent and helpless. Mom is a control-freak with fixed ideas about how to bring up a child, and ever since she lost Dad, she's been working her claws into Amber, making her upbringing a life's work - which is tough, because Amber is not good victim material, and is smart and well networked to boot. But now, Mom's found a way to fuck Amber over completely, even in Jupiter orbit, and if not for her skullware keeping a lid on things, Amber would be totally out of control. + +Instead of shouting at her cat or trying to message the Franklins, Amber goes to hunt down the borg in their meatspace den. + +There are sixteen borg aboard the Sanger - adults, members of the Franklin Collective, squatters in the ruins of Bob Franklin's posthumous vision. They lend bits of their brains to the task of running what science has been able to resurrect of the dead dot-com billionaire's mind, making him the first bodhisattva of the uploading age - apart from the lobster colony, of course. Their den mother is a woman called Monica: a willowy, brown-eyed hive queen with raster-burned corneal implants and a dry, sardonic delivery that can corrode egos like a desert wind. She's better than any of the others at running Bob, except for the creepy one called Jack, and she's no slouch when she's being herself (unlike Jack, who is never himself in public). Which probably explains why they elected her Maximum Leader of the expedition. + +Amber finds Monica in the number four kitchen garden, performing surgery on a filter that's been blocked by toad spawn. She's almost buried beneath a large pipe, her Velcro-taped tool kit waving in the breeze like strange blue air-kelp. "Monica? You got a minute?" + +"Sure, I have lots of minutes. Make yourself helpful? Pass me the antitorque wrench and a number six hex head." + +"Um." Amber captures the blue flag and fiddles around with its contents. Something that has batteries, motors, a flywheel counterweight, and laser gyros assembles itself - Amber passes it under the pipe. "Here. Listen, your phone is engaged." + +"I know. You've come to see me about your conversion, haven't you?" + +"Yes!" + +There's a clanking noise from under the pressure sump. "Take this." A plastic bag floats out, bulging with stray fasteners. "I got a bit of hoovering to do. Get yourself a mask if you don't already have one." + +A minute later, Amber is back beside Monica's legs, her face veiled by a filter mask. "I don't want this to go through," she says. "I don't care what Mom says, I'm not Moslem! This judge, he can't touch me. He can't," she adds, vehemence warring with uncertainty. + +"Maybe he doesn't want to?" Another bag: "Here, catch." + +Amber grabs the bag, a fraction of a second too late. She discovers the hard way that it's full of water and toadspawn. Stringy mucous ropes full of squiggling comma-shaped tadpoles explode all over the compartment and bounce off the walls in a shower of amphibian confetti. "Eew!" + +Monica squirms out from behind the pipe. "Oh, you didn't." She kicks off the consensus-defined floor and grabs a wad of absorbent paper from the spinner, whacks it across the ventilator shroud above the sump. Together they go after the toad spawn with rubbish bags and paper - by the time they've got the stringy mess mopped up, the spinner has begun to click and whir, processing cellulose from the algae tanks into fresh wipes. "That was not good," Monica says emphatically as the disposal bin sucks down her final bag. "You wouldn't happen to know how the toad got in here?" + +"No, but I ran into one that was loose in the commons, one shift before last cycle-end. Gave it a ride back to Oscar." + +"I'll have a word with him, then." Monica glares blackly at the pipe. "I'm going to have to go back and refit the filter in a minute. Do you want me to be Bob?" + +"Uh." Amber thinks. "Not sure. Your call." + +"All right, Bob coming on-line." Monica's face relaxes slightly, then her expression hardens. "Way I see it, you've got a choice. Your mother kinda boxed you in, hasn't she?" + +"Yes." Amber frowns. + +"So. Pretend I'm an idiot. Talk me through it, huh?" + +Amber drags herself alongside the hydro pipe and gets her head down, alongside Monica/Bob, who is floating with her feet near the floor. "I ran away from home. Mom owned me - that is, she had parental rights and Dad had none. So Dad, via a proxy, helped me sell myself into slavery to a company. The company was owned by a trust fund, and I'm the main beneficiary when I reach the age of majority. As a chattel, the company tells me what to do - legally - but the shell company is set to take my orders. So I'm autonomous. Right?" + +"That sounds like the sort of thing your father would do," Monica/Bob says neutrally. Overtaken by a sardonic middle-aged Silicon Valley drawl, her north-of-England accent sounds peculiarly mid-Atlantic. + +"Trouble is, most countries don't acknowledge slavery, they just dress it up pretty and call it in loco parentis or something. Those that do mostly don't have any equivalent of a limited liability company, much less one that can be directed by another company from abroad. Dad picked Yemen on the grounds that they've got this stupid brand of shari'a law - and a crap human rights record - but they're just about conformant to the open legal standards protocol, able to interface to EU norms via a Turkish legislative cut-out." + +"So." + +"Well, I guess I was technically a Janissary. Mom was doing her Christian phase, so that made me a Christian unbeliever slave of an Islamic company. Now the stupid bitch has gone and converted to shi'ism. Normally Islamic descent runs through the father, but she picked her sect carefully and chose one that's got a progressive view of women's rights: They're sort of Islamic fundamentalist liberal constructionists, 'what would the Prophet do if he was alive today and had to worry about self-replicating chewing gum factories' and that sort of thing. They generally take a progressive view of things like legal equality of the sexes because, for his time and place, the Prophet was way ahead of the ball and they figure they ought to follow his example. Anyway, that means Mom can assert that I am Moslem, and under Yemeni law, I get to be treated as a Moslem chattel of a company. And their legal code is very dubious about permitting slavery of Moslems. It's not that I have rights as such, but my pastoral well-being becomes the responsibility of the local imam, and -" She shrugs helplessly. + +"Has he tried to make you run under any new rules, yet?" asks Monica/Bob. "Has he put blocks on your freedom of agency, tried to mess with your mind? Insisted on libido dampers or a strict dress code?" + +"Not yet." Amber's expression is grim. "But he's no dummy. I figure he may be using Mom - and me - as a way of getting his fingers into this whole expedition. Staking a claim for jurisdiction, claim arbitration, that sort of thing. It could be worse; he might order me to comply fully with his specific implementation of shari'a. They permit implants, but require mandatory conceptual filtering: If I run that stuff, I'll end up believing it." + +"Okay." Monica does a slow backward somersault in midair. "Now tell me why you can't simply repudiate it." + +"Because." Deep breath. "I can do that in two ways. I can deny Islam, which makes me an apostate, and automatically terminates my indenture to the shell, so Mom owns me under US or EU law. Or I can say that the instrument has no legal standing because I was in the USA when I signed it, and slavery is illegal there, in which case Mom owns me. Or I can take the veil, live like a modest Moslem woman, do whatever the imam wants, and Mom doesn't own me - but she gets to appoint my chaperone. Oh Bob, she has planned this so well." + +"Uh-huh." Monica rotates back to the floor and looks at Amber, suddenly very Bob. "Now you've told me your troubles, start thinking like your dad. Your Dad had a dozen creative ideas before breakfast every day - it's how he made his name. Your mom has got you in a box. Think your way outside it: What can you do?" + +"Well." Amber rolls over and hugs the fat hydroponic duct to her chest like a life raft. "It's a legal paradox. I'm trapped because of the jurisdiction she's cornered me in. I could talk to the judge, I suppose, but she'll have picked him carefully." Her eyes narrow. "The jurisdiction. Hey, Bob." She lets go of the duct and floats free, hair streaming out behind her like a cometary halo. "How do I go about getting myself a new jurisdiction?" + +Monica grins. "I seem to recall the traditional way was to grab yourself some land and set yourself up as king; but there are other ways. I've got some friends I think you should meet. They're not good conversationalists and there's a two-hour lightspeed delay, but I think you'll find they've answered that question already. But why don't you talk to the imam first and find out what he's like? He may surprise you. After all, he was already out here before your mom decided to use him to make a point." + +* * * + +The Sanger hangs in orbit thirty kilometers up, circling the waist of potato-shaped Amalthea. Drones swarm across the slopes of Mons Lyctos, ten kilometers above the mean surface level. They kick up clouds of reddish sulphate dust as they spread transparent sheets across the barren moonscape. This close to Jupiter (a mere hundred and eighty thousand kilometers above the swirling madness of the cloudscape) the gas giant fills half the sky with a perpetually changing clock face, for Amalthea orbits the master in just under twelve hours. The Sanger's radiation shields are running at full power, shrouding the ship in a corona of rippling plasma: Radio is useless, and the human miners control their drones via an intricate network of laser circuits. Other, larger drones are unwinding spools of heavy electrical cable north and south from the landing site. Once the circuits are connected, they will form a coil cutting through Jupiter's magnetic field, generating electrical current (and imperceptibly sapping the moon's orbital momentum). + +Amber sighs and looks, for the sixth time this hour, at the webcam plastered on the side of her cabin. She's taken down the posters and told the toys to tidy themselves away. In another two thousand seconds, the tiny Iranian spaceship will rise above the limb of Moshtari, and then it will be time to talk to the teacher. She isn't looking forward to the experience. If he's a grizzled old blockhead of the most obdurate fundamentalist streak, she'll be in trouble: Disrespect for age has been part and parcel of the Western teenage experience for generations, and a cross-cultural thread that she's detailed to clue up on Islam reminds her that not all cultures share this outlook. But if he turns out to be young, intelligent, and flexible, things could be even worse. When she was eight, Amber audited The Taming of the Shrew. She finds she has no appetite for a starring role in her own cross-cultural production. + +She sighs again. "Pierre?" + +"Yeah?" His voice comes from the foot of the emergency locker in her room. He's curled up down there, limbs twitching languidly as he drives a mining drone around the surface of Object Barney, as the rock has named itself. The drone is a long-legged crane fly look-alike, bouncing very slowly from toe tip to toe tip in the microgravity. The rock is only half a kilometer along its longest axis, coated brown with weird hydrocarbon goop and sulphur compounds sprayed off the surface of Io by the Jovian winds. "I'm coming." + +"You better." She glances at the screen. "One twenty seconds to next burn." The payload canister on the screen is, technically speaking, stolen. It'll be okay as long as she gives it back, Bob said, although she won't be able to do that until it's reached Barney and they've found enough water ice to refuel it. "Found anything yet?" + +"Just the usual. Got a seam of ice near the semimajor pole - it's dirty, but there's at least a thousand tons there. And the surface is crunchy with tar. Amber, you know what? The orange shit, it's solid with fullerenes." + +Amber grins at her reflection in the screen. That's good news. Once the payload she's steering touches down, Pierre can help her lay superconducting wires along Barney's long axis. It's only a kilometer and a half, and that'll only give them a few tens of kilowatts of juice, but the condensation fabricator that's also in the payload can will be able to use it to convert Barney's crust into processed goods at about two grams per second. Using designs copylefted by the free hardware foundation, inside two hundred thousand seconds they'll have a grid of sixty-four 3D printers barfing up structured matter at a rate limited only by available power. Starting with a honking great dome tent and some free nitrogen/oxygen for her to breathe, then adding a big web cache and direct high-bandwidth uplink to Earth, Amber could have her very own one-girl colony up and running within a million seconds. + +The screen blinks at her. "Oh shit! Make yourself scarce, Pierre?" The incoming call nags at her attention. "Yeah? Who are you?" + +The screen fills with a view of a cramped, very twen-cen-looking space capsule. The guy inside it is in his twenties, with a heavily tanned face, close-cropped hair and beard, wearing an olive drab space suit liner. He's floating between a TORU manual docking controller and a gilt-framed photograph of the Ka'bah at Mecca. "Good evening to you," he says solemnly. "Do I have the honor to be addressing Amber Macx?" + +"Uh, yeah? That's me." She stares at him: He looks nothing like her conception of an ayatollah - whatever an ayatollah is - elderly, black-robed, vindictively fundamentalist. "Who are you?" + +"I am Dr. Sadeq Khurasani. I hope that I am not interrupting you? Is it convenient for you that we talk now?" + +He looks so anxious that Amber nods automatically. "Sure. Did my Mom put you up to this?" They're still speaking English, and she notices that his diction is good, but slightly stilted. He isn't using a grammar engine, he actually learned the language the hard way, she realizes, feeling a frisson of fear. "You want to be careful how you talk to her. She doesn't lie, exactly, but she gets people to do what she wants." + +"Yes, I spoke to - ah." A pause. They're still almost a light-second apart, time for painful collisions and accidental silences. "I see. Are you sure you should be speaking of your mother that way?" + +Amber breathes deeply. "Adults can get divorced. If I could get divorced from her, I would. She's -" She flails around for the right word helplessly. "Look, she's the sort of person who can't lose a fight. If she's going to lose, she'll try to figure how to set the law on you. Like she's done to me. Don't you see?" + +Dr. Khurasani looks extremely dubious. "I am not sure I understand," He says. "Perhaps, mmm, I should tell you why I am talking to you?" + +"Sure. Go ahead." Amber is startled by his attitude: He actually seems to be taking her seriously, she realizes. Treating her like an adult. The sensation is so novel - coming from someone more than twenty years old - that she almost lets herself forget that he's only talking to her because Mom set her up. + +"Well, I am an engineer. In addition, I am a student of fiqh, jurisprudence. In fact, I am qualified to sit in judgment. I am a very junior judge, but even so, it is a heavy responsibility. Anyway, your mother, peace be unto her, lodged a petition with me. Are you aware of it?" + +"Yes." Amber tenses up. "It's a lie. Distortion of the facts." + +"Hmm." Sadeq rubs his beard thoughtfully. "Well, I have to find out, yes? Your mother has submitted herself to the will of God. This makes you the child of a Moslem, and she claims -" + +"She's trying to use you as a weapon!" Amber interrupts. "I sold myself into slavery to get away from her, do you understand? I enslaved myself to a company that is held in trust for my ownership. She's trying to change the rules to get me back. You know what? I don't believe she gives a shit about your religion, all she wants is me!" + +"A mother's love -" + +"Fuck love," Amber snarls, "she wants power." + +Sadeq's expression hardens. "You have a foul mouth in your head, child. All I am trying to do is to find out the facts of this situation. You should ask yourself if such disrespect furthers your interests?" He pauses for a moment, then continues, less abruptly. "Did you really have such a bad childhood with her? Do you think she did everything merely for power, or could she love you?" Pause. "You must understand, I need to learn these things. Before I can know what is the right thing to do." + +"My mother -" Amber stops dead and spawns a vaporous cloud of memory retrievals. They fan out through the space around her mind like the tail of her cometary mind. Invoking a complex of network parsers and class filters, she turns the memories into reified images and blats them at the webcam's tiny brain so he can see them. Some of the memories are so painful that Amber has to close her eyes. Mom in full office war paint, leaning over Amber, promising to disable her lexical enhancements forcibly if she doesn't work on her grammar without them. Mom telling Amber that they're moving again, abruptly, dragging her away from school and the friends she'd tentatively started to like. The church-of-the-month business. Mom catching her on the phone to Daddy, tearing the phone in half and hitting her with it. Mom at the kitchen table, forcing her to eat - "My mother likes control." + +"Ah." Sadeq's expression turns glassy. "And this is how you feel about her? How long have you had that level of - no, please forgive me for asking. You obviously understand implants. Do your grandparents know? Did you talk to them?" + +"My grandparents?" Amber stifles a snort. "Mom's parents are dead. Dad's are still alive, but they won't talk to him - they like Mom. They think I'm creepy. I know little things, their tax bands and customer profiles. I could mine data with my head when I was four. I'm not built like little girls were in their day, and they don't understand. You know the old ones don't like us at all? Some of the churches make money doing nothing but exorcisms for oldsters who think their kids are possessed." + +"Well." Sadeq is fingering his beard again, distractedly. "I must say, this is a lot to learn. But you know your mother has accepted Islam, don't you? This means that you are Moslem, too. Unless you are an adult, your parent legally speaks for you. And she says this makes you my problem. Hmm." + +"I'm not a Muslim." Amber stares at the screen. "I'm not a child, either." Her threads are coming together, whispering scarily behind her eyes: Her head is suddenly dense and turgid with ideas, heavy as a stone and twice as old as time. "I am nobody's chattel. What does your law say about people who are born with implants? What does it say about people who want to live forever? I don't believe in any god, Mr. Judge. I don't believe in limits. Mom can't, physically, make me do anything, and she sure can't speak for me. All she can do is challenge my legal status, and if I choose to stay where she can't touch me, what does that matter?" + +"Well, if that is what you have to say, I must think on the matter." He catches her eye; his expression is thoughtful, like a doctor considering a diagnosis. "I will call you again in due course. In the meantime, if you need to talk to anyone, remember that I am always available. If there is anything I can do to help ease your pain, I would be pleased to be of service. Peace be unto you, and those you care for." + +"Same to you, too," she mutters darkly, as the connection goes dead. "Now what?" she asks, as a beeping sprite gyrates across the wall, begging for attention. + +"I think it's the lander," Pierre says helpfully. "Is it down yet?" + +She rounds on him: "Hey, I thought I told you to get lost!" + +"What, and miss all the fun?" He grins at her impishly. "Amber's got a new boyfriend! Wait until I tell everybody ..." + +* * * + +_1 Sleep cycles pass; the borrowed 3D printer on Object Barney's surface spews bitmaps of atoms in quantum lockstep at its rendering platform, building up the control circuitry and skeletons of new printers (There are no clunky nanoassemblers here, no robots the size of viruses busily sorting molecules into piles - just the bizarre quantized magic of atomic holography, modulated Bose-Einstein condensates collapsing into strange, lacy, supercold machinery.) Electricity surges through the cable loops as they slice through Jupiter's magnetosphere, slowly converting the rock's momentum into power. Small robots grovel in the orange dirt, scooping up raw material to feed to the fractionating oven. Amber's garden of machinery flourishes slowly, unpacking itself according to a schema designed by preteens at an industrial school in Poland, with barely any need for human guidance. + +_1 High in orbit around Amalthea, complex financial instruments breed and conjugate. Developed for the express purpose of facilitating trade with the alien intelligences believed to have been detected eight years earlier by SETI, they function equally well as fiscal gatekeepers for space colonies. The Sanger's bank accounts in California and Cuba are looking acceptable - since entering Jupiter space, the orphanage has staked a claim on roughly a hundred gigatons of random rocks and a moon that's just small enough to creep in under the International Astronomical Union's definition of a sovereign planetary body. The borg are working hard, leading their eager teams of child stakeholders in their plans to build the industrial metastructures necessary to support mining helium-three from Jupiter. They're so focused that they spend much of their time being themselves, not bothering to run Bob, the shared identity that gives them their messianic drive. + +_1 Half a light-hour away, tired Earth wakes and slumbers in time to its ancient orbital dynamics. A religious college in Cairo is considering issues of nanotechnology: If replicators are used to prepare a copy of a strip of bacon, right down to the molecular level, but without it ever being part of a pig, how is it to be treated? (If the mind of one of the faithful is copied into a computing machine's memory by mapping and simulating all its synapses, is the computer now a Moslem? If not, why not? If so, what are its rights and duties?) Riots in Borneo underline the urgency of this theotechnological inquiry. + +_1 More riots in Barcelona, Madrid, Birmingham, and Marseilles also underline a rising problem: the social chaos caused by cheap anti-aging treatments. The zombie exterminators, a backlash of disaffected youth against the formerly graying gerontocracy of Europe, insist that people who predate the supergrid and can't handle implants aren't really conscious: Their ferocity is equaled only by the anger of the dynamic septuagenarians of the baby boom, their bodies partially restored to the flush of sixties youth, but their minds adrift in a slower, less contingent century. The faux-young boomers feel betrayed, forced back into the labor pool, but unable to cope with the implant-accelerated culture of the new millennium, their hard-earned experience rendered obsolete by deflationary time. + +_1 The Bangladeshi economic miracle is typical of the age. With growth rates running at over twenty percent, cheap out-of-control bioindustrialization has swept the nation: Former rice farmers harvest plastics and milk cows for silk, while their children study mariculture and design seawalls. With cellphone ownership nearing eighty percent and literacy at ninety, the once-poor country is finally breaking out of its historical infrastructure trap and beginning to develop: In another generation, they'll be richer than Japan. + +_1 Radical new economic theories are focusing around bandwidth, speed-of-light transmission time, and the implications of CETI, communication with extraterrestrial intelligence. Cosmologists and quants collaborate on bizarre relativistically telescoped financial instruments. Space (which lets you store information) and structure (which lets you process it) acquire value while dumb mass - like gold - loses it. The degenerate cores of the traditional stock markets are in free fall, the old smokestack microprocessor and biotech/nanotech industries crumbling before the onslaught of matter replicators and self-modifying ideas. The inheritors look set to be a new wave of barbarian communicators, who mortgage their future for a millennium against the chance of a gift from a visiting alien intelligence. Microsoft, once the US Steel of the silicon age, quietly fades into liquidation. + +_1 An outbreak of green goo - a crude biomechanical replicator that eats everything in its path - is dealt with in the Australian outback by carpet-bombing with fuel-air explosives. The USAF subsequently reactivates two wings of refurbished B-52s and places them at the disposal of the UN standing committee on self-replicating weapons. (CNN discovers that one of their newest pilots, re-enlisting with the body of a twenty-year-old and an empty pension account, first flew them over Laos and Cambodia.) The news overshadows the World Health Organization's announcement of the end of the HIV pandemic, after more than fifty years of bigotry, panic, and megadeath. + +* * * + +"Breathe steadily. Remember your regulator drill? If you spot your heart rate going up or your mouth going dry, take five." + +"Shut the fuck up, 'Neko, I'm trying to concentrate." Amber fumbles with the titanium D-ring, trying to snake the strap through it. The gauntlets are getting in her way. High orbit space suits - little more than a body stocking designed to hold your skin under compression and help you breathe - are easy, but this deep in Jupiter's radiation belt she has to wear an old Orlan-DM suit that comes in about thirteen layers. The gloves are stiff and hard to work in. It's Chernobyl weather outside, a sleet of alpha particles and raw protons storming through the void, and she really needs the extra protection. "Got it." She yanks the strap tight, pulls on the D-ring, then goes to work on the next strap. Never looking down; because the wall she's tying herself to has no floor, just a cutoff two meters below, then empty space for a hundred kilometers before the nearest solid ground. + +The ground sings to her moronically: "I love you, you love me, it's the law of gravity -" + +She shoves her feet down onto the platform that juts from the side of the capsule like a suicide's ledge: metallized Velcro grabs hold, and she pulls on the straps to turn her body round until she can see past the capsule, sideways. The capsule masses about five tonnes, barely bigger than an ancient Soyuz. It's packed to overflowing with environment-sensitive stuff she'll need, and a honking great high-gain antenna. "I hope you know what you're doing," someone says over the intercom. + +"Of course I -" She stops. Alone in this Energiya NPO surplus iron maiden with its low-bandwidth coms and bizarre plumbing, she feels claustrophobic and helpless: Parts of her mind don't work. When she was four, Mom took her down a famous cave system somewhere out west. When the guide turned out the lights half a kilometer underground, she'd screamed with surprise as the darkness had reached out and touched her. Now it's not the darkness that frightens her, it's the lack of thought. For a hundred kilometers below her there are no minds, and even on the surface there's only the moronic warbling of 'bots for company. Everything that makes the universe primate-friendly seems to be locked in the huge spaceship that looms somewhere just behind the back of her head, and she has to fight down an urge to shed her straps and swarm back up the umbilical that anchors the capsule to the Sanger. "I'll be fine," she forces herself to say. And even though she's unsure that it's true, she tries to make herself believe it. "It's just leaving-home nerves. I've read about it, okay?" + +There's a funny, high-pitched whistle in her ears. For a moment, the sweat on the back of her neck turns icy cold, then the noise stops. She strains for a moment, and when it returns she recognizes the sound: The hitherto-talkative cat, curled in the warmth of her pressurized luggage can, has begun to snore. + +"Let's go," she says, "Time to roll the wagon." A speech macro deep in the Sanger's docking firmware recognizes her authority and gently lets go of the pod. A couple of cold gas clusters pop, sending deep banging vibrations running through the capsule, and she's on her way. + +"Amber. How's it hanging?" A familiar voice in her ears: She blinks. Fifteen hundred seconds, nearly half an hour gone. + +"Robes-Pierre, chopped any aristos lately?" + +"Heh!" A pause. "I can see your head from here." + +"How's it looking?" she asks. There's a lump in her throat; she isn't sure why. Pierre is probably hooked into one of the smaller proximity cameras dotted around the outer hull of the big mother ship, watching over her as she falls. + +"Pretty much like always," he says laconically. Another pause, this time longer. "This is wild, you know? Su Ang says hi, by the way." + +"Su Ang, hi," she replies, resisting the urge to lean back and look up - up relative to her feet, not her vector - and see if the ship's still visible. + +"Hi," Ang says shyly. "You're very brave?" + +"Still can't beat you at chess." Amber frowns. Su Ang and her overengineered algae. Oscar and his pharmaceutical factory toads. People she's known for three years, mostly ignored, and never thought about missing. "Listen, are you going to come visiting?" + +"You want us to visit?" Ang sounds dubious. "When will it be ready?" + +"Oh, soon enough." At four kilograms per minute of structured-matter output, the printers on the surface have already built her a bunch of stuff: a habitat dome, the guts of an algae/shrimp farm, an excavator to bury it with, an airlock. Even a honey bucket. It's all lying around waiting for her to put it together and move into her new home. "Once the borg get back from Amalthea." + +"Hey! You mean they're moving? How did you figure that?" + +"Go talk to them," Amber says. Actually, she's a large part of the reason the Sanger is about to crank its orbit up and out toward the other moon: She wants to be alone in coms silence for a couple of million seconds. The Franklin collective is doing her a big favor. + +"Ahead of the curve, as usual," Pierre cuts in, with something that sounds like admiration to her uncertain ears. + +"You too," she says, a little too fast: "Come visit when I've got the life-support cycle stabilized." + +"I'll do that," he replies. A red glow suffuses the flank of the capsule next to her head, and she looks up in time to see the glaring blue laser line of the Sanger's drive torch powering up. + +* * * + +Eighteen million seconds, almost a tenth of a Jupiter year, passes. + +The imam tugs thoughtfully on his beard as he stares at the traffic control display. These days, every shift seems to bring a new crewed spaceship into Jupiter system: Space is getting positively crowded. When he arrived, there were fewer than two hundred people here. Now there's the population of a small city, and many of them live at the heart of the approach map centered on his display. He breathes deeply - trying to ignore the omnipresent odor of old socks - and studies the map. "Computer, what about my slot?" he asks. + +"Your slot: Cleared to commence final approach in six-nine-five seconds. Speed limit is ten meters per second inside ten kilometers, drop to two meters per second inside one kilometer. Uploading map of forbidden thrust vectors now." Chunks of the approach map turn red, gridded off to prevent his exhaust stream damaging other craft in the area. + +Sadeq sighs. "We'll go in using Kurs. I assume their Kurs guidance is active?" + +"Kurs docking target support available to shell level three." + +"Praise Allah." He pokes around through the guidance subsystem's menus, setting up the software emulation of the obsolete (but highly reliable) Soyuz docking system. At last he can leave the ship to look after itself for a bit. He glances round. For two years he has lived in this canister, and soon he will step outside it. It hardly seems real. + +The radio, usually silent, crackles with unexpected life. "Bravo One One, this is Imperial Traffic Control. Verbal contact required, over." + +Sadeq twitches with surprise. The voice sounds inhuman, paced with the cadences of a speech synthesizer, like so many of Her Majesty's subjects. "Bravo One One to Traffic Control, I'm listening, over." + +"Bravo One One, we have assigned you a landing slot on tunnel four, airlock delta. Kurs active, ensure your guidance is set to seven-four-zero and slaved to our control." + +He leans over the screen and rapidly checks the docking system's settings. "Control, all in order." + +"Bravo One One, stand by." + +The next hour passes slowly as the traffic control system guides his Type 921 down to a rocky rendezvous. Orange dust streaks his one optical-glass porthole: A kilometer before touchdown, Sadeq busies himself closing protective covers, locking down anything that might fall around on contact. Finally, he unrolls his mat against the floor in front of the console and floats above it for ten minutes, eyes closed in prayer. It's not the landing that worries him, but what comes next. + +Her Majesty's domain stretches out before the battered module like a rust-stained snowflake half a kilometer in diameter. Its core is buried in a loose snowball of grayish rubble, and it waves languid brittlestar arms at the gibbous orange horizon of Jupiter. Fine hairs, fractally branching down to the molecular level, split off the main collector arms at regular intervals. A cluster of habitat pods like seedless grapes cling to the roots of the massive structure. Already he can see the huge steel generator loops that climb from either pole of the snowflake, wreathed in sparking plasma; the Jovian rings form a rainbow of darkness rising behind them. + +At last, the battered space station is on final approach. Sadeq watches the Kurs simulation output carefully, piping it directly into his visual field. There's an external camera view of the rockpile and grapes. As the view expands toward the convex ceiling of the ship, he licks his lips, ready to hit the manual override and go around again - but the rate of descent is slowing, and by the time he's close enough to see the scratches on the shiny metal docking cone ahead of the ship, it's measured in centimeters per second. There's a gentle bump, then a shudder, then a rippling bang as the latches on the docking ring fire - and he's down. + +Sadeq breathes deeply again, then tries to stand. There's gravity here, but not much: Walking is impossible. He's about to head for the life-support panel when he freezes, hearing a noise from the far end of the docking node. Turning, he's just in time to see the hatch opening toward him, a puff of vapor condensing, and then - + +* * * + +Her Imperial Majesty is sitting in the throne room, moodily fidgeting with the new signet ring her equerry has designed for her. It's a lump of structured carbon massing almost fifty grams, set in a plain band of asteroid-mined iridium. It glitters with the blue-and-violet speckle highlights of its internal lasers, because, in addition to being a piece of state jewelry, it is also an optical router, part of the industrial control infrastructure she's building out here on the edge of the solar system. Her Majesty wears plain black combat pants and sweatshirt, woven from the finest spider silk and spun glass, but her feet are bare: Her taste in fashion is best described as youthful, and in any event, certain styles are simply impractical in microgravity. But, being a monarch, she's wearing a crown. And there's a cat, or an artificial entity that dreams it's a cat, sleeping on the back of her throne. + +The lady-in-waiting (and sometime hydroponic engineer) ushers Sadeq to the doorway, then floats back. "If you need anything, please say," she says shyly, then ducks and rolls away. Sadeq approaches the throne, orients himself on the floor (a simple slab of black composite, save for the throne growing from its center like an exotic flower), and waits to be noticed. + +"Dr. Khurasani, I presume." She smiles at him, neither the innocent grin of a child nor the knowing smirk of an adult: merely a warm greeting. "Welcome to my kingdom. Please feel free to make use of any necessary support services here, and I wish you a very pleasant stay." + +Sadeq holds his expression still. The queen is young - her face still retains the puppy fat of childhood, emphasized by microgravity moon-face - but it would be a bad mistake to consider her immature. "I am grateful for Your Majesty's forbearance," he murmurs, formulaic. Behind her the walls glitter like diamonds, a glowing kaleidoscope vision. It's already the biggest offshore - or off-planet - data haven in human space. Her crown, more like a compact helm that covers the top and rear of her head, also glitters and throws off diffraction rainbows; but most of its emissions are in the near ultraviolet, invisible except for the faint glowing nimbus it creates around her head. Like a halo. + +"Have a seat," she offers, gesturing: A ballooning free-fall cradle squirts down and expands from the ceiling, angled toward her, open and waiting. "You must be tired. Working a ship all by yourself is exhausting." She frowns ruefully, as if remembering. "Two years is nearly unprecedented." + +"Your Majesty is too kind." Sadeq wraps the cradle arms around himself and faces her. "Your labors have been fruitful, I trust." + +She shrugs. "I sell the biggest commodity in short supply on any frontier ..." A momentary grin. "This isn't the Wild West, is it?" + +"Justice cannot be sold," Sadeq says stiffly. Then, a moment later: "My apologies, I mean no insult. I merely believe that, while you say your goal is to provide the rule of law, what you sell is and must be something different. Justice without God, sold to the highest bidder, is not justice." + +The queen nods. "Leaving aside the mention of God, I agree - I can't sell it. But I can sell participation in a just system. And this new frontier really is a lot smaller than anyone expected, isn't it? Our bodies may take months to travel between worlds, but our disputes and arguments take seconds or minutes. As long as everybody agrees to abide by my arbitration, physical enforcement can wait until they're close enough to touch. And everybody does agree that my legal framework is easier to comply with, better adjusted to trans-Jovian space, than any earthbound one." A note of steel creeps into her voice, challenging: Her halo brightens, tickling a reactive glow from the walls of the throne room. + +Five billion inputs or more, Sadeq marvels. The crown is an engineering marvel, even though most of its mass is buried in the walls and floor of this huge construct. "There is law revealed by the Prophet, peace be unto him, and there is law that we can establish by analysing his intentions. There are other forms of law by which humans live, and various interpretations of the law of God even among those who study His works. How, in the absence of the word of the Prophet, can you provide a moral compass?" + +"Hmm." She taps her fingers on the arm of her throne, and Sadeq's heart freezes. He's heard the stories from the claim jumpers and boardroom bandits, from the greenmail experts with their roots in the earthbound jurisdictions that have made such a hash of arbitration here. How she can experience a year in a minute, rip your memories out through your cortical implants, and make you relive your worst mistakes in her nightmarishly powerful simulation space. She is the queen - the first individual to get her hands on so much mass and energy that she could pull ahead of the curve of binding technology, and the first to set up her own jurisdiction and rule certain experiments to be legal so that she could make use of the mass/energy intersection. She has force majeure - even the Pentagon's infowarriors respect the Ring Imperium's autonomy for now. In fact, the body sitting in the throne opposite him probably contains only a fraction of her identity. She's by no means the first upload or partial, but she's the first gust front of the storm of power that will arrive when the arrogant ones achieve their goal of dismantling the planets and turning dumb and uninhabited mass into brainpower throughout the observable reaches of the universe. And he's just questioned the rectitude of her vision, in her presence. + +The queen's lips twitch. Then they curl into a wide, carnivorous grin. Behind her, the cat sits up and stretches, then stares at Sadeq through narrowed eyes. + +"You know, that's the first time in weeks that anyone has told me I'm full of shit. You haven't been talking to my mother again, have you?" + +It's Sadeq's turn to shrug, uncomfortably. "I have prepared a judgment," he says slowly. + +"Ah." Amber rotates the huge diamond ring around her finger. Then she looks him in the eye, a trifle nervously. Although what he could possibly do to make her comply with any decree - + +"To summarize: Her motive is polluted," Sadeq says shortly. + +"Does that mean what I think it does?" she asks. + +Sadeq breathes deeply again: "Yes, I think so." + +Her smile returns. "And is that the end of it?" she asks. + +He raises a dark eyebrow: "Only if you can prove to me that you can have a conscience in the absence of divine revelation." + +Her reaction catches him by surprise. "Oh, sure. That's the next part of the program. Obtaining divine revelations." + +"What! From the alien?" + +The cat, claws extended, delicately picks its way down to her lap and waits to be held and stroked. It never once takes its eyes off him. "Where else?" she asks. "Doctor, I didn't get the Franklin Trust to loan me the wherewithal to build this castle just in return for some legal paperwork, and some, ah, interesting legal waivers from Brussels. We've known for years there's a whole alien packet-switching network out there, and we're just getting spillover from some of their routers. It turns out there's a node not far away from here, in real space. Helium-three, separate jurisdictions, heavy industrialization on Io - there is a purpose to all this activity." + +Sadeq licks his suddenly dry lips. "You're going to narrowcast a reply?" + +"No, much better than that: we're going to visit them. Cut the delay cycle down to real-time. We came here to build a ship and recruit a crew, even if we have to cannibalize the whole of Jupiter system to pay for the exercise." + +The cat yawns then fixes him with a thousand-yard stare. "This stupid girl wants to bring her conscience along to a meeting with something so smart it might as well be a god," it says. "And she needs to convince the peanut gallery back home that she's got one, being a born-again atheist and all. Which means, you're it, monkey boy. There's a slot open for the post of ship's theologian on the first starship out of Jupiter system. I don't suppose I can convince you to turn the offer down?" + +Chapter 5: Router + +Some years later, two men and a cat are tying one on in a bar that doesn't exist. + +The air in the bar is filled with a billowing relativistic smoke cloud - it's a stellarium, accurately depicting the view beyond the imaginary walls. Aberration of starlight skews the color toward violet around the doorway, brightening in a rainbow mist over the tables, then dimming to a hazy red glow in front of the raised platform at the back. The Doppler effect has slowly emerged over the past few months as the ship gathers momentum. In the absence of visible stellar motion - or a hard link to the ship's control module - it's the easiest way for a drunken passenger to get a feeling for how frighteningly fast the /{Field Circus}/ is moving. Some time ago, the ship's momentum exceeded half its rest mass, at which point a single kilogram packs the punch of a multimegaton hydrogen bomb. + +A ginger-and-brown cat - who has chosen to be female, just to mess with the heads of those people who think all ginger cats are male - sprawls indolently across the wooden floorboards in front of the bar, directly beneath the bridge of the starbow. Predictably, it has captured the only ray of sunlight to be had within the starship. In the shadows at the back of the bar, two men slump at a table, lost in their respective morose thoughts: One nurses a bottle of Czech beer, the other a half-empty cocktail glass. + +"It wouldn't be so bad if she is giving me some sign," says one of them, tilting his beer bottle to inspect the bottom for sediment. "No; that not right. It's the correct kind of attention. Am not knowing where I stand with her." + +The other one leans back in his chair, squints at the faded brown paint of the ceiling. "Take it from one who knows," he says: "If you knew, you'd have nothing to dream about. Anyway, what she wants and what you want may not be the same thing." + +The first man runs a hand through his hair. Tight-curled black ringlets briefly turn silver beneath his aging touch. "Pierre, if talent for making patronizing statements is what you get from tupping Amber -" + +Pierre glares at him with all the venom an augmented nineteen-year-old can muster. "Be glad she has no ears in here," he hisses. His hand tightens around his glass reflexively, but the physics model in force in the bar refuses to let him break it. "You've had too fucking much to drink, Boris." + +A tinkle of icy laughter comes from the direction of the cat. "Shut up, you," says Boris, glancing at the animal. He tips the bottle back, lets the dregs trickle down his throat. "Maybe you're right. Am sorry. Do not mean to be rude about the queen." He shrugs, puts the bottle down. Shrugs again, heavily. "Am just getting depressed." + +"You're good at that," Pierre observes. + +Boris sighs again. "Evidently. If our positions are reversed -" + +"I know, I know, you'd be telling me the fun is in the chase and it's not the same when she kicks you out after a fight, and I wouldn't believe a word of it, being sad and single and all that." Pierre snorts. "Life isn't fair, Boris - live with it." + +"I'd better go - " Boris stands. + +"Stay away from Ang," says Pierre, still annoyed with him. "At least until you're sober." + +"Okay already, stay cool; Am consciously running a watchdog thread." Boris blinks irritably. "Enforcing social behavior. It doesn't normally allow this drunk. Not where reputation damage are possible in public." + +He does a slow dissolve into thin air, leaving Pierre alone in the bar with the cat. + +"How much longer do we have to put up with this shit?" he asks aloud. Tempers are frayed, and arguments proliferate indefinitely in the pocket universe of the ship. + +The cat doesn't look round. "In our current reference frame, we drop the primary reflector and start decelerating in another two million seconds," she says. "Back home, five or six megaseconds." + +"That's a big gap. What's the cultural delta up to now?" Pierre asks idly. He snaps his fingers: "Waiter, another cocktail. The same, if you please." + +"Oh, probably about ten to twenty times our departure reference," says the cat. "If you'd been following the news from back home, you'd have noted a significant speed-up in the deployment of switched entanglement routers. They're having another networking revolution, only this one will run to completion inside a month because they're using dark fiber that's already in the ground." + +"Switched ... entanglement?" Pierre shakes his head, bemused. The waiter, a faceless body in black tie and a long, starched apron, walks around the bar and offers him a glass. "That almost sounds as if it makes sense. What else?" + +The cat rolls over on her flank, stretches, claws extended. "Stroke me, and I might tell you," she suggests. + +"Fuck you, and the dog you rode in on," Pierre replies. He lifts his glass, removes a glacé cherry on a cocktail stick, throws it toward the spiral staircase that leads down to the toilets, and chugs back half of the drink in one go - freezing pink slush with an afterbite of caramelized hexose sugars and ethanol. The near spillage as he thumps the glass down serves to demonstrate that he's teetering on the edge of drunkenness. "Mercenary!" + +"Lovesick drug-using human," the cat replies without rancor, and rolls to her feet. She arches her back and yawns, baring ivory fangs at the world. "You apes - if I cared about you, I'd have to kick sand over you." For a moment she looks faintly confused. "I mean, I would bury you." She stretches again and glances round the otherwise-empty bar. "By the way, when are you going to apologize to Amber?" + +"I'm not going to fucking apologize to her!" Pierre shouts. In the ensuing silence and confusion, he raises his glass and tries to drain it, but the ice has all sunk to the bottom, and the resulting coughing fit makes him spray half of the cocktail across the table. "No way," he rasps quietly. + +"Too much pride, huh?" The cat stalks toward the edge of the bar, tail held high with tip bent over in a feline question mark. "Like Boris with his adolescent woman trouble, too? You primates are so predictable. Whoever thought of sending a starship crewed by posthuman adolescents -" + +"Go 'way," says Pierre: "I've got serious drinking to do." + +"To the Macx, I suppose," puns the cat, turning away. But the moody youth has no answer for her, other than to conjure a refill from the vasty deeps. + +* * * + +Meanwhile, in another partition of the /{Field Circus}/'s reticulated reality, a different instance of the selfsame cat - Aineko by name, sarcastic by disposition - is talking to its former owner's daughter, the Queen of the Ring Imperium. Amber's avatar looks about sixteen, with disheveled blonde hair and enhanced cheekbones. It's a lie, of course, because in subjective life experience, she's in her mid-twenties, but apparent age signifies little in a simulation space populated by upload minds, or in real space, where post-humans age at different rates. + +Amber wears a tattered black dress over iridescent purple leggings, and sprawls lazily across the arms of her informal throne - an ostentatious lump of nonsense manufactured from a single carbon crystal doped with semiconductors. (Unlike the real thing back home in Jupiter orbit, this one is merely a piece of furniture for a virtual environment.) The scene is very much the morning after the evening before, like a goth nightclub gone to seed: all stale smoke and crumpled velvet, wooden church pews, burned-out candles, and gloomy Polish avant-garde paintings. Any hint of a regal statement the queen might be making is spoiled by the way she's hooked one knee over the left arm of the throne and is fiddling with a six-axis pointing device. But these are her private quarters, and she's off duty: The regal person of the Queen is strictly for formal, corporate occasions. + +"Colorless green ideas sleep furiously," she suggests. + +"Nope," replies the cat. "It was more like: 'Greetings, earthlings, compile me on your leader.'" + +"Well, you got me there," Amber admits. She taps her heel on the throne and fidgets with her signet ring. "No damn way I'm loading some buggy alien wetware on my sweet gray stuff. /{Weird}/ semiotics, too. What does Dr. Khurasani say?" + +Aineko sits down in the middle of the crimson carpet at the foot of the dais and idly twists round to sniff her crotch. "Sadeq is immersed in scriptural interpretations. He refused to be drawn." + +"Huh." Amber stares at the cat. "So. You've been carrying this lump of source code since when ...?" + +"At the signal, for precisely two hundred and sixteen million, four hundred and twenty-nine thousand, and fifty-two seconds," Aineko supplies, then beeps smugly. "Call it just under six years." + +"Right." Amber squeezes her eyes shut. Uneasy possibilities whisper in her mind's ears. "And it began talking to you -" + +"- About three million seconds after I picked it up and ran it on a basic environment hosted on a neural network emulator modeled on the components found in the stomatogastric ganglion of a spiny lobster. Clear?" + +Amber sighs. "I wish you'd told Dad about it. Or Annette. Things could have been so different!" + +"How?" The cat stops licking her arse and looks up at the queen with a peculiarly opaque stare. "It took the specialists a decade to figure out the first message was a map of the pulsar neighborhood with directions to the nearest router on the interstellar network. Knowing how to plug into the router wouldn't help while it was three light-years away, would it? Besides, it was fun watching the idiots trying to 'crack the alien code' without ever wondering if it might be a reply in a language we already know to a message we sent out years ago. Fuckwits. And, too, Manfred pissed me off once too often. He kept treating me like a goddamn house pet." + +"But you -" Amber bites her lip. /{But you}/ were, /{when he bought you}/, she had been about to say. Engineered consciousness is still relatively new: It didn't exist when Manfred and Pamela first hacked on Aineko's cognitive network, and according to the flat-earth wing of the AI community, it still doesn't. Even she hadn't really believed Aineko's claims to self-awareness until a couple of years ago, finding it easier to think of the cat as a zimboe - a zombie with no self-awareness, but programmed to claim to be aware in an attempt to deceive the truly conscious beings around it. "I know you're conscious now, but Manfred didn't know back then. Did he?" + +Aineko glares at her, then slowly narrows her eyes to slits - either feline affection, or a more subtle gesture. Sometimes Amber finds it hard to believe that, twenty five years ago, Aineko started out as a crude neural network driven toy from a Far Eastern amusement factory - upgradeable, but still basically a mechanical animal emulator. + +"I'm sorry. Let me start again. You actually figured out what the second alien packet was, you, yourself, and nobody else. Despite the combined efforts of the entire CETI analysis team who spent Gaia knows how many human-equivalent years of processing power trying to crack its semantics. I hope you'll pardon me for saying I find that hard to believe?" + +The cat yawns. "I could have told Pierre instead." Aineko glances at Amber, sees her thunderous expression, and hastily changes the subject: "The solution was intuitively obvious, just not to humans. You're so /{verbal}/." Lifting a hind paw, she scratches behind her left ear for a moment then pauses, foot waving absentmindedly. "Besides, the CETI team was searching under the street lights while I was sniffing around in the grass. They kept trying to find primes; when that didn't work, they started trying to breed a Turing machine that would run it without immediately halting." Aineko lowers her paw daintily. "None of them tried treating it as a map of a connectionist system based on the only terrestrial components anyone had ever beamed out into deep space. Except me. But then, your mother had a hand in my wetware, too." + +"Treating it as a map -" Amber stops. "You were meant to penetrate Dad's corporate network?" + +"That's right," says the cat. "I was supposed to fork repeatedly and gang-rape his web of trust. But I didn't." Aineko yawns. "Pam pissed me off, too. I don't like people who try to use me." + +"I don't care. Taking that thing on board was still a really stupid risk you took," Amber accuses. + +"So?" The cat looks at her insolently. "I kept it in my sandbox. And I got it working, on the seven hundred and forty-first attempt. It'd have worked for Pamela's bounty-hunter friends, too, if I'd tried it. But it's here, now, when you need it. Would you like to swallow the packet?" + +Amber straightens out, sits up in her throne: "I just told you, if you think I'm going to link some flaky chunk of alien neural programming into my core dialogue, or even my exocortex, you're crazy!" Her eyes narrow. "Can it use your grammar model?" + +"Sure." If the cat was human, it would be shrugging nonchalantly at this point. "It's safe, Amber, really and truly. I found out what it is." + +"I want to talk to it," she says impetuously - and before the cat can reply, adds, "So what is it?" + +"It's a protocol stack. Basically it allows new nodes to connect to a network, by providing high-level protocol conversion services. It needs to learn how to think like a human so it can translate for us when we arrive at the router, which is why they bolted a lobster's neural network on top of it - they wanted to make it architecturally compatible with us. But there are no buried time bombs, I assure you: I've had plenty of time to check. Now, are you /{sure}/ you don't want to let it into your head?" + +* * * + +_1 Greetings from the fifth decade of the century of wonders. + +_1 The solar system that lies roughly twenty-eight trillion kilometers - just short of three light-years - behind the speeding starwisp /{Field Circus}/ is seething with change. There have been more technological advances in the past ten years than in the entire previous expanse of human history - and more unforeseen accidents. + +_1 Lots of hard problems have proven to be tractable. The planetary genome and proteome have been mapped so exhaustively that the biosciences are now focusing on the challenge of the phenome: Plotting the phase-space defined by the intersection of genes and biochemical structures, understanding how extended phenotypic traits are generated and contribute to evolutionary fitness. The biosphere has become surreal: small dragons have been sighted nesting in the Scottish highlands, and in the American midwest, raccoons have been caught programming microwave ovens. + +_1 The computing power of the solar system is now around one thousand MIPS per gram, and is unlikely to increase in the near term - all but a fraction of one percent of the dumb matter is still locked up below the accessible planetary crusts, and the sapience/mass ratio has hit a glass ceiling that will only be broken when people, corporations, or other posthumans get around to dismantling the larger planets. A start has already been made in Jupiter orbit and the asteroid belt. Greenpeace has sent squatters to occupy Eros and Juno, but the average asteroid is now surrounded by a reef of specialized nanomachinery and debris, victims of a cosmic land grab unmatched since the days of the wild west. The best brains flourish in free fall, minds surrounded by a sapient aether of extensions that out-think their meaty cortices by many orders of magnitude - minds like Amber, Queen of the Inner Ring Imperium, the first self-extending power center in Jupiter orbit. + +_1 Down at the bottom of the terrestrial gravity well, there has been a major economic catastrophe. Cheap immortagens, out-of-control personality adjuvants, and a new formal theory of uncertainty have knocked the bottom out of the insurance and underwriting industries. Gambling on a continuation of the worst aspects of the human condition - disease, senescence, and death - looks like a good way to lose money, and a deflationary spiral lasting almost fifty hours has taken down huge swaths of the global stock market. Genius, good looks, and long life are now considered basic human rights in the developed world: even the poorest backwaters are feeling extended effects from the commoditization of intelligence. + +_1 Not everything is sweetness and light in the era of mature nanotechnology. Widespread intelligence amplification doesn't lead to widespread rational behavior. New religions and mystery cults explode across the planet; much of the Net is unusable, flattened by successive semiotic jihads. India and Pakistan have held their long-awaited nuclear war: external intervention by US and EU nanosats prevented most of the IRBMs from getting through, but the subsequent spate of network raids and Basilisk attacks cause havoc. Luckily, infowar turns out to be more survivable than nuclear war - especially once it is discovered that a simple anti-aliasing filter stops nine out of ten neural-wetware-crashing Langford fractals from causing anything worse than a mild headache. + +_1 New discoveries this decade include the origins of the weakly repulsive force responsible for changes in the rate of expansion of the universe after the big bang, and on a less abstract level, experimental implementations of a Turing Oracle using quantum entanglement circuits: a device that can determine whether a given functional expression can be evaluated in finite time. It's boom time in the field of Extreme Cosmology, where some of the more recherché researchers are bickering over the possibility that the entire universe was created as a computing device, with a program encoded in the small print of the Planck constant. And theorists are talking again about the possibility of using artificial wormholes to provide instantaneous connections between distant corners of space-time. + +_1 Most people have forgotten about the well-known extraterrestrial transmission received fifteen years earlier. Very few people know anything about the second, more complex transmission received a little later. Many of those are now passengers or spectators of the /{Field Circus}/: a light-sail craft that is speeding out of Sol system on a laser beam generated by Amber's installations in low-Jupiter orbit. (Superconducting tethers anchored to Amalthea drag through Jupiter's magnetosphere, providing gigawatts of electricity for the hungry lasers: energy that comes, in turn, from the small moon's orbital momentum.) + +_1 Manufactured by Airbus-Cisco years earlier, the /{Field Circus}/ is a hick backwater, isolated from the mainstream of human culture, its systems complexity limited by mass: The destination lies nearly three light-years from Earth, and even with high acceleration and relativistic cruise speeds, the one-kilogram starwisp and its hundred-kilogram light sail will take the best part of seven years to get there. Sending a human-sized probe is beyond even the vast energy budget of the new orbital states in Jupiter system - near-lightspeed travel is horrifically expensive. Rather than a big, self-propelled ship with canned primates for passengers, as previous generations had envisaged, the starship is a Coke-can-sized slab of nanocomputers, running a neural simulation of the uploaded brain states of some tens of humans at merely normal speed. By the time its occupants beam themselves home again for download into freshly cloned bodies, a linear extrapolation shows that as much change will have overtaken human civilization as in the preceding fifty millennia - the sum total of /{H. sapiens sapiens}/' time on Earth. + +_1 But that's okay by Amber, because what she expects to find in orbit around the brown dwarf Hyundai ^{+4904}^/,{-56}, will be worth the wait. + +* * * + +Pierre is at work in another virtual environment, the one currently running the master control system of the /{Field Circus}/. He's supervising the sail-maintenance 'bots when the message comes in. Two visitors are on their way up the beam from Jupiter orbit. The only other person around is Su Ang, who showed up sometime after he arrived, and she's busy with some work of her own. The master control VM - like all the other human-accessible environments at this level of the ship's virtualization stack - is a construct modeled on a famous movie; this one resembles the bridge of a long-since sunk ocean liner, albeit with discreetly informative user interfaces hovering in front of the ocean views outside the windows. Polished brass gleams softly everywhere. "What was that?" he calls out, responding to the soft chime of a bell. + +"We have visitors," Ang repeats, interrupting her rhythmic chewing. (She's trying out a betel-nut kick, but she's magicked the tooth-staining dye away and will probably detox herself in a few hours.) "They're buffering up the line already; just acknowledging receipt is sucking most of our downstream bandwidth." + +"Any idea who they are?" asks Pierre; he puts his boots up on the back of the vacant helmsman's chair and stares moodily at the endless expanse of green-gray ocean ahead. + +Ang chews a bit more, watching him with an expression he can't interpret. "They're still locked," she says. A pause: "But there was a flash from the Franklins, back home. One of them's some kind of lawyer, while the other's a film producer." + +"A film producer?" + +"The Franklin Trust says it's to help defray our lawsuit expenses. Myanmar is gaining. They've already subpoenaed Amber's downline instance, and they're trying to bring this up in some kind of kangaroo jurisdiction - Oregon Christian Reconstructionist Empire, I think." + +"Ouch." Pierre winces. The daily news from Earth, modulated onto a lower-powered communication laser, is increasingly bad. On the plus side, Amber is incredibly rich: The goodwill futures leveraged off her dad's trust metric means people will bend over backward to do things for her. And she owns a lot of real estate too, a hundred gigatonnes of rock in low-Jupiter orbit with enough KE to power Northern Europe for a century. But her interstellar venture burns through money - both the traditional barter-indirection type and the more creative modern varieties - about the way you would if you heaped up the green pieces of paper and shoveled them onto a conveyor belt leading to the business end of a running rocket motor. Just holding off the environmental protests over de-orbiting a small Jovian moon is a grinding job. Moreover, a whole bunch of national governments have woken up and are trying to legislate themselves a slice of the cake. Nobody's tried to forcibly take over yet (there are two hundred gigawatts of lasers anchored to the Ring Imperium, and Amber takes her sovereign status seriously, has even applied for a seat at the UN and membership in the EC), but the nuisance lawsuits are mounting up into a comprehensive denial of service attack, or maybe economic sanctions. And Uncle Gianni's retirement hasn't helped any, either. "Anything to say about it?" + +"Mmph." Ang looks irritated for some reason. "Wait your turn, they'll be out of the buffer in another couple of days. Maybe a bit longer in the case of the lawyer, he's got a huge infodump packaged on his person. Probably another semisapient class-action lawsuit." + +"I'll bet. They never learn, do they?" + +"What, about the legal system here?" + +"Yup." Pierre nods. "One of Amber's smarter ideas, reviving eleventh-century Scots law and updating it with new options on barratry, trial by combat, and compurgation." He pulls a face and detaches a couple of ghosts to go look out for the new arrivals; then he goes back to repairing sails. The interstellar medium is abrasive, full of dust - each grain of which carries the energy of an artillery shell at this speed - and the laser sail is in a constant state of disintegration. A large chunk of the drive system's mass is silvery utility flakes for patching and replacing the soap-bubble-thin membrane as it ablates away. The skill is in knowing how best to funnel repair resources to where they're needed, while minimizing tension in the suspension lines and avoiding resonance and thrust imbalance. As he trains the patch 'bots, he broods about the hate mail from his elder brother (who still blames him for their father's accident), and about Sadeq's religious injunctions - /{Superstitious nonsense}/, he thinks - and the fickleness of powerful women, and the endless depths of his own nineteen-year-old soul. + +While he's brooding, Ang evidently finishes whatever she was doing and bangs out - not even bothering to use the polished mahogany door at the rear of the bridge, just discorporating and rematerializing somewhere else. Wondering if she's annoyed, he glances up just as the first of his ghosts patches into his memory map, and he remembers what happened when it met the new arrival. His eyes widen: "Oh /{shit!}/" + +It's not the film producer but the lawyer who's just uploaded into the /{Field Circus}/'s virtual universe. Someone's going to have to tell Amber. And although the last thing he wants to do is talk to her, it looks like he's going to have to call her, because this isn't just a routine visit. The lawyer means trouble. + +* * * + +_1 Take a brain and put it in a bottle. Better: take a map of the brain and put it in a map of a bottle - or of a body - and feed signals to it that mimic its neurological inputs. Read its outputs and route them to a model body in a model universe with a model of physical laws, closing the loop. René Descartes would understand. That's the state of the passengers of the /{Field Circus}/ in a nutshell. Formerly physical humans, their neural software (and a map of the intracranial wetware it runs on) has been transferred into a virtual machine environment executing on a honking great computer, where the universe they experience is merely a dream within a dream. + +_1 Brains in bottles - empowered ones, with total, dictatorial, control over the reality they are exposed to - sometimes stop engaging in activities that brains in bodies can't avoid. Menstruation isn't mandatory. Vomiting, angina, exhaustion, and cramp are all optional. So is meatdeath, the decomposition of the corpus. But some activities don't cease, because people (even people who have been converted into a software description, squirted through a high-bandwidth laser link, and ported into a virtualization stack) don't /{want}/ them to stop. Breathing is wholly unnecessary, but suppression of the breathing reflex is disturbing unless you hack your hypothalamic map, and most homomorphic uploads don't want to do that. Then there's eating - not to avoid starvation, but for pleasure: Feasts on sautéed dodo seasoned with silphium are readily available here, and indeed, why not? It seems the human addiction to sensory input won't go away. And that's without considering sex, and the technical innovations that become possible when the universe - and the bodies within it - are mutable. + +* * * + +The public audience with the new arrivals is held in yet another movie: the Parisian palace of Charles IX, the throne room lifted wholesale from /{La Reine Margot}/ by Patrice Chéreau. Amber insisted on period authenticity, with the realism dialed right up to eleven. It's 1572 to the hilt this time, physical to the max. Pierre grunts in irritation, unaccustomed to his beard. His codpiece chafes, and sidelong glances tell him he isn't the only member of the royal court who's uncomfortable. Still, Amber is resplendent in a gown worn by Isabelle Adjani as Marguerite de Valois, and the luminous sunlight streaming through the stained-glass windows high above the crowd of actor zimboes lends a certain barbaric majesty to the occasion. The place is heaving with bodies in clerical robes, doublets, and low-cut gowns - some of them occupied by real people. Pierre sniffs again: Someone (Gavin, with his history bug, perhaps?) has been working on getting the smells right. He hopes like hell that nobody throws up. At least nobody seems to have come as Catherine de Médicis ... + +A bunch of actors portraying Huguenot soldiers approach the throne on which Amber is seated: They pace slowly forward, escorting a rather bemused-looking fellow with long, lank hair and a brocade jacket that appears to be made of cloth-of-gold. "His lordship, Attorney at Arms Alan Glashwiecz!" announces a flunky, reading from a parchment, "here at the behest of the most excellent guild and corporation of Smoot, Sedgwick Associates, with matters of legal import to discuss with Her Royal Highness!" + +A flourish of trumpets. Pierre glances at Her Royal Highness, who nods gracefully, but is slightly peaky - it's a humid summer day and her many-layered robes look very hot. "Welcome to the furthermost soil of the Ring Imperium," she announces in a clear, ringing voice. "I bid you welcome and invite you to place your petition before me in full public session of court." + +Pierre directs his attention to Glashwiecz, who appears to be worried. Doubtless he'd absorbed the basics of court protocol in the Ring (population all of eighteen thousand back home, a growing little principality), but the reality of it, a genuine old-fashioned /{monarchy}/ rooted in Amber's three-way nexus of power, data, and time, always takes a while to sink in. "I would be pleased to do so," he says, a little stiffly, "but in front of all those -" + +Pierre misses the next bit, because someone has just goosed him on the left buttock. He starts and half turns to see Su Ang looking past him at the throne, a lady-in-waiting for the queen. She wears an apricot dress with tight sleeves and a bodice that bares everything above her nipples. There's a fortune in pearls roped into her hair. As he notices her, she winks at him. + +Pierre freezes the scene, decoupling them from reality, and she faces him. "Are we alone now?" she asks. + +"Guess so. You want to talk about something?" he asks, heat rising in his cheeks. The noise around them is a random susurrus of machine-generated crowd scenery, the people motionless as their shared reality thread proceeds independently of the rest of the universe. + +"Of course!" She smiles at him and shrugs. The effect on her chest is remarkable - those period bodices could give a skeleton a cleavage - and she winks at him again. "Oh, Pierre." She smiles. "So easily distracted!" She snaps her fingers, and her clothing cycles through Afghani burqua, nudity, trouser suit, then back to court finery. Her grin is the only constant. "Now that I've got your attention, stop looking at me and start looking at /{him}/." + +Even more embarrassed, Pierre follows her outstretched arm all the way to the momentarily frozen Moorish emissary. "Sadeq?" + +"Sadeq /{knows}/ him, Pierre. This guy, there's something wrong." + +"Shit. You think I don't know that?" Pierre looks at her with annoyance, embarrassment forgotten. "I've seen him before. Been tracking his involvement for years. Guy's a front for the Queen Mother. He acted as her divorce lawyer when she went after Amber's Dad." + +"I'm sorry." Ang glances away. "You haven't been yourself lately, Pierre. I know it's something wrong between you and the Queen. I was worried. You're not paying attention to the little details." + +"Who do you think warned Amber?" he asks. + +"Oh. Okay, so you're in the loop," she says. "I'm not sure. Anyway, you've been distracted. Is there anything I can do to help?" + +"Listen." Pierre puts his hands on her shoulders. She doesn't move, but looks up into his eyes - Su Ang is only one-sixty tall - and he feels a pang of something odd: teenage male uncertainty about the friendship of women. /{What does she want?}/ "I know, and I'm sorry, and I'll try to keep my eyes on the ball some more, but I've been in my own headspace a lot lately. We ought to go back into the audience before anybody notices." + +"Do you want to talk about the problem first?" she asks, inviting his confidence. + +"I -" Pierre shakes his head. /{I could tell her everything}/, he realizes shakily as his metaconscience prods him urgently. He's got a couple of agony-aunt agents, but Ang is a real person and a friend. She won't pass judgment, and her model of human social behavior is a hell of a lot better than any expert system's. But time is in danger of slipping, and besides, Pierre feels dirty. "Not now," he says. "Let's go back." + +"Okay." She nods, then turns away, steps behind him with a swish of skirts, and he unfreezes time again as they snap back into place within the larger universe, just in time to see the respected visitor serve the queen with a class-action lawsuit, and the Queen respond by referring adjudication to trial by combat. + +* * * + +Hyundai ^{+4904}^/,{-56}, is a brown dwarf, a lump of dirty hydrogen condensed from a stellar nursery, eight times as massive as Jupiter but not massive enough to ignite a stable fusion reaction at its core. The relentless crush of gravity has overcome the mutual repulsion of electrons trapped at its core, shrinking it into a shell of slush around a sphere of degenerate matter. It's barely larger than the gas giant the human ship uses as an energy source, but it's much denser. Gigayears ago, a chance stellar near miss sent it careening off into the galaxy on its own, condemned to drift in eternal darkness along with a cluster of frozen moons that dance attendance upon it. + +By the time the /{Field Circus}/ is decelerating toward it at short range - having shed the primary sail, which drifts farther out into interstellar space while reflecting light back onto the remaining secondary sail surface to slow the starwisp - Hyundai ^{+4904}^/,{-56}, is just under one parsec distant from Earth, closer even than Proxima Centauri. Utterly dark at visible wavelengths, the brown dwarf could have drifted through the outer reaches of the solar system before conventional telescopes would have found it by direct observation. Only an infrared survey in the early years of the current century gave it a name. + +A bunch of passengers and crew have gathered on the bridge (now running at one-tenth of real time) to watch the arrival. Amber sits curled up in the captain's chair, moodily watching the gathered avatars. Pierre is still avoiding her at every opportunity, formal audiences excepted, and the damned shark and his pet hydra aren't invited, but apart from that, most of the gang is here. There are sixty-three uploads running on the /{Field Circus}/'s virtualization stack, software copied out of meatbodies who are mostly still walking around back home. It's a crowd, but it's possible to feel lonely in a crowd, even when it's your party. And especially when you're worried about debt, even though you're a billionairess, beneficiary of the human species' biggest reputations-rating trust fund. Amber's clothing - black leggings, black sweater - is as dark as her mood. + +"Something troubles you." A hand descends on the back of the chair next to her. + +She glances round momentarily, nods in recognition. "Yeah. Have a seat. You missed the audience?" + +The thin, brown-skinned man with a neatly cropped beard and deeply lined forehead slips into the seat next to her. "It was not part of my heritage," he explains carefully, "although the situation is not unfamiliar." A momentary smile threatens to crack his stony face. "I found the casting a trifle disturbing." + +"I'm no Marguerite de Valois, but the vacant role ... let's just say, the cap fits." Amber leans back in her chair. "Mind you, Marguerite had an /{interesting}/ life," she muses. + +"Don't you mean depraved and debauched?" her neighbor counters. + +"Sadeq." She closes her eyes. "Let's not pick a fight over absolute morality just right now, please? We have an orbital insertion to carry out, then an artifact to locate, and a dialogue to open, and I'm feeling very tired. Drained." + +"Ah - I apologize." He inclines his head carefully. "Is it your young man's fault? Has he slighted you?" + +"Not exactly -" Amber pauses. Sadeq, whom she basically invited along as ship's theologian in case they ran into any gods, has taken up her pastoral well-being as some kind of hobby. She finds it mildly oppressive at times, flattering at others, surreal always. Using the quantum search resources available to a citizen of the Ring Imperium, he's outpublished his peers, been elected a hojetolislam at an unprecedentedly young age: His original will probably be an ayatollah by the time they get home. He's circumspect in dealing with cultural differences, reasons with impeccable logic, carefully avoids antagonizing her - and constantly seeks to guide her moral development. "It's a personal misunderstanding," she says. "I'd rather not talk about it until we've sorted it out." + +"Very well." He looks unsatisfied, but that's normal. Sadeq still has the dusty soil of a childhood in the industrial city of Yazd stuck to his boots. Sometimes she wonders if their disagreements don't mirror in miniature the gap between the early twentieth and early twenty-first centuries. "But back to the here and now. Do you know where this router is?" + +"I will, in a few minutes or hours." Amber raises her voice, simultaneously spawning a number of search-ghosts. "Boris! You got any idea where we're going?" + +Boris lumbers round in place to face her; today he's wearing a velociraptor, and they don't turn easily in confined spaces. He snarls irritably: "Give me some space!" He coughs, a threatening noise from the back of his wattled throat, "Searching the sail's memory now." The back of the soap-bubble-thin laser sail is saturated with tiny nanocomputers spaced micrometers apart. Equipped with light receptors and configured as cellular automata, they form a gigantic phased-array detector, a retina more than a hundred meters in diameter. Boris is feeding them patterns describing anything that differs from the unchanging starscape. Soon the memories will condense and return as visions of darkness in motion - the cold, dead attendants of an aborted sun. + +"But where is it going to be?" asks Sadeq. "Do you know what you are looking for?" + +"Yes. We should have no trouble finding it," says Amber. "It looks like this." She flicks an index finger at the row of glass windows that front the bridge. Her signet ring flashes ruby light, and something indescribably weird shimmers into view in place of the seascape. Clusters of pearly beads that form helical chains, disks and whorls of color that interlace and knot through one another, hang in space above a darkling planet. "Looks like a William Latham sculpture made out of strange matter, doesn't it?" + +"Very abstract," Sadeq says approvingly. + +"It's alive," she adds. "And when it gets close enough to see us, it'll try to eat us." + +"What?" Sadeq sits up uneasily. + +"You mean nobody told you?" asks Amber: "I thought we'd briefed everybody." She throws a glistening golden pomegranate at him, and he catches it. The apple of knowledge dissolves in his hand, and he sits in a haze of ghosts absorbing information on his behalf. "Damn," she adds mildly. + +Sadeq freezes in place. Glyphs of crumbling stonework overgrown with ivy texture his skin and his dark suit, warning that he's busy in another private universe. + +"/{Hrrrr!}/ Boss! Found something," calls Boris, drooling on the bridge floor. + +Amber glances up. /{Please, let it be the router}/, she thinks. "Put it on the main screen." + +"Are you sure this is safe?" Su Ang asks nervously. + +"Nothing is safe," Boris snaps, clattering his huge claws on the deck. "Here. Look." + +The view beyond the windows flips to a perspective on a dusty bluish horizon: swirls of hydrogen brushed with a high cirrus of white methane crystals, stirred above the freezing point of oxygen by Hyundai ^{+4904}^/,{-56},'s residual rotation. The image-intensification level is huge - a naked human eyeball would see nothing but blackness. Rising above the limb of the gigantic planet is a small pale disk: Callidice, largest moon of the brown dwarf - or second-innermost planet - a barren rock slightly larger than Mercury. The screen zooms in on the moon, surging across a landscape battered by craters and dusted with the spume of ice volcanoes. Finally, just above the far horizon, something turquoise shimmers and spins against a backdrop of frigid darkness. + +"That's it," Amber whispers, her stomach turning to jelly as all the terrible might-have-beens dissolve like phantoms of the night around her; "That's /{it}/!" Elated, she stands up, wanting to share the moment with everybody she values. "Wake up, Sadeq! Someone get that damned cat in here! Where's Pierre? He's got to see this!" + +* * * + +Night and revelry rule outside the castle. The crowds are drunken and rowdy on the eve of the St. Bartholomew's Day massacre. Fireworks burst overhead, and the open windows admit a warm breeze redolent of cooked meats, woodsmoke, open sewers. Meanwhile a lover steals up a tightly-spiraling stone staircase in the near dark; his goal, a prarranged rendezvous. He's been drinking, and his best linen shirt shows the stains of sweat and food. He pauses at the third window to breathe in the outside air and run both hands through his mane of hair, which is long, unkempt, and grimy. /{Why am I doing this?}/ he wonders. This is so unlike him, this messing around - + +He carries on up the spiral. At the top, an oak door gapes on a vestibule lit by a lantern hanging from a hook. He ventures inside into a reception room paneled in oak blackened by age. Crossing the threshold makes another crossover kick in by prior arrangement. Something other than his own volition steers his feet, and he feels an unfamiliar throb in his chest, anticipation and a warmth and looseness lower down that makes him cry out, "where are you?" + +"Over here." He sees her waiting for him in the doorway. She's partially undressed, wearing layered underskirts and a flat-chested corset that makes the tops of her breasts swell like lustrous domes. Her tight sleeves are half-unraveled, her hair disheveled. He's full of her brilliant eyes, the constriction holding her spine straight, the taste in her mouth. She's the magnet for his reality, impossibly alluring, so tense she could burst. "Is it working for you?" she asks. + +"Yes." he feels tight, breathless, squeezed between impossibility and desire as he walks toward her. They've experimented with gender play, trying on the extreme dimorphism of this period as a game, but this is the first time they've done it this way. She opens her mouth: He kisses her, feels the warmth of his tongue thrust between her lips, the strength of his arms enclosing her waist. + +She leans against him, feeling his erection. "So this is how it feels to be you," she says wonderingly. The door to her chamber is ajar, but she doesn't have the self-restraint to wait: The flood of new sensations - rerouted from her physiology model to his proprioceptive sensorium - has taken hold. She grinds her hips against him, pushing deeper into his arms, whining softly at the back of her throat as she feels the fullness in his balls, the tension of his penis. He nearly faints with the rich sensations of her body - it's as if he's dissolving, feeling the throbbing hardness against his groin, turning to water and running away. Somehow he gets his arms around her waist - so tight, so breathless - and stumbles forward into the bedroom. She's whimpering as he drops her on the over-stuffed mattress: "/{Do}/ it to me!" she demands, "Do it now!" + +Somehow he ends up on top of her, hose down around his ankles, skirts bundled up around her waist; she kisses him, grinding her hips against him and murmuring urgent nothings. Then his heart is in his mouth, and there's a sensation like the universe pushing into his private parts, so inside out it takes his breath away. It's hot and as hard as rock, and he wants it inside so badly, but at the same time it's an intrusion, frightening and unexpected. He feels the lightning touch of his tongue on her nipples as he leans closer, feels exposed and terrified and ecstatic as her private places take in his member. As he begins to dissolve into the universe he screams in the privacy of his own head, /{I didn't know it felt like this}/ - + +Afterward, she turns to him with a lazy smile, and asks, "How was it for you?" Obviously assuming that, if she enjoyed it, he must have, too. + +But all he can think of is the sensation of the universe thrusting into him, and of how /{good}/ it felt. All he can hear is his father yelling ("What are you, some kind of queer?") - and he feels dirty. + +* * * + +_1 Greetings from the last megasecond before the discontinuity. + +_1 The solar system is thinking furiously at 10^33^ MIPS - thoughts bubble and swirl in the equivalent of a million billion unaugmented human minds. Saturn's rings glow with waste heat. The remaining faithful of the Latter-Day Saints are correlating the phase-space of their genome and the records of their descent in an attempt to resurrect their ancestors. Several skyhooks have unfurled in equatorial orbit around the earth like the graceful fernlike leaves of sundews, ferrying cargo and passengers to and from orbit. Small, crab like robots swarm the surface of Mercury, exuding a black slime of photovoltaic converters and the silvery threads of mass drivers. A glowing cloud of industrial nanomes forms a haze around the innermost planet as it slowly shrinks under the onslaught of copious solar power and determined mining robots. + +_1 The original incarnations of Amber and her court float in high orbit above Jupiter, presiding over the huge nexus of dumb matter trade that is rapidly biting into the available mass of the inner Jovian system. The trade in reaction mass is brisk, and there are shipments of diamond/vacuum biphase structures to assemble and crank down into the lower reaches of the solar system. Far below, skimming the edges of Jupiter's turbulent cloudscape, a gigantic glowing figure-of-eight - a five-hundred-kilometer-long loop of superconducting cable - traces incandescent trails through the gas giant's magnetosphere. It's trading momentum for electrical current, diverting it into a fly's eye grid of lasers that beam it toward Hyundai ^{+4904}^/,{-56},. As long as the original Amber and her incarnate team can keep it running, the /{Field Circus}/ can continue its mission of discovery, but they're part of the posthuman civilization evolving down in the turbulent depths of Sol system, part of the runaway train being dragged behind the out-of-control engine of history. + +_1 Weird new biologies based on complex adaptive matter take shape in the sterile oceans of Titan. In the frigid depths beyond Pluto, supercooled boson gases condense into impossible dreaming structures, packaged for shipping inward to the fast-thinking core. + +_1 There are still humans dwelling down in the hot depths, but it's getting hard to recognize them. The lot of humanity before the twenty-first century was nasty, brutish, and short. Chronic malnutrition, lack of education, and endemic diseases led to crippled minds and broken bodies. Now, most people multitask: Their meatbrains sit at the core of a haze of personality, much of it virtualized on stacked layers of structured reality far from their physical bodies. Wars and revolutions, or their subtle latter-day cognates, sweep the globe as constants become variables; many people find the death of stupidity even harder to accept than the end of mortality. Some have vitrified themselves to await an uncertain posthuman future. Others have modified their core identities to better cope with the changed demands of reality. Among these are beings whom nobody from a previous century would recognize as human - human/corporation half-breeds, zombie clades dehumanized by their own optimizations, angels and devils of software, slyly self-aware financial instruments. Even their popular fictions are self-deconstructing these days. + +_1 None of this, other than the barest news summary, reaches the /{Field Circus}/: The starwisp is a fossil, left behind by the broad sweep of accelerating progress. But it is aboard the /{Field Circus}/ that some of the most important events remaining in humanity's future light cone take place. + +* * * + +"Say hello to the jellyfish, Boris." + +Boris, in human drag, for once, glares at Pierre, and grips the pitcher with both hands. The contents of the jug swirl their tentacles lazily: One of them flips almost out of solution, dislodging an impaled cocktail cherry. "Will get you for this," Boris threatens. The smoky air around his head is a-swirl with daemonic visions of vengeance. + +Su Ang stares intently at Pierre who is watching Boris as he raises the jug to his lips and begins to drink. The baby jellyfish - small, pale blue, with cuboid bells and four clusters of tentacles trailing from each corner - slips down easily. Boris winces momentarily as the nematocysts let rip inside his mouth, but in a moment or so, the cubozoan slips down, and in the meantime, his biophysics model clips the extent of the damage to his stinger-ruptured oropharynx. + +"Wow," he says, taking another slurp of sea wasp margaritas. "Don't try this at home, fleshboy." + +"Here." Pierre reaches out. "Can I?" + +"Invent your own damn poison," Boris sneers - but he releases the jug and passes it to Pierre, who raises it and drinks. The cubozoan cocktail reminds him of fruit jelly drinks in a hot Hong Kong summer. The stinging in his palate is sharp but fades rapidly, producing an intimate burn when the alcohol hits the mild welts that are all this universe will permit the lethal medusa to inflict on him. + +"Not bad," says Pierre, wiping a stray loop of tentacle off his chin. He pushes the pitcher across the table toward Su Ang. "What's with the wicker man?" He points a thumb over his back at the table jammed in the corner opposite the copper-topped bar. + +"Who cares?" asks Boris."'S part of the scenery, isn't it?" + +The bar is a three-hundred-year-old brown café with a beer menu that runs to sixteen pages and wooden walls stained the color of stale ale. The air is thick with the smells of tobacco, brewer's yeast, and melatonin spray: and none of it exists. Amber dragged it out of the Franklin borg's collective memories, by way of her father's scattershot e-mails annotating her corporeal origins - the original is in Amsterdam, if that city still exists. + +"/{I}/ care who it is," says Pierre. + +"Save it," Ang says quietly. "I think it's a lawyer with a privacy screen." + +Pierre glances over his shoulder and glares. "Really?" + +Ang puts a restraining hand on his wrist: "Really. Don't pay it any attention. You don't have to, until the trial, you know." + +The wicker man sits uneasily in the corner. It resembles a basket-weave silhouette made from dried reeds, dressed in a red kerchief. A glass of doppelbock fills the mess of tied-off ends where its right hand ought to be. From time to time, it raises the glass as if to take a mouthful, and the beer vanishes into the singular interior. + +"Fuck the trial," Pierre says shortly. /{And fuck Amber, too, for naming me her public defender}/ - + +"Since when do lawsuits come with an invisible man?" asks Donna the Journalist, blitting into the bar along with a patchy historical trail hinting that she's just come from the back room. + +"Since -" Pierre blinks. "Hell." When Donna entered, so did Aineko; or maybe the cat's been there all the time, curled up loaf-of-bread fashion on the table in front of the wicker man. "You're damaging the continuity," Pierre complains. "This universe is broken." + +"Fix it yourself," Boris tells him. "Everybody else is coping." He snaps his fingers. "Waiter!" + +"Excuse me." Donna shakes her head. "I didn't mean to harm anything." + +Ang, as always, is more accommodating. "How are you?" she asks politely: "Would you like to try this most excellent poison cocktail?" + +"I am well," says Donna. A heavily built German woman - blonde and solidly muscular, according to the avatar she's presenting to the public - she's surrounded by a haze of viewpoints. They're camera angles on her society of mind, busily integrating and splicing her viewpoint threads together in an endless journal of the journey. A stringer for the CIA media consortium, she uploaded to the ship in the same packet stream as the lawsuit. "/{Danke}/, Ang." + +"Are you recording right now?" asks Boris. + +Donna sniffs. "When am I not?" A momentary smile: "I am only a scanner, no? Five hours, until arrival, to go. I may stop after then." Pierre glances across the table at Su Ang's hands; her knuckles are white and tense. "I am to avoid missing anything if possible," Donna continues, oblivious to Ang's disquiet. "There are eight of me at present! All recording away." + +"That's all?" Ang asks, raising an eyebrow. + +"Yes, that is all, and I have a job to do! Don't tell me you do not enjoy what it is that you do here?" + +"Right." Pierre glances in the corner again, avoiding eye contact with the hearty Girl Friday wannabe. He has a feeling, that if there were any hills hereabouts to animate, she'd be belting out the music. "Amber told you about the privacy code here?" + +"There is a privacy code?" asks Donna, swinging at least three subjective ghosts to bear on him for some reason - evidently he's hit an issue she has mixed feelings about. + +"A privacy code," Pierre confirms. "No recording in private, no recording where people withhold permission in public, and no sandboxes and cutups." + +Donna looks offended. "I would never do such a thing! Trapping a copy of someone in a virtual space to record their responses would be assault under Ring legal code, not true?" + +"Your mother," Boris says snidely, brandishing a fresh jug of iced killer jellyfish in her direction. + +"As long as we all agree," Ang interrupts, searching for accord. "It's all going to be settled soon, isn't it?" + +"Except for the lawsuit," mutters Pierre, glancing at the corner again. + +"I don't see the problem," says Donna, "that's just between Amber and her downlink adversaries!" + +"Oh, it's a problem all right," says Boris, his tone light. "What are your options worth?" + +"My -" Donna shakes her head. "I'm not vested." + +"Plausible." Boris doesn't crack a smile. "Even so, when we go home, your credibility metric will bulge. Assuming people still use distributed trust markets to evaluate the stability of their business partners." + +/{Not vested}/. Pierre turns it over in his mind, slightly surprised. He'd assumed that everybody aboard the ship - except, perhaps, the lawyer, Glashwiecz - was a fully vested member of the expeditionary company. + +"I am not vested," Donna insists. "I'm listed independently." For a moment, an almost-smile tugs at her face, a charmingly reticent expression that has nothing to do with her bluff exterior. "Like the cat." + +"The -" Pierre turns round in a hurry. Yes, Aineko appears to be sitting silently at the table with the wicker man; but who knows what's going through that furry head right now? /{I'll have to bring this up with Amber, he realizes uneasily. I ought to bring this up with Amber}/ ... "but your reputation won't suffer for being on this craft, will it?" he asks aloud. + +"I will be all right," Donna declares. The waiter comes over: "Mine will be a bottle of schneiderweisse," she adds. And then, without breaking step: "Do you believe in the singularity?" + +"Am I a singularitarian, do you mean?" asks Pierre, a fixed grin coming to his face. + +"Oh, no, no, no!" Donna waves him down, grins broadly, nods at Su Ang: "I do not mean it like that! Attend: What I meant to ask was whether you in the concept of a singularity believe, and if so, where it is?" + +"Is this intended for a public interview?" asks Ang. + +"Well, I cannot into a simulation drag you off and expose you to an imitative reality excursion, can I?" Donna leans back as the bartender places a ceramic stein in front of her. + +"Oh. Well." Ang glances warningly at Pierre and dispatches a very private memo to scroll across his vision: /{Don't play with her, this is serious}/. Boris is watching Ang with an expression of hopeless longing. Pierre tries to ignore it all, taking the journalist's question seriously. "The singularity is a bit like that old-time American Christian rapture nonsense, isn't it?" he says. "When we all go a-flying up to heaven, leaving our bodies behind." He snorts, reaches into thin air and gratuitously violates causality by summoning a jug of ice-cold sangria into existence. "The rapture of the nerds. I'll drink to that." + +"But when did it take place?" asks Donna. "My audience, they will to know your opinion be needing." + +"Four years ago, when we instantiated this ship," Pierre says promptly. + +"Back in the teens," says Ang. "When Amber's father liberated the uploaded lobsters." + +"Is not happening yet," contributes Boris. "Singularity implies infinite rate of change achieved momentarily. Future not amenable thereafter to prediction by presingularity beings, right? So has not happened." + +"Au contraire. It happened on June 6th, 1969, at eleven hundred hours, eastern seaboard time," Pierre counters. "That was when the first network control protocol packets were sent from the data port of one IMP to another - the first ever Internet connection. /{That's}/ the singularity. Since then we've all been living in a universe that was impossible to predict from events prior to that time." + +"It's rubbish," counters Boris. "Singularity is load of religious junk. Christian mystic rapture recycled for atheist nerds." + +"Not so." Su Ang glances at him, hurt. "Here we are, sixty something human minds. We've been migrated - while still awake - right out of our own heads using an amazing combination of nanotechnology and electron spin resonance mapping, and we're now running as software in an operating system designed to virtualize multiple physics models and provide a simulation of reality that doesn't let us go mad from sensory deprivation! And this whole package is about the size of a fingertip, crammed into a starship the size of your grandmother's old Walkman, in orbit around a brown dwarf just over three light-years from home, on its way to plug into a network router created by incredibly ancient alien intelligences, and you can tell me that the idea of a fundamental change in the human condition is nonsense?" + +"Mmph." Boris looks perplexed. "Would not put it that way. The /{singularity}/ is nonsense, not uploading or -" + +"Yah, right." Ang smiles winningly at Boris. After a moment, he wilts. + +Donna beams at them enthusiastically. "Fascinating!" she enthuses. "Tell me, what are these lobsters you think are important?" + +"They're Amber's friends," Ang explains. "Years ago, Amber's father did a deal with them. They were the first uploads, you know? Hybridized spiny lobster neural tissue and a heuristic API and some random mess of backward-chaining expert systems. They got out of their lab and into the Net and Manfred brokered a deal to set them free, in return for their help running a Franklin orbital factory. This was way back in the early days before they figured out how to do self-assembly properly. Anyway, the lobsters insisted - part of their contract - that Bob Franklin pay to have the deep-space tracking network beam them out into interstellar space. They wanted to emigrate, and looking at what's happened to the solar system since then, who can blame them?" + +Pierre takes a big mouthful of sangria. "The cat," he says. + +"The cat -" Donna's head swivels round, but Aineko has banged out again, retroactively editing her presence out of the event history of this public space. "What about the cat?" + +"The /{family}/ cat," explains Ang. She reaches over for Boris's pitcher of jellyfish juice, but frowns as she does so: "Aineko wasn't conscious back then, but later ... when SETI@home finally received that message back, oh, however many years ago, Aineko remembered the lobsters. And cracked it wide open while all the CETI teams were still thinking in terms of von Neumann architectures and concept-oriented programming. The message was a semantic net designed to mesh perfectly with the lobster broadcast all those years ago, and provide a high-level interface to a communications network we're going to visit." She squeezes Boris's fingertips. "SETI@home logged these coordinates as the origin of the transmission, even though the public word was that the message came from a whole lot farther away - they didn't want to risk a panic if people knew there were aliens on our cosmic doorstep. Anyway, once Amber got established, she decided to come visiting. Hence this expedition. Aineko created a virtual lobster and interrogated the ET packet, hence the communications channel we're about to open." + +"Ah, this is all a bit clearer now," says Donna. "But the lawsuit - " She glances at the hollow wicker man in the corner. + +"Well, there we have a problem," Ang says diplomatically. + +"No," says Pierre. "/{I}/ have a problem. And it's all Amber's fault." + +"Hmm?" Donna stares at him. "Why blame the Queen?" + +"Because she's the one who picked the lunar month to be the reporting time period for companies in her domain, and specified trial by combat for resolving corporate conflicts," he grumbles. "And /{compurgation}/, but that's not applicable to this case because there isn't a recognized reputation server within three light-years. Trial by combat, for civil suits in this day and age! And she appointed me her champion." /{In the most traditional way imaginable}/, he remembers with a warm frisson of nostalgia. He'd been hers in body and soul before that disastrous experiment. He isn't sure whether it still applies, but - "I've got to take on this lawsuit on her behalf, in adversarial stance." + +He glances over his shoulder. The wicker man sits there placidly, pouring beer down his invisible throat like a tired farm laborer. + +"Trial by combat," Su Ang explains to Donna's perplexed ghost-swarm, which is crawling all over the new concept in a haze of confusion. "Not physical combat, but a competition of ability. It seemed like a good idea at the time, to keep junk litigants out of the Ring Imperium, but the Queen Mother's lawyers are /{very}/ persistent. Probably because it's taken on something of a grudge match quality over the years. I don't think Pamela cares much anymore, but this ass-hat lawyer has turned it into a personal crusade. I don't think he liked what happened when the music Mafiya caught up with him. But there's a bit more to it, because if he wins, he gets to own everything. And I mean /{everything}/." + +* * * + +Ten million kilometers out and Hyundai ^{+4904}^/,{-56}, looms beyond the parachute-shaped sail of the /{Field Circus}/ like a rind of darkness bitten out of the edge of the universe. Heat from the gravitational contraction of its core keeps it warm, radiating at six hundred degrees absolute, but the paltry emission does nothing to break the eternal ice that grips Callidice, Iambe, Celeus, and Metaneira, the stillborn planets locked in orbit around the brown dwarf. + +Planets aren't the only structures that orbit the massive sphere of hydrogen. Close in, skimming the cloud tops by only twenty thousand kilometers, Boris's phased-array eye has blinked at something metallic and hot. Whatever it is, it orbits out of the ecliptic plane traced by the icy moons, and in the wrong direction. Farther out, a speckle of reflected emerald laser light picks out a gaudy gem against the starscape: their destination, the router. + +"That's it," says Boris. His body shimmers into humanity, retconning the pocket universe of the bridge into agreeing that he's been present in primate form all along. Amber glances sideways. Sadeq is still wrapped in ivy, his skin the texture of weathered limestone. "Closest approach is sixty-three light-seconds, due in eight hundred thousand. Can give you closer contact if we maneuver, but will take time to achieve a stable orbit." + +Amber nods thoughtfully, sending copies of herself out to work the mechanics. The big light sail is unwieldy, but can take advantage of two power sources: the original laser beam from Jupiter, and its reflection bouncing off the now-distant primary light sail. The temptation is to rely on the laser for constant acceleration, to just motor on in and squat on the router's cosmic doorstep. But the risk of beam interruption is too dangerous. It's happened before, for seconds to minutes at a time, on six occasions during the voyage so far. She's not sure what causes the beam downtime (Pierre has a theory about Oort cloud objects occulting the laser, but she figures it's more likely to be power cuts back at the Ring), but the consequences of losing power while maneuvering deep in a quasi-stellar gravity well are much more serious than a transient loss of thrust during free interstellar flight. "Let's just play it safe," she says. "We'll go for a straight orbital insertion and steady cranking after that. We've got enough gravity wells to play pinball with. I don't want us on a free-flight trajectory that entails lithobraking if we lose power and can't get the sail back." + +"Very prudent," Boris agrees. "Marta, work on it." A buzzing presence of not-insects indicates that the heteromorphic helmswoman is on the job. "I think we should be able to take our first close-in look in about two million seconds, but if you want, I can ping it now ...?" + +"No need for protocol analysis," Amber says casually. "Where's - ah, there you are." She reaches down and picks up Aineko, who twists round sinuously and licks her arm with a tongue like sandpaper. "What do you think?" + +"Do you want fries with that?" asks the cat, focusing on the artifact at the center of the main screen in front of the bridge. + +"No, I just want a conversation," says Amber. + +"Well, okay." The cat dims, moves jerkily, sucking up local processing power so fast that it disturbs the local physics model. "Opening port now." + +A subjective minute or two passes. "Where's Pierre?" Amber asks herself quietly. Some of the maintenance metrics she can read from her privileged viewpoint are worrying. The /{Field Circus}/ is running at almost eighty percent of utilization. Whatever Aineko is doing in order to establish the interface to the router, it's taking up an awful lot of processing power and bandwidth. "And where's the bloody lawyer?" she adds, almost as an afterthought. + +The /{Field Circus}/ is small, but its light sail is highly controllable. Aineko takes over a cluster of cells in its surface, turning them from straight reflectors into phase-conjugate mirrors: A small laser on the ship's hull begins to flicker thousands of times a second, and the beam bounces off the modified segment of mirror, focusing to a coherent point right in front of the distant blue dot of the router. Aineko ramps up the modulation frequency, adds a bundle of channels using different wavelengths, and starts feeding out a complex set of preplanned signals that provide an encoding format for high-level data. + +% check point + +"Leave the lawyer to me." She starts, glancing sideways to see Sadeq watching her. He smiles without showing his teeth. "Lawyers do not mix with diplomacy," he explains. + +"Huh." Ahead of them, the router is expanding. Strings of nacreous spheres curl in strange loops around a hidden core, expanding and turning inside out in systolic pulses that spawn waves of recomplication through the structure. A loose red speckle of laser light stains one arm of beads; suddenly it flares up brilliantly, reflecting data back at the ship. "Ah!" + +"Contact," purrs the cat. Amber's fingertips turn white where she grips the arms of her chair. + +"What does it say?" she asks, quietly. + +"What do /{they}/ say," corrects Aineko. "It's a trade delegation, and they're uploading right now. I can use that negotiation network they sent us to give them an interface to our systems if you want." + +"Wait!" Amber half stands in sudden nervousness. "Don't give them free access! What are you thinking of? Stick them in the throne room, and we'll give them a formal audience in a couple of hours." She pauses. "That network layer they sent through. Can you make it accessible to us, use it to give us a translation layer into their grammar-mapping system?" + +The cat looks round, thumps her tail irritably: "You'd do better loading the network yourself -" + +"I don't want /{anybody}/ on this ship running alien code before we've vetted it thoroughly," she says urgently. "In fact, I want them bottled up in the Louvre grounds, just as thoroughly as we can, and I want them to come to us through our own linguistic bottleneck. Got that?" + +"Clear," Aineko grumbles. + +"A trade delegation," Amber thinks aloud. "What would Dad make of that?" + +* * * + +One moment he's in the bar, shooting bull with Su Ang and Donna the Journalist's ghost and a copy of Boris; the next he's abruptly precipitated into a very different space. + +Pierre's heart seems to tumble within his rib cage, but he forces himself to stay calm as he glances around the dim, oak-paneled chamber. This is wrong, so wrong that it signifies either a major systems crash or the application of frightening privilege levels to his realm. The only person aboard who's entitled to those privileges is - + +"Pierre?" + +She's behind him. He turns angrily. "Why did you drag me in here? Don't you know it's rude to -" + +"Pierre." + +He stops and looks at Amber. He can't stay angry at her for long, not to her face. She's not dumb enough to bat her eyelashes at him, but she's disarmingly cute for all that. Nevertheless, something inside him feels shriveled and /{wrong}/ in her presence. "What is it?" he says, curtly. + +"I don't know why you've been avoiding me." She starts to take a step forward, then stops and bites her lip. /{Don't do this to me!}/ he thinks. "You know it hurts?" + +"Yes." That much of an admission hurts him, too. He can hear his father yelling over his shoulder, the time he found him with Laurent, elder brother: It's a choice between père or Amber, but it's not a choice he wants to make. /{The shame}/. "I didn't - I have some issues." + +"It was the other night?" + +He nods. /{Now}/ she takes a step forwards. "We can talk about it, if you want. Whatever you want," she says. And she leans toward him, and he feels his resistance crumbling. He reaches out and hugs her, and she wraps her arms around him and leans her chin on his shoulder, and this doesn't feel wrong: How can anything this good be bad? + +"It made me uncomfortable," he mumbles into her hair. "Need to sort myself out." + +"Oh, Pierre." She strokes the down at the back of his neck. "You should have said. We don't have to do it that way if you don't want to." + +How to tell her how hard it is to admit that anything's wrong? Ever? "You didn't drag me here to tell me that," he says, implicitly changing the subject. + +Amber lets go of him, backs away almost warily. "What is it?" she asks. + +"Something's wrong?" he half asks, half asserts. "Have we made contact yet?" + +"Yeah," she says, pulling a face. "There's an alien trade delegation in the Louvre. That's the problem." + +"An alien trade delegation." He rolls the words around the inside of his mouth, tasting them. They feel paradoxical, cold and slow after the hot words of passion he's been trying to avoid uttering. It's his fault for changing the subject. + +"A trade delegation," says Amber. "I should have anticipated. I mean, we were going to go through the router ourselves, weren't we?" + +He sighs. "We thought we were going to do that." A quick prod at the universe's controls determines that he has certain capabilities: He invokes an armchair, sprawls across it. "A network of point-to-point wormholes linking routers, self-replicating communication hubs, in orbit around most of the brown dwarfs of the galaxy. That's what the brochure said, right? That's what we expected. Limited bandwidth, not a lot of use to a mature superintelligence that has converted the free mass of its birth solar system into computronium, but sufficient to allow it to hold conversations with its neighbors. Conversations carried out via a packet-switched network in real time, not limited by the speed of light, but bound together by a common reference frame and the latency between network hops." + +"That's about the size of it," she agrees from the carved-ruby throne beside him. "Except there's a trade delegation waiting for us. In fact, they're coming aboard already. And I don't buy it - something about the whole setup stinks." + +Pierre's brow wrinkles. "You're right, it doesn't make sense," he says, finally. "Doesn't make sense at all." + +Amber nods. "I carry a ghost of Dad around. He's really upset about it." + +"Listen to your old man." Pierre's lips quirk humorlessly. "We were going to jump through the looking glass, but it seems someone has beaten us to the punch. Question is why?" + +"I don't like it." Amber reaches out sideways, and he catches her hand. "And then there's the lawsuit. We have to hold the trial sooner rather than later." + +He lets go of her fingers. "I'd really be much happier if you hadn't named me as your champion." + +"Hush." The scenery changes; her throne is gone, and instead she's sitting on the arm of his chair, almost on top of him. "Listen. I had a good reason." + +"Reason?" + +"You have choice of weapons. In fact, you have the choice of the field. This isn't just 'hit 'em with a sword until they die' time." She grins, impishly. "The whole point of a legal system that mandates trial by combat for commercial lawsuits, as opposed to an adjudication system, is to work out who's a fitter servant of society and hence deserving of preferential treatment. It's crazy to apply the same legal model to resolving corporate disputes that we use for arguments among people, especially as most companies are now software abstractions of business models; the interests of society are better served by a system that encourages efficient trade activity than by one that encourages litigation. It cuts down on corporate bullshit while encouraging the toughest ones to survive, which is why I /{was}/ going to set up the trial as a contest to achieve maximum competitive advantage in a xenocommerce scenario. Assuming they really are traders, I figure we have more to trade with them than some damn lawyer from the depths of earth's light cone." + +Pierre blinks. "Um." Blinks again. "I thought you wanted me to sideload some kind of fencing kinematics program and /{skewer}/ the guy?" + +"Knowing how well I know you, why did you ever think that?" She slides down the arm of his chair and lands on his lap. She twists round to face him in point-blank close-up. "Shit, Pierre, I /{know}/ you're not some kind of macho psychopath!" + +"But your mother's lawyers -" + +She shrugs dismissively. "They're /{lawyers}/. Used to dealing with precedents. Best way to fuck with their heads is to change the way the universe works." She leans against his chest. "You'll make mincemeat of them. Profit-to-earnings ratio through the roof, blood on the stock exchange floor." His hands meet around the small of her back. "My hero!" + +* * * + +The Tuileries are full of confused lobsters. + +Aineko has warped this virtual realm, implanting a symbolic gateway in the carefully manicured gardens outside. The gateway is about two meters in diameter, a verdigris-coated orouborous loop of bronze that sits like an incongruous archway astride a gravel path in the grounds. Giant black lobsters - each the size of a small pony - shuffle out of the loop's baby blue buffer field, antennae twitching. They wouldn't be able to exist in the real world, but the physics model here has been amended to permit them to breathe and move, by special dispensation. + +Amber sniffs derisively as she enters the great reception room of the Sully wing. "Can't trust that cat with anything," she mutters. + +"It was your idea, wasn't it?" asks Su Ang, trying to duck past the zombie ladies-in-waiting who carry Amber's train. Soldiers line the passage to either side, forming rows of steel to let the Queen pass unhindered. + +"To let the cat have its way, yes," Amber is annoyed. "But I didn't mean to let it wreck the continuity! I won't have it!" + +"I never saw the point of all this medievalism, before," Ang observes. "It's not as if you can avoid the singularity by hiding in the past." Pierre, following the Queen at a distance, shakes his head, knowing better than to pick a fight with Amber over her idea of stage scenery. + +"It looks good," Amber says tightly, standing before her throne and waiting for the ladies-in-waiting to arrange themselves before her. She sits down carefully, her back straight as a ruler, voluminous skirts belling up. Her dress is an intricate piece of sculpture that uses the human body within as a support. "It impresses the yokels and looks convincing on narrowcast media. It provides a prefabricated sense of tradition. It hints at the political depths of fear and loathing intrinsic to my court's activities, and tells people not to fuck with me. It reminds us where we've come from ... and it doesn't give away anything about where we're going." + +"But that doesn't make any difference to a bunch of alien lobsters," points out Su Ang. "They lack the reference points to understand it." She moves to stand behind the throne. Amber glances at Pierre, waves him over. + +Pierre glances around, seeking real people, not the vacant eigenfaces of the zombies that give this scenery added biological texture. There in the red gown, isn't that Donna the Journalist? And over there, too, with shorter hair and wearing male drag; she gets everywhere. That's Boris, sitting behind the bishop. + +"/{You}/ tell her," Ang implores him. + +"I can't," he admits. "We're trying to establish communication, aren't we? But we don't want to give too much away about what we are, how we think. A historical distancing act will keep them from learning too much about us: The phase-space of technological cultures that could have descended from these roots is too wide to analyse easily. So we're leaving them with the lobster translators and not giving anything away. Try to stay in character as a fifteenth-century duchess from Albì - it's a matter of national security." + +"Humph." Ang frowns as a flunky hustles forward to place a folding chair behind her. She turns to face the expanse of red-and-gold carpet that stretches to the doorway as trumpets blat and the doors swing open to admit the deputation of lobsters. + +The lobsters are as large as wolves, black and spiny and ominous. Their monochrome carapaces are at odds with the brightly colored garb of the human crowd. Their antennae are large and sharp as swords. But for all that, they advance hesitantly, eye turrets swiveling from side to side as they take the scene in. Their tails drag ponderously on the carpet, but they have no trouble standing. + +The first of the lobsters halts short of the throne and angles itself to train an eye on Amber. "Am inconsistent," it complains. "There is no liquid hydrogen monoxide here, and you-species am misrepresented by initial contact. Inconsistency, explain?" + +"Welcome to the human physical space-traveling interface unit /{Field Circus}/," Amber replies calmly. "I am pleased to see your translator is working adequately. You are correct, there is no water here. The lobsters don't normally need it when they visit us. And we humans are not water-dwellers. May I ask who you are when you're not wearing borrowed lobster bodies?" + +Confusion. The second lobster rears up and clatters its long, armored antennae together. Soldiers to either side tighten their grips on their spears, but it drops back down again soon enough. + +"We are the Wunch," announces the first lobster, speaking clearly. "This is a body-compliant translation layer. Based on map received from yourspace, units forty thousand trillion light-kilometers ago?" + +"/{He means twenty years}/," Pierre whispers on a private channel Amber has multicast for the other real humans in the audience chamber reality. "/{They've confused space and time for measurement purposes. Does this tell us something?}/" + +"/{Relatively little}/," comments someone else - Chandra? A round of polite laughter greets the joke, and the tension in the room eases slightly. + +"We are the Wunch," the lobster repeats. "We come to exchange interest. What have you got that we want?" + +Faint frown lines appear on Amber's forehead. Pierre can see her thinking very rapidly. "We consider it impolite to ask," she says quietly. + +Clatter of claws on underlying stone floor. Chatter of clicking mandibles. "You accept our translation?" asks the leader. + +"Are you referring to the transmission you sent us, uh, thirty thousand trillion light-kilometers behind?" asks Amber. + +The lobster bobs up and down on its legs. "True. We send." + +"We cannot integrate that network," Amber replies blandly, and Pierre forces himself to keep a straight face. (Not that the lobsters can read human body language yet, but they'll undoubtedly be recording everything that happens here for future analysis.) "They come from a radically different species. Our goal in coming here is to connect our species to the network. We wish to exchange advantageous information with many other species." + +Concern, alarm, agitation. "You cannot do that! You are not /{untranslatable entity signifier}/." + +Amber raises a hand. "You said /{untranslatable entity signifier}/. I did not understand that. Can you paraphrase?" + +"We, like you, are not /{untranslatable entity signifier}/. The network is for /{untranslatable entity signifier}/. We are to the /{untranslatable concept #1}/ as a single-celled organism is to ourselves. You and we cannot /{untranslatable concept #2}/. To attempt trade with /{untranslatable entity signifier}/ is to invite death or transition to /{untranslatable concept #1}/." + +Amber snaps her fingers: time freezes. She glances round at Su Ang, Pierre, the other members of her primary team. "Opinions, anyone?" + +Aineko, hitherto invisible, sits up on the carpet at the foot of the dais. "I'm not sure. The reason those macros are tagged is that there's something wrong with their semantics." + +"Wrong with - how?" asks Su Ang. + +The cat grins, cavernously, and begins to fade. "Wait!" snaps Amber. + +Aineko continues her fade, but leaves a shimmering presence behind: not a grin, but a neural network weighting map, three-dimensional and incomprehensibly complicated. "The /{untranslatable entity concept #1}/ when mapped onto the lobster's grammar network has elements of 'god' overloaded with attributes of mysticism and zenlike incomprehensibility. But I'm pretty sure that what it /{really}/ means is 'optimized conscious upload that runs much faster than real-time'. A type-one weakly superhuman entity, like, um, the folks back home. The implication is that this Wunch wants us to view them as gods." The cat fades back in. "Any takers?" + +"Small-town hustlers," mutters Amber. "Talking big - or using a dodgy metagrammar that makes them sound bigger than they are - to bilk the hayseeds new to the big city." + +"Most likely." Aineko turns and begins to wash her flank. + +"What are we going to do?" asks Su Ang. + +"Do?" Amber raises a pencil-lined eyebrow, then flashes a grin that chops a decade off her apparent age: "We're going to mess with their heads!" She snaps her fingers again and time unfreezes. There's no change in continuity except that Aineko is still present, at the foot of the throne. The cat looks up and gives the queen a dirty look. "We understand your concern," Amber says smoothly, "but we have already given you the physiology models and neural architecture of the bodies that you are wearing. We want to communicate. Why won't you show us your real selves or your real language?" + +"This is trade language!" protests Lobster Number One. "Wunch am/are metabolically variable coalition from number of worlds. No uniformity of interface. Easiest to conform to one plan and speak one tongue optimized for your comprehension." + +"Hmm." Amber leans forward. "Let me see if I understand you. You are a coalition of individuals from a number of species. You prefer to use the common user interface model we sent you, and offered us the language module you're using for an exchange? And you want to trade with us." + +"Exchange interest," the Wunch emphasizes, bouncing up and down on its legs. "Can offer much! Sense of identity of a thousand civilizations. Safe tunnels to a hundred archives on the net suitable for beings who are not /{untranslatable entity signifier}/. Able to control risks of communication. Have technique of manipulating matter at molecular level. Solution to algorithmic iterated systems based on quantum entanglement." + +"/{Old-fashioned nanotechnology and shiny beads to dazzle the primitives}/," Pierre mutters on Amber's multicast channel. "/{How backward do they think we are}/?" + +% note italics marked differently should have been "H/{ow backward do they think we are}/?" + +"/{The physics model in here is really overdone}/," comments Boris. "/{They may even think this is real, that we're primitives coat-tailing it on the back of the lobsters' efforts}/." + +Amber forces a smile. "That is most interesting!" she trills at the Wunch's representatives. "I have appointed two representatives who will negotiate with you; this is an internal contest within my own court. I commend to you Pierre Naqet, my own commercial representative. In addition, you may want to deal with Alan Glashwiecz, an independent factor who is not currently present. Others may come forward in due course if that is acceptable." + +"It pleases us," says Lobster Number One. "We are tired and disoriented by the long journey through gateways to this place. Request resumption of negotiations later?" + +"By all means." Amber nods. A sergeant-at-arms, a mindless but impressive zimboe controlled by her spider's nest of personality threads, blows a sharp note on his trumpet. The first audience is at an end. + +* * * + +_1 Outside the light cone of the /{Field Circus}/, on the other side of the spacelike separation between Amber's little kingdom in motion and the depths of empire time that grip the solar system's entangled quantum networks, a singular new reality is taking shape. + +_1 Welcome to the moment of maximum change. + +_1 About ten billion humans are alive in the solar system, each mind surrounded by an exocortex of distributed agents, threads of personality spun right out of their heads to run on the clouds of utility fog - infinitely flexible computing resources as thin as aerogel - in which they live. The foggy depths are alive with high-bandwidth sparkles; most of Earth's biosphere has been wrapped in cotton wool and preserved for future examination. For every living human, a thousand million software agents carry information into the farthest corners of the consciousness address space. + +_1 The sun, for so long an unremarkable mildly variable G2 dwarf, has vanished within a gray cloud that englobes it except for a narrow belt around the plane of the ecliptic. Sunlight falls, unchanged, on the inner planets: Except for Mercury, which is no longer present, having been dismantled completely and turned into solar-powered high-temperature nanocomputers. A much fiercer light falls on Venus, now surrounded by glittering ferns of carbon crystals that pump angular momentum into the barely spinning planet via huge superconducting loops wound around its equator. This planet, too, is due to be dismantled. Jupiter, Neptune, Uranus - all sprout rings as impressive as Saturn's. But the task of cannibalizing the gas giants will take many times longer than the small rocky bodies of the inner system. + +_1 The ten billion inhabitants of this radically changed star system remember being human; almost half of them predate the millennium. Some of them still /{are}/ human, untouched by the drive of meta-evolution that has replaced blind Darwinian change with a goal-directed teleological progress. They cower in gated communities and hill forts, mumbling prayers and cursing the ungodly meddlers with the natural order of things. But eight out of every ten living humans are included in the phase-change. It's the most inclusive revolution in the human condition since the discovery of speech. + +_1 A million outbreaks of gray goo - runaway nanoreplicator excursions - threaten to raise the temperature of the biosphere dramatically. They're all contained by the planetary-scale immune system fashioned from what was once the World Health Organization. Weirder catastrophes threaten the boson factories in the Oort cloud. Antimatter factories hover over the solar poles. Sol system shows all the symptoms of a runaway intelligence excursion, exuberant blemishes as normal for a technological civilization as skin problems on a human adolescent. + +_1 The economic map of the planet has changed beyond recognition. Both capitalism and communism, bickering ideological children of a protoindustrial outlook, are as obsolete as the divine right of kings: Companies are alive, and dead people may live again, too. Globalism and tribalism have run to completion, diverging respectively into homogeneous interoperability and the Schwarzschild radius of insularity. Beings that remember being human plan the deconstruction of Jupiter, the creation of a great simulation space that will expand the habitat available within the solar system. By converting all the nonstellar mass of the solar system into processors, they can accommodate as many human-equivalent minds as a civilization with a planet hosting ten billion humans in orbit around every star in the galaxy. + +_1 A more mature version of Amber lives down in the surging chaos of near-Jupiter space; there's an instance of Pierre, too, although he has relocated light-hours away, near Neptune. Whether she still sometimes thinks of her relativistic twin, nobody can tell. In a way, it doesn't matter, because by the time the /{Field Circus}/ returns to Jupiter orbit, as much subjective time will have elapsed for the fast-thinkers back home as will flash by in the real universe between this moment and the end of the era of star formation, many billions of years hence. + +* * * + +"As your theologian, I am telling you that they are not gods." + +Amber nods patiently. She watches Sadeq closely. + +Sadeq coughs grumpily. "Tell her, Boris." + +Boris tilts his chair back and turns it toward the Queen. "He is right, Amber. They are traders, and not clever ones either. Is hard to get handle on their semiotics while they hide behind the lobster model we uploaded in their direction twenty years ago, but are certainly not crusties, and are definite not human either. Or transhuman. My guess, they are bunch of dumb hicks who get hands on toys left behind by much smarter guys. Like the rejectionist factions back home. Imagine they are waking up one morning and find everyone else is gone to the great upload environment in the sky. Leaving them with the planet to themselves. What you think they do with whole world, with any gadgets they trip over? Some will smash everything they come across, but others not so stupid. But they think /{small}/. Scavengers, deconstructionists. Their whole economic outlook are negative-sum game. Go visit aliens to rip them off, take ideas, not expand selves and transcend." + +Amber stands up, walks toward the windows at the front of the bridge. In black jeans and chunky sweater, she barely resembles the feudal queen whose role she plays for tourists. "Taking them on board was a big risk. I'm not happy about it." + +"How many angels can dance on the head of a pin?" Sadeq smiles crookedly. "We have an answer. But they may not even realize they are dancing with us. These are not the gods you were afraid of finding." + +"No." Amber sighs. "Not too different from us, though. I mean, we aren't exactly well adapted to this environment, are we? We tote these body-images along, rely on fake realities that we can map into our human-style senses. We're emulations, not native AIs. Where's Su Ang?" + +"I can find her." Boris frowns. + +"I asked her to analyse the alien's arrival times," Amber adds as an afterthought. "They're close - too close. And they showed up too damn fast when we first tickled the router. I think Aineko's theories are flawed. The /{real}/ owners of this network we've plugged into probably use much higher-level protocols to communicate; sapient packets to build effective communications gateways. This Wunch, they probably lurk in wait for newbies to exploit. Pedophiles hiding outside the school gate. I don't want to give them that opportunity before we make contact with the real thing!" + +"You may have little choice," says Sadeq. "If they are without insight, as you suspect, they may become afraid if you edit their environment. They may lash out. I doubt they even understand how they created the contaminated metagrammar that they transmitted back to us. It will be to them just a tool that makes simpleminded aliens more gullible, easier to negotiate with. Who knows where they got it?" + +"A grammatical weapon." Boris spins himself round slowly. "Build propaganda into your translation software if you want to establish a favorable trading relationship. How cute. Haven't these guys ever heard of Newspeak?" + +"Probably not," Amber says slowly, pausing for a moment to spawn spectator threads to run down the book and all three movie versions of Nineteen Eighty-Four, followed by the sharecropped series of sequel novels. She shivers uncomfortably as she re-integrates the memories. "Ick. That's not a very nice vision. Reminds me of" - she snaps her fingers, trying to remember Dad's favorite - "Dilbert." + +"Friendly fascism," says Sadeq. "It matters not, whosoever is in charge. I could tell you tales from my parents, of growing up with a revolution. To never harbor self-doubt is poison for the soul, and these aliens want to inflict their certainties upon us." + +"I think we ought to see how Pierre is doing," Amber says aloud. "I certainly don't want them poisoning him." Grin: "That's /{my job}/." + +* * * + +Donna the Journalist is everywhere simultaneously. It's a handy talent: Makes for even-handed news coverage when you can interview both sides at the same time. + +Right now, one of her is in the bar with Alan Glashwiecz, who evidently hasn't realized that he can modulate his ethanol dehydrogenase levels voluntarily and who is consequently well on the way to getting steaming drunk. Donna is assisting the process: She finds it fascinating to watch this bitter young man who has lost his youth to a runaway self-enhancement process. + +"I'm a full partner," he says bitterly, "in Glashwiecz and Selves. I'm one of the Selves. We're all partners, but it's only Glashwiecz Prime who has any clout. The old bastard - if I'd known I'd grow up to become /{that}/, I'd have run away to join some hippie antiglobalist commune instead." He drains his glass, demonstrating his oropharyngeal integrity, snaps his fingers for a refill. "I just woke up one morning to find I'd been resurrected by my older self. He said he valued my youthful energy and optimistic outlook, then offered me a minority stake with stock options that would take five years to vest. The bastard." + +"Tell me about it," Donna coaxes sympathetically. "Here we are, stranded among idiopathic types, not among them a single multiplex -" + +"Damn straight." Another bottle of Bud appears in Glashwiecz'a hands. "One moment I'm standing in this apartment in Paris facing total humiliation by a cross-dressing commie asshole called Macx and his slimy French manager bitch, and the next I'm on the carpet in front of my alter ego's desk and he's offering me a job as junior partner. It's seventeen years later, all the weird nonsense that guy Macx was getting up to is standard business practice, and there's six of me in the outer office taking research notes because myself-as-senior-partner doesn't trust anyone else to work with him. It's humiliating, that's what it is." + +"Which is why you're here." Donna waits while he takes a deep swig from the bottle. + +"Yeah. Better than working for myself, I can tell you - it's not like being self-employed. You know how you sometimes get distant from your work? It's really bad when you see yourself from the outside with another half gigasecond of experience and the new-you isn't just distant from the client base, he's distant from the you-you. So I went back to college and crammed up on artificial intelligence law and ethics, the jurisprudence of uploading, and recursive tort. Then I volunteered to come out here. He's still handling /{her}/ account, and I figured -" Glashwiecz shrugged. + +"Did any of the delta-yous contest the arrangement?" asks Donna, spawning ghosts to focus in on him from all angles. For a moment, she wonders if this is wise. Glashwiecz is dangerous - the power he wields over Amber's mother, to twist her arm into extending his power of attorney, hints at dark secrets. Maybe there's more to her persistent lawsuits than a simple family feud? + +Glashwiecz's face is a study in perspectives. "Oh, one did," he says dismissively: One of Donna's viewports captures the contemptuous twitch in his cheek. "I left her in my apartment freezer. Figured it'd be a while before anybody noticed. It's not murder - I'm still here, right? - and I'm not about to claim tort against myself. I think. It'd be a left-recursive lawsuit, anyway, if I did it to myself." + +"The aliens," prompts Donna, "and the trial by combat. What's your take on that?" + +Glashwiecz sneers. "Little bitch-queen takes after her father, doesn't she? He's a bastard, too. The competitive selection filter she's imposed is evil - it'll cripple her society if she leaves it in place for too long, but in the short run, it's a major advantage. So she wants me to trade for my life, and I don't get to lay my formal claim against her unless I can outperform her pet day trader, that punk from Marseilles. Yes? What he doesn't know is, I've got an edge. Full disclosure." He lifts his bottle drunkenly. "Y'see, I know that /{cat}/. One that's gotta brown @-sign on its side, right? It used to belong to queenie-darling's old man, Manfred, the bastard. You'll see. Her Mom, Pamela, Manfred's ex, she's my client in this case. And she gave me the cat's ackle keys. Access control." (Hic.) "Get ahold of its brains and grab that damn translation layer it stole from the CETI@home mob. /{Then}/ I can talk to them straight." + +The drunken, future-shocked lawyer is on a roll. "I'll get their shit, and I'll disassemble it. Disassembly is the future of industry, y'know?" + +"Disassembly?" asks the reporter, watching him in disgusted fascination from behind her mask of objectivity. + +"Hell, yeah. There's a singularity going on, that implies disequilibrium. An' wherever there's a disequilibrium, someone is going to get /{rich}/ disassembling the leftovers. Listen, I once knew this econo-economist, that's what he was. Worked for the Eurofeds, rubber fetishist. He tole me about this fact'ry near Barcelona. It had a disassembly line running in it. Spensive servers in boxes'd roll in at one end. Be unpacked. Then workers'd take the cases off, strip the disk drives, memory, processors, bits'n'guts out. Bag and tag job. Throw the box, what's left, 'cause it wasn't worth dick. Thing is, the manufact'rer charged so much for parts, it was worth their while to buy whole machines'n'strip them. To bits. And sell the bits. Hell, they got an enterprise award for ingenuity! All 'cause they knew that /{disassembly}/ was the wave of the future." + +"What happened to the factory?" asks Donna, unable to tear her eyes away. + +Glashwiecz waves an empty bottle at the starbow that stretches across the ceiling: "Ah, who gives a fuck? They closedown round about" (hic) "ten years 'go. Moore's Law topped out, killed the market. But disassembly - production line cannibalism - it'sa way to go. Take old assets an' bring new life to them. A fully 'preciated fortune." He grins, eyes unfocussed with greed. "'S'what I'm gonna do to those space lobsters. Learn to talk their language an'll never know what hit 'em." + +* * * + +The tiny starship drifts in high orbit above a turbid brown soup of atmosphere. Deep in the gravity well of Hyundai ^{+4904}^/,{-56},, it's a speck of dust trapped between two light sources: the brilliant sapphire stare of Amber's propulsion lasers in Jovian orbit, and the emerald insanity of the router itself, a hypertoroid spun from strange matter. + +The bridge of the /{Field Circus}/ is in constant use at this time, a meeting ground for minds with access to the restricted areas. Pierre is spending more and more time here, finding it a convenient place to focus his trading campaign and arbitrage macros. At the same time that Donna is picking the multiplexed lawyer's strategy apart, Pierre is present in neomorphic form - a quicksilver outline of humanity, six-armed and two-headed, scanning with inhuman speed through tensor maps of the information traffic density surrounding the router's clump of naked singularities. + +There's a flicker in the emptiness at the rear of the bridge, then Su Ang has always been there. She watches Pierre in contemplative silence for a minute. "Do you have a moment?" + +Pierre superimposes himself: One shadowy ghost keeps focused on the front panel, but another instance turns round, crosses his arms, waits for her to speak. + +"I know you're busy -" she begins, then stops. "Is it /{that}/ important?" she asks. + +"It is." Pierre blurs, resynchronizing his instances. "The router - there are four wormholes leading off from it, did you know that? Each of them is radiating at about 1011 Kelvins, and every wavelength is carrying data connections, multiplexed, with a protocol stack that's at least eleven layers deep but maybe more - they show signs of self-similarity in the framing headers. You know how much data that is? It's about 1012 times as much as our high-bandwidth uplink from home. But compared to what's on the other side of the 'holes -" he shakes his head. + +"It's big?" + +"It's unimaginably big! These wormholes, they're a /{low-bandwidth}/ link compared to the minds they're hooking up to." He blurs in front of her, unable to stay still and unable to look away from the front panel. Excitement or agitation? Su Ang can't tell. With Pierre, sometimes the two states are indistinguishable. He gets emotional easily. "I think we have the outline of the answer to the Fermi paradox. Transcendents don't go traveling because they can't get enough bandwidth - trying to migrate through one of these wormholes would be like trying to download your mind into a fruit fly, if they are what I think they are - and the slower-than-light route is out, too, because they couldn't take enough computronium along. Unless -" + +He's off again. But before he can blur out, Su Ang steps across and lays hands on him. "Pierre. Calm down. Disengage. Empty yourself." + +"I can't!" He really /{is}/ agitated, she sees. "I've got to figure out the best trading strategy to get Amber off the hook with that lawsuit, then tell her to get us out of here; being this close to the router is seriously dangerous! The Wunch are the least of it." + +"Stop." + +He pauses his multiplicity of presences, converges on a single identity focused on the here and now. "Yes?" + +"That's better." She walks round him, slowly. "You've got to learn to deal with stress more appropriately." + +"Stress!" Pierre snorts. He shrugs, an impressive gesture with three sets of shoulder blades. "That's something I can turn off whenever I need to. Side effect of this existence; we're pigs in cyberspace, wallowing in fleshy simulations, but unable to experience the new environment in the raw. What did you want from me, Ang? Honestly? I'm a busy man, I've got a trading network to set up." + +"We've got a problem with the Wunch right now, even if you think something worse is out there," Ang says patiently. "Boris thinks they're parasites, negative-sum gamers who stalk newbies like us. Glashwiecz is apparently talking about cutting a deal with them. Amber's suggestion is that you ignore them completely, cut them out, and talk to anyone else who'll listen." + +"Anyone else who'll listen, right," Pierre says heavily. "Any other gems of wisdom to pass on from the throne?" + +Ang takes a deep breath. He's infuriating, she realizes. And worst of all, he doesn't realize. Infuriating but cute. "You're setting up a trading network, yes?" she asks. + +"Yes. A standard network of independent companies, instantiated as cellular automata within the Ring Imperium switched legal service environment." He relaxes slightly. "Each one has access to a compartmentalized chunk of intellectual property and can call on the corrected parser we got from that cat. They're set up to communicate with a blackboard system - a souk - and I'm bringing up a link to the router, a multicast link that'll broadcast the souk's existence to anyone who's listening. Trade ..." his eyebrows furrow. "There are at least two different currency standards in this network, used to buy quality-of-service precedence and bandwidth. They depreciate with distance, as if the whole concept of money was invented to promote the development of long-range network links. If I can get in first, when Glashwiecz tries to cut in on the dealing by offering IP at discounted rates -" + +"He's not going to, Pierre," she says as gently as possible. "Listen to what I said: Glashwiecz is going to focus on the Wunch. He's going to offer them a deal. Amber wants you to /{ignore}/ them. Got that?" + +"Got it." There's a hollow /{bong!}/ from one of the communication bells. "Hey, that's interesting." + +"What is?" She stretches, neck extending snakelike so that she can see the window on underlying reality that's flickered into existence in the air before him. + +"An ack from ..." he pauses, then plucks a neatly reified concept from the screen in front of him and presents it to her in a silvery caul of light. "... about two hundred light-years away! Someone wants to talk." He smiles. Then the front panel workstation bong's again. "Hey again. I wonder what that says." + +It's the work of a moment to pipe the second message through the translator. Oddly, it doesn't translate at first. Pierre has to correct for some weird destructive interference in the fake lobster network before it'll spill its guts. "That's interesting," he says. + +"I'll say." Ang lets her neck collapse back to normal. "I'd better go tell Amber." + +"You do that," Pierre says worriedly. He makes eye contact with her, but what she's hoping to see in his face just isn't there. He's wearing his emotions entirely on the surface. "I'm not surprised their translator didn't want to pass that message along." + +"It's a deliberately corrupted grammar," Ang murmurs, and bangs out in the direction of Amber's audience chamber; "and they're actually making threats." The Wunch, it seems, have acquired a /{very}/ bad reputation somewhere along the line - and Amber needs to know. + +* * * + +Glashwiecz leans toward Lobster Number One, stomach churning. It's only a real-time kilosecond since his bar-room interview, but in the intervening subjective time, he's abolished a hangover, honed his brief, and decided to act. In the Tuileries. "You've been lied to," he confides quietly, trusting the privacy ackles that he browbeat Amber's mother into giving him - access lists that give him a degree of control over the regime within this virtual universe that the cat dragged in. + +"Lied? Context rendered horizontal in past, or subjected to grammatical corruption? Linguistic evil?" + +"The latter." Glashwiecz enjoys this, even though it forces him to get rather closer to the two-meter-long virtual crustacean than he'd like. Showing a mark how they've been scammed is always good, especially when you hold the keys to the door of the cage they're locked inside. "They are not telling you the truth about this system." + +"We received assurances," Lobster Number One says clearly. Its mouthparts move ceaselessly - the noise comes from somewhere inside its head. "You do not share this phenotype. Why?" + +"That information will cost you," says Glashwiecz. "I am willing to provide it on credit." + +They haggle briefly. An exchange rate in questions is agreed, as is a trust metric to grade the answers by. "Disclose all," insists the Wunch negotiator. + +"There are multiple sentient species on the world we come from," says the lawyer. "The form you wear belongs to only one - one that wanted to get away from the form /{I}/ wear, the original conscious tool-creating species. Some of the species today are artificial, but all of us trade information for self-advantage." + +"This is good to know," the lobster assures him. "We like to buy species." + +"You buy species?" Glashwiecz cocks his head. + +"We have the unbearable yearning to be not-what-we-are," says the lobster. "Novelty, surprise! Flesh rots and wood decays. We seek the new being-ness of aliens. Give us your somatotype, give us all your thoughts, and we will dream you over." + +"I think something might be arranged," Glashwiecz concedes. "So you want to be - no, to lease the rights to temporarily be human? Why is that?" + +"Untranslatable concept #3 means untranslatable concept #4. God told us to." + +"Okay, I think I'll just have to take that on trust for now. What is your true form?" he asks. + +"Wait and I show you," says the lobster. It begins to shudder. + +"What are you doing -" + +"Wait." The lobster twitches, writhing slightly, like a portly businessman adjusting his underwear after a heavy business lunch. Disturbing shapes move, barely visible through the thick chitinous armor. "We want your help," the lobster explains, voice curiously muffled. "Want to establish direct trade links. Physical emissaries, yes?" + +"Yes, that's very good," Glashwiecz agrees excitedly: It's exactly what he's hoped for, the sought-after competitive advantage that will prove his fitness in Amber's designated trial by corporate combat. "You're going to deal with us directly without using that shell interface?" + +"Agreed." The lobster trails off into muffled silence; little crunching noises trickle out of its carapace. Then Glashwiecz hears footsteps behind him on the gravel path. + +"What are you doing here?" he demands, looking round. It's Pierre, back in standard human form - a sword hangs from his belt, and there's a big wheel-lock pistol in his hands. "Hey!" + +"Step away from the alien, lawyer," Pierre warns, raising the gun. + +Glashwiecz glances back at Lobster Number One. It's pulled its front inside the protective shell, and it's writhing now, rocking from side to side alarmingly. Something inside the shell is turning black, acquiring depth and texture. "I stand on counsel's privilege," Glashwiecz insists. "Speaking as this alien's attorney, I must protest in the strongest terms -" + +Without warning, the lobster lurches forward and rises up on its rear legs. It reaches out with huge claws, chellipeds coated with spiny hairs, and grabs Glashwiecz by his arms. "Hey!" + +Glashwiecz tries to turn away, but the lobster is already looming over him, maxillipeds and maxillae reaching out from its head. There's a sickening crunch as one of his elbow joints crumbles, humerus shattered by the closing jaws of a chelliped. He draws breath to scream, then the four small maxillae grip his head and draw it down toward the churning mandibles. + +Pierre scurries sideways, trying to find a line of fire on the lobster that doesn't pass through the lawyer's body. The lobster isn't cooperating. It turns on the spot, clutching Glashwiecz's convulsing body to itself. There's a stench of shit, and blood is squirting from its mouthparts. Something is very wrong with the biophysics model here, the realism turned up way higher than normal. + +"Merde," whispers Pierre. He fumbles with the bulky trigger, and there's a faint whirring sound but no explosion. + +More wet crunching sounds follow as the lobster demolishes the lawyer's face and swallows convulsively, sucking his head and shoulders all the way into its gastric mill. + +Pierre glances at the heavy handgun. "/{Shit}/!" he screams. He glances back at the lobster, then turns and runs for the nearest wall. There are other lobsters loose in the formal garden. "/{Amber, emergency!}/" he sends over their private channel. "/{Hostiles in the Louvre!}/" + +The lobster that's taken Glashwiecz hunkers down over the body and quivers. Pierre desperately winds the spring on his gun, too rattled to check that it's loaded. He glances back at the alien intruder. /{They've sprung the biophysics model}/, he sends. /{I could die in here}/, he realizes, momentarily shocked. /{This instance of me could die forever}/. + +The lobster shell sitting in the pool of blood and human wreckage splits in two. A humanoid form begins to uncurl from within it, pale-skinned and glistening wet: vacant blue eyes flicker from side to side as it stretches and stands upright, wobbling uncertainty on its two unstable legs. Its mouth opens and a strange gobbling hiss comes forth. + +Pierre recognizes her. "What are you doing here?" he yells. + +The nude woman turns toward him. She's the spitting image of Amber's mother, except for the chellipeds she has in place of hands. She hisses "/{Equity!}/" and takes a wobbly step toward him, pincers clacking. + +Pierre winds the firing handle again. There's a crash of gunpowder and smoke, a blow that nearly sprains his elbow, and the nude woman's chest erupts in a spray of blood. She snarls at him wordlessly and staggers - then ragged flaps of bloody meat close together, knitting shut with improbable speed. She resumes her advance. + +"I told Amber the Matrix would be more defensible," Pierre snarls, dropping the firearm and drawing his sword as the alien turns in his direction and raises arms that end in pincers. "We need guns, damit! Lots of guns!" + +"Waaant equity," hisses the alien intruder. + +"You /{can't}/ be Pamela Macx," says Pierre, his back to the wall, keeping the sword point before the lobster-woman-thing. "She's in a nunnery in Armenia or something. You pulled that out of Glashwiecz's memories - he worked for her, didn't he?" + +Claws go snicker-snack before his face. "Investment partnership!" screeches the harridan. "Seat on the board! Eat brains for breakfast!" It lurches sideways, trying to get past his guard. + +"I don't fucking /{believe}/ this," Pierre snarls. The Wunch-creature jumps at just the wrong moment and slides onto the point of his blade, claws clacking hungrily. Pierre slides away, nearly leaving his skin on the rough bricks of the wall - and what's good for one is good for all, as the hacked model in force in this reality compels the attacker to groan and collapse. + +Pierre pulls the sword out then, nervously glancing over his shoulder, whacks at her neck. The impact jars his arm, but he keeps hacking until there's blood spraying everywhere, blood on his shirt, blood on his sword, and a round thing sitting on a stump of savaged neck nearby, jaw working soundlessly in undeath. + +He looks at it for a moment, then his stomach rebels and tries to empty itself into the mess. "/{Where the hell is everybody}/?" he broadcasts on the private channel. "/{Hostiles in the Louvre!}/" + +He straightens up, gasping for breath. He feels /{alive}/, frightened and appalled and exhilarated simultaneously. The crackle of bursting shells on all sides drowns out the birdsong as the Wunch's emissaries adopt a variety of new and supposedly more lethal forms. "/{They don't seem to be very clear on how to take over a simulation space}/," he adds. "/{Maybe we already are}/ untranslatable concept number #1 as far as they're concerned." + +"/{Don't worry, I've cut off the incoming connection}/," sends Su Ang. "/{This is just a bridgehead force; the invasion packets are}/ being filtered out." + +Blank-eyed men and women in dusty black uniforms are hatching from the lobster shells, stumbling and running around the grounds of the royal palace like confused Huguenot invaders. + +Boris winks into reality behind Pierre. "Which way?" he demands, pulling out an anachronistic but lethal katana. + +"Over here. Let's work this together." Pierre jacks his emotional damper up to a dangerously high setting, suppressing natural aversion reflexes and temporarily turning himself into a sociopathic killer. He stalks toward an infant lobster-thing with big black eyes and a covering of white hair that mewls at him from a rose bed, and Boris looks away while he kills it. Then one of the larger ones makes the mistake of lunging at Boris, and he chops at it reflexively. + +Some of the Wunch try to fight back when Pierre and Boris try to kill them, but they're handicapped by their anatomy, a curious mixture of crustacean and human, claw and mandible against sword and dagger. When they bleed the ground soaks with the cuprous hue of lobster juice. + +"Let's fork," suggests Boris. "Get this over with." Pierre nods, dully - everything around him is wrapped in a layer of don't-care, except for a glowing dot of artificial hatred - and they fork, multiplying their state vectors to take full advantage of the virtualization facilities of this universe. There's no need for reinforcements; the Wunch focused on attacking the biophysics model of the universe, making it mimic a physical reality as closely as possible, and paid no attention to learning the more intricate tactics that war in a virtual space permits. + +Presently Pierre finds himself in the audience chamber, face and hands and clothing caked in hideous gore, leaning on the back of Amber's throne. There's only one of him now. One of Boris - the only one? - is standing near the doorway. He can barely remember what has happened, the horrors of parallel instances of mass murder blocked from his long-term memory by a high-pass trauma filter. "It looks clear," he calls aloud. "What shall we do now?" + +"Wait for Catherine de Médicis to show up," says the cat, its grin materializing before him like a numinous threat. "Amber /{always}/ finds a way to blame her mother. Or didn't you already know that?" + +Pierre glances at the bloody mess on the footpath outside where the first lobster-woman attacked Glashwiecz. "I already did for her, I think." He remembers the action in the third person, all subjectivity edited out. "The family resemblance was striking," the thread that still remembers her in working memory murmurs: "I just hope it's only skin-deep." Then he forgets the act of apparent murder forever. "Tell the Queen I'm ready to talk." + +* * * + +_1 Welcome to the downslope on the far side of the curve of accelerating progress. + +_1 Back in the solar system, Earth orbits through a dusty tunnel in space. Sunlight still reaches the birth world, but much of the rest of the star's output has been trapped by the growing concentric shells of computronium built from the wreckage of the innermost planets. + +_1 Two billion or so mostly unmodified humans scramble in the wreckage of the phase transition, not understanding why the vasty superculture they so resented has fallen quiet. Little information leaks through their fundamentalist firewalls, but what there is shows a disquieting picture of a society where there are no /{bodies}/ anymore. Utility foglets blown on the wind form aerogel towers larger than cyclones, removing the last traces of physical human civilization from most of Europe and the North American coastlines. Enclaves huddle behind their walls and wonder at the monsters and portents roaming the desert of postindustrial civilization, mistaking acceleration for collapse. + +_1 The hazy shells of computronium that ring the sun - concentric clouds of nanocomputers the size of rice grains, powered by sunlight, orbiting in shells like the packed layers of a Matrioshka doll - are still immature, holding barely a thousandth of the physical planetary mass of the system, but they already support a classical computational density of 1042 MIPS; enough to support a billion civilizations as complex as the one that existed immediately before the great disassembly. The conversion hasn't yet reached the gas giants, and some scant outer-system enclaves remain independent - Amber's Ring Imperium still exists as a separate entity, and will do so for some years to come - but the inner solar system planets, with the exception of Earth, have been colonized more thoroughly than any dusty NASA proposal from the dawn of the space age could have envisaged. + +_1 From outside the Accelerated civilization, it isn't really possible to know what's going on inside. The problem is bandwidth: While it's possible to send data in and get data out, the sheer amount of computation going on in the virtual spaces of the Acceleration dwarfs any external observer. Inside that swarm, minds a trillion or more times as complex as humanity think thoughts as far beyond human imagination as a microprocessor is beyond a nematode worm. A million random human civilizations flourish in worldscapes tucked in the corner of this world-mind. Death is abolished, life is triumphant. A thousand ideologies flower, human nature adapted where necessary to make this possible. Ecologies of thought are forming in a Cambrian explosion of ideas: For the solar system is finally rising to consciousness, and mind is no longer restricted to the mere kilotons of gray fatty meat harbored in fragile human skulls. + +_1 Somewhere in the Acceleration, colorless green ideas adrift in furious sleep remember a tiny starship launched years ago, and pay attention. Soon, they realize, the starship will be in position to act as their proxy in an ages-long conversation. Negotiations for access to Amber's extrasolar asset commence; the Ring Imperium prospers, at least for a while. + +_1 But first, the operating software on the human side of the network link will require an upgrade. + +* * * + +The audience chamber in the /{Field Circus}/ is crammed. Everybody aboard the ship - except the still-frozen lawyer and the alien barbarian intruders - is present. They've just finished reviewing the recordings of what happened in the Tuileries, of Glashwiecz's fatal last conversation with the Wunch, the resulting fight for survival. And now the time has come for decisions. + +"I'm not saying you have to follow me," says Amber, addressing her court; "just, it's what we came here for. We've established that there's enough bandwidth to transmit people and their necessary support VMs; we've got some basic expectancy of goodwill at the other end, or at least an agalmic willingness to gift us with advice about the untrustworthiness of the Wunch. /{I}/ propose to copy myself through and see what's at the other side of the wormhole. What's more, I'm going to suspend myself on this side and hand over to whichever instance of me comes back, unless there's a long hiatus. How long, I haven't decided yet. Are you guys happy to join me?" + +Pierre stands behind her throne, hands on the back. Looking down over her head, at the cat in her lap, he's sure he sees it narrow its eyes at him. /{Funny}/, he thinks, /{we're talking about jumping down a rabbit hole and trusting whoever lives at the other end with our personalities. After seeing the Wunch. Does this make sense}/? + +"Forgive, please, but am not stupid," says Boris. "This is Fermi paradox territory, no? Instantaneous network exists, is traversable, with bandwidth adequate for human-equivalent minds. Where are alien visitors, in history? Must be overriding reason for absence. Think will wait here and see what comes back. /{Then}/ make up mind to drink the poison kool-aid." + +"I've got half a mind to transmit myself through without a back-up," says someone else - "but that's okay; half a mind is all we've got the bandwidth for." Halfhearted laughter shores up his wisecrack, supports a flagging determination to press through. + +"I'm with Boris," says Su Ang. She glances at Pierre, catches his eye: Suddenly a number of things become clear to him. He shakes his head minutely. /{You never had a chance - I belong to Amber}/, he thinks, but deletes the thought before he can send it to her. Maybe in another instantiation his issues with the Queen's /{droit de seigneur}/ would have bulked up larger, splintered his determination; maybe in another world it has already happened? "I think this is very rash," she says in a hurry. "We don't know enough about post-singularity civilizations." + +"It's not a singularity," Amber says waspishly. "It's just a brief burst of acceleration. Like cosmological inflation." + +"Smooths out inhomogeneities in the initial structure of consciousness," purrs the cat. "Don't I get a vote?" + +"You do." Amber sighs. She glances round. "Pierre?" + +Heart in his mouth: "I'm with you." + +She smiles, brilliantly. "Well then. Will the nay sayers please leave the universe?" + +Suddenly, the audience chamber is half-empty. + +"I'm setting a watchdog timer for a billion seconds into the future, to restart us from this point if the router doesn't send anyone back in the intervening time," she announces gravely, taking in the serious-faced avatars of those who remain. Surprised: "Sadeq! I didn't think this was your type of -" + +He doesn't smile: "Would I be true to my faith if I wasn't prepared to bring the words of Mohammed, peace be unto him, to those who may never have heard his name?" + +Amber nods. "I guess." + +"Do it," Pierre says urgently. "You can't keep putting it off forever." + +Aineko raises her head: "Spoilsport!" + +"Okay." Amber nods. "Let's /{do}/ -" + +She punches an imaginary switch, and time stops. + +* * * + +At the far end of a wormhole, two hundred light-years distant in real space, coherent photons begin to dance a story of human identity before the sensoria of those who watch. And all is at peace in orbit around Hyundai ^[+4904}^/,{-56},, for a while ... + +* * * + +Chapter 6: Nightfall + +A synthetic gemstone the size of a Coke can falls through silent darkness. The night is quiet as the grave, colder than midwinter on Pluto. Gossamer sails as fine as soap bubbles droop, the gust of sapphire laser light that inflated them long since darkened. Ancient starlight picks out the outline of a huge planetlike body beneath the jewel-and-cobweb corpse of the starwisp. + +Eight Earth years have passed since the good ship /{Field Circus}/ slipped into close orbit around the frigid brown dwarf Hyundai ^{+4904}^/,{-56},. Five years have gone by since the launch lasers of the Ring Imperium shut down without warning, stranding the light-sail-powered craft three light-years from home. There has been no response from the router, the strange alien artifact in orbit around the brown dwarf, since the crew of the starwisp uploaded themselves through its strange quantum entanglement interface for transmission to whatever alien network it connects to. In fact, nothing happens; nothing save the slow trickle of seconds, as a watchdog timer counts down the moments remaining until it is due to resurrect stored snapshots of the crew, on the assumption that their uploaded copies are beyond help. + +Meanwhile, outside the light cone - + +* * * + +Amber jolts into wakefulness, as if from a nightmare. She sits bolt upright, a thin sheet falling from her chest; air circulating around her back chills her rapidly, cold sweat evaporating. She mutters aloud, unable to subvocalize, "Where am I - oh. A bedroom. How did I get here?" /{Mumble}/. "Oh, I see." Her eyes widen in horror. "/{It's not a dream}/ ..." + +"Greetings, human Amber," says a ghost-voice that seems to come from nowhere: "I see you are awake. Would you like anything?" + +Amber rubs her eyes tiredly. Leaning against the bedstead, she glances around cautiously. She takes in a bedside mirror, her reflection in it: a young woman, gaunt in the manner of those whose genome bears the p53 calorie-restriction hack, she has disheveled blonde hair and dark eyes. She could pass for a dancer or a soldier; not, perhaps, a queen. "What's going on? Where am I? Who are you, and /{what am I doing in your head?}/" + +Her eyes narrow. Analytical intellect comes to the fore as she takes stock of her surroundings. "The router," she mutters. Structures of strange matter orbit a brown dwarf scant light-years from Earth. "How long ago did we come through?" Glancing round, she sees a room walled in slabs of close-fitting stone. A window bay is recessed into them, after the style of the Crusader castles many centuries in the past, but there's no glass in it - just a blank white screen. The only furniture in the room, besides a Persian carpet on the cold flagstones, is the bed she sits upon. She's reminded of a scene from an old movie, Kubrick's enigma; this whole set-up has got to be deliberate, and it isn't funny. + +"I'm waiting," she announces, and leans back against the headboard. + +"According to our records this reaction indicates that you are now fully self-aware," says the ghost. "This is good. You have not been conscious for a very long time. Explanations will be complex and discursive. Can I offer you refreshments? What would you like?" + +"Coffee, if you have it. Bread and hummus. Something to wear." Amber crosses her arms, abruptly self-conscious. "I'd prefer to have management ackles to this universe, though. As realities go, it's a bit lacking in creature comforts." Which isn't entirely true - it seems to have a comprehensive, human-friendly biophysics model, it's not just a jumped-up first-person shooter. Her eyes focus on her left forearm, where tanned skin and a puckered dime of scar tissue record a youthful accident with a pressure seal in Jovian orbit. Amber freezes for a moment. Her lips move in silence, but she's locked into place in this universe, unable to split or conjoin nested realities just by calling subroutines that have been spliced into the corners of her mind since she was a teenager. Finally, she asks, "How long have I been dead?" + +"Longer than you were alive, by orders of magnitude," says the ghost. A tray laden with pita breads, hummus, and olives congeals from the air above her bed, and a wardrobe appears at one side of the room. "I can begin the explanation now or wait for you to finish eating. Which would you prefer?" + +Amber glances about again, then fixes on the white screen in the window bay. "Give it to me right now. I can take it," she says, quietly bitter. "I like to understand my mistakes as soon as possible." + +"We-us can tell that you are a human of determination," says the ghost, a hint of pride entering its voice. "That is a good thing, Amber. You will need all of your resolve if you are going to survive here ..." + +* * * + +It is the time of repentance in a temple beside a tower that looms above a dry plain, and the thoughts of the priest who lives in the tower are tinged with regret. It is Ashura, the tenth day of Muhurram, according to a real-time clock still tuned to the pace of a different era: the one thousand, three hundred and fortieth anniversary of the martyrdom of the Third Imam, the Sayyid ash-Shuhada. + +The priest of the tower has spent an indefinite time in prayer, locked in an eternal moment of meditation and recitation. Now, as the vast red sun drifts close to the horizon of the infinite desert, his thoughts drift toward the present. Ashura is a very special day, a day of atonement for collective guilt, evil committed through inactivity; but it is in Sadeq's nature to look outwards toward the future. This is, he knows, a failing - but also characteristic of his generation. That's the generation of the Shi'ite clergy that reacted to the excesses of the previous century, the generation that withdrew the /{ulama}/ from temporal power, retreated from the velyat i-faqih of Khomenei and his successors, left government to the people, and began to engage fully with the paradoxes of modernity. Sadeq's focus, his driving obsession in theology, is a program of reappraisal of eschatology and cosmology. Here in a tower of white sun-baked clay, on an endless plain that exists only in the imaginary spaces of a starship the size of a soft drink can, the priest spends his processor cycles in contemplation of one of the most vicious problems ever to confront a /{mujtahid}/ - the Fermi paradox. + +(Enrico Fermi was eating his lunch one day, and his colleagues were discussing the possibility that sophisticated civilizations might populate other worlds. "Yes," he said, "but if this is so, why haven't they already come visiting?") + +Sadeq finishes his evening devotions in near silence, then stands, stretches as is his wont, and leaves the small and lonely courtyard at the base of the tower. The gate - a wrought-iron gate, warmed by sunlight - squeals slightly as he opens it. Glancing at the upper hinge, he frowns, willing it clean and whole. The underlying physics model acknowledges his access controls: a thin rim of red around the pin turns silvery-fresh, and the squeaking ceases. Closing the gate behind him, Sadeq enters the tower. + +He climbs with a heavy, even tread a spiral staircase snaking ever upward above him. Narrow slit-windows line the outer wall of the staircase. Through each of them he sees a different world. Out there, nightfall in the month of Ramadan. And through the next, green misty skies and a horizon too close by far. Sadeq carefully avoids thinking about the implications of this manifold space. Coming from prayer, from a sense of the sacred, he doesn't want to lose his proximity to his faith. He's far enough from home as it is, and there is much to consider. He is surrounded by strange and curious ideas, all but lost in a corrosive desert of faith. + +At the top of the staircase, Sadeq comes to a door of aged wood bound in iron. It doesn't belong here: It's a cultural and architectural anomaly. The handle is a loop of black metal. Sadeq regards it as if it's the head of an asp, poised to sting. Nevertheless, he reaches out and turns the handle, steps across the threshold into a palace out of fantasy. + +/{None of this is real}/, he reminds himself. /{It's no more real than an illusion conjured by one of the jinni of the thousand nights and one night}/. Nevertheless, he can't save himself from smiling at the scene - a sardonic smile of self-deprecating humor, tempered by frustration. + +Sadeq's captors have stolen his soul and locked it - him - in a very strange prison, a temple with a tower that rises all the way to Paradise. It's the whole classical litany of medievalist desires, distilled from fifteen hundred years of literature. Colonnaded courtyards, cool pools lined with rich mosaics, rooms filled with every imaginable dumb matter luxury, endless banquets awaiting his appetite - and dozens of beautiful un-women, eager to fulfill his every fantasy. Sadeq, being human, has fantasies by the dozen, but he doesn't dare permit himself to succumb to temptation. /{I'm not dead}/, he reasons. /{Therefore, how can I be in Paradise? Therefore, this must be a false paradise, a temptation sent to lead me astray. Probably. Unless I am dead, because Allah, peace be unto him, considers a human soul separated from its body to be dead. But if that's so, isn't uploading a sin? In which case, this can't be}/ Paradise because I am a sinner. /{Besides which}/, this whole setup is /{so}/ puerile! + +Sadeq has always been inclined to philosophical inquiry, and his vision of the afterlife is more cerebral than most, involving ideas as questionable within the framework of Islam as those of Teilhard de Chardin were to the twentieth-century Catholic church. If there's one key indicator of a false paradise in his eschatology, it's two-and-seventy brainlessly beautiful houris waiting to do his bidding. So it follows that he can't really be dead ... + +The whole question of reality is so vexing that Sadeq does what he does every night. He strides heedlessly across priceless works of art, barging hastily through courtyards and passageways, ignoring niches in which nearly naked supermodels lie with their legs apart, climbing stairs - until he comes to a small unfurnished room with a single high window in one wall. There he sits on the floor, legs crossed, meditating; not in prayer, but in a more tightly focused ratiocination. Every false night (for there is no way to know how fast time is passing, outside this cyberspace pocket), Sadeq sits and /{thinks}/, grappling with Descartes's demon in the solitude of his own mind. And the question he asks himself every night is the same: /{Can I tell if this is the true hell? And if it is not, how can I escape?}/ + +* * * + +The ghost tells Amber that she has been dead for just under a third of a million years. She has been reinstantiated from storage - and has died again - many times in the intervening period, but she has no memory of this; she is a fork from the main bough, and the other branches expired in lonely isolation. + +The business of resurrection does not, in and of itself, distress Amber unduly. Born in the post-Moravec era, she merely finds some aspects of the ghost's description dissatisfyingly incomplete. It's like saying she was drugged and brought hither without stating whether by plane, train, or automobile. + +She doesn't have a problem with the ghost's assertion that she is nowhere near Earth - indeed, that she is approximately eighty thousand light-years away. When she and the others took the risk of uploading themselves through the router they found in orbit around Hyundai ^{+4904}^/,{-56}, they'd understood that they could end up anywhere or nowhere. But the idea that she's still within the light cone of her departure strikes her as dubious. The original SETI broadcast strongly implied that the router is part of a network of self-replicating instantaneous communicators, spawning and spreading between the cold brown dwarf stars that litter the galaxy. She'd somehow expected to be much farther from home by now. + +Somewhat more disturbing is the ghost's assertion that the human genotype has rendered itself extinct at least twice, that its home planet is unknown, and that Amber is nearly the only human left in the public archives. At this point, she interrupts. "I hardly see what this has to do with me!" Then she blows across her coffee glass, trying to cool the contents. "I'm dead," she explains, with an undertone of knowing sarcasm in her voice. "Remember? I just got here. A thousand seconds ago, subjective time, I was in the control node of a starship, discussing what to do with the router we were in orbit around. We agreed to send ourselves through it, as a trade mission. Then I woke up in bed here in the umpty-zillionth century, wherever and whatever /{here}/ is. Without access to any reality ackles or augmentation, I can't even tell whether this is real or an embedded simulation. You're going to have to explain /{why}/ you need an old version of me before I can make sense of my situation - and I can tell you, I'm not going to help you until I know who you are. And speaking of that, what about the others? Where are they? I wasn't the only one, you know?" + +The ghost freezes in place for a moment, and Amber feels a watery rush of terror: /{Have I gone too far}/? she wonders. + +"There has been an unfortunate accident," the ghost announces portentously. It morphs from a translucent copy of Amber's own body into the outline of a human skeleton, elaborate bony extensions simulating an osteosarcoma of more-than-lethal proportions. "Consensus-we believe that you are best positioned to remediate the situation. This applies within the demilitarized zone." + +"Demilitarized?" Amber shakes her head, pauses to sip her coffee. "What do you mean? What /{is}/ this place?" + +The ghost flickers again, adopting an abstract rotating hypercube as its avatar. "This space we occupy is a manifold adjacent to the demilitarized zone. The demilitarized zone is a space outside our core reality, itself exposed to entities that cross freely through our firewall, journeying to and from the network outside. We-us use the DMZ to establish the informational value of migrant entities, sapient currency units and the like. We-us banked you upon arrival against future options trades in human species futures." + +"Currency!" Amber doesn't know whether to be amused or horrified - both reactions seem appropriate. "Is that how you treat all your visitors?" + +The ghost ignores her question. "There is a runaway semiotic excursion under way in the zone. We-us believe only you can fix it. If you agree to do, so we will exchange value, pay, reward cooperation, expedite remuneration, manumit, repatriate." + +Amber drains her coffee cup. "Have you ever entered into economic interactions with me, or humans like me, before?" she asks. "If not, why should I trust you? If so, why have you revived me? Are there any more experienced instances of myself running around here?" She raises a skeptical eyebrow at the ghost. "This looks like the start of an abusive relationship." + +The ghost continues to sidestep her attempts to work out where she stands. It flickers into transparency, grows into a hazy window on a landscape of impossible shapes. Clouds sprouting trees drift above a landscape of green, egg-curved hills and cheesecake castles. "Nature of excursion: alien intelligence is loose in the DMZ," it asserts. "Alien is applying invalid semiotics to complex structures designed to sustain trade. You know this alien, Amber. We require solution. Slay the monster, we will give you line of credit. Your own reality to control, insight into trade arrangements, augmented senses, ability to travel. Can even upgrade you to you-we consensus, if desired." + +"This monster." Amber leans forward, staring into the window eagerly. She's half-minded to ignore what she feels is a spurious offer; it doesn't sound too appetizing. /{Upgrade me to a ghost fragment of an alien group mind?}/ she wonders dismissively. "What is this alien?" She feels blind and unsure, stripped of her ability to spawn threads of herself to pursue complex inferences. "Is it part of the Wunch?" + +"Datum unknown. It-them came with you," says the ghost. "Accidentally reactivated some seconds since now. It runs amok in the demilitarized zone. Help us, Amber. Save our hub, or we will be cut off from the network. If that happens, you will die with we-us. Save us ..." + +* * * + +_1 A single memory belonging to someone else unwinds, faster than a guided missile and far more deadly. + +_1 Amber, aged eleven, is a gawky, long-limbed child loose on the streets of Hong Kong, a yokel tourist viewing the hot core of the Middle Kingdom. This is her first and final vacation before the Franklin Trust straps her inside the payload pod of a Shenzhou spaceplane and blasts her into orbit from Xinkiang. She's free for the time being, albeit mortgaged to the tune of several million euros; she's a little taikonaut to be, ready to work for the long years in Jupiter orbit it will take her to pay off the self-propelled options web that owns her. It's not exactly slavery: Thanks to Dad's corporate shell game she doesn't have to worry about Mom chasing her, trying to return her to the posthuman prison of growing up just like an old-fashioned little girl. And now she's got a bit of pocket money, and a room in the Hilton, and her own personal Franklin remote to keep her company, she's decided she's gonna do that eighteenth-century-enlightenment tourist shit and do it /{right}/. + +_1 Because this is her last day at liberty in the randomly evolved biosphere. + +_1 China is where things are at in this decade, hot and dense and full of draconian punishments for the obsolescent. Nationalist fervor to catch up with the west has been replaced by consumerist fervor to own the latest fad gadgets; the most picturesque tourist souvenirs from the quaintly old-fashioned streets of America; the fastest, hottest, smartest, upgrades for body and soul. Hong Kong is hotter and faster than just about anywhere else in China, or in the whole damn world for that matter. This is a place where tourists from Tokyo gawp, cowed and future-shocked by the glamour of high-technology living. + +_1 Walking along Jardine's Bazaar - /{More like Jardine's bizarre}/, she thinks - exposes Amber to a blast of humid noise. Geodesic domes sprout like skeletal mushrooms from the glass-and-chrome roofs of the expensive shopping malls and luxury hotels, threatening to float away on the hot sea breeze. There are no airliners roaring in and out of Kai Tak anymore, no burnished aluminum storm clouds to rain round-eyed passengers on the shopping malls and fish markets of Kowloon and the New Territories. In these tense later days of the War Against Unreason, impossible new shapes move in the sky; Amber gapes upward as a Shenyang F-30 climbs at a near-vertical angle, a mess of incomprehensibly curved flight surfaces vanishing to a perspective point that defies radar as well as eyeballs. The Chinese - fighter? missile platform? supercomputer? - is heading out over the South China Sea to join the endless patrol that reassures the capitalist world that it is being guarded from the Hosts of Denial, the Trouble out of Wa'hab. + +_1 For the moment, she's merely a precocious human child. Amber's subconscious is off-lined by the presence of forceful infowar daemons, the Chinese government censorbots suppressing her cognition of their deadliest weapons. And in the seconds while her mind is as empty as a sucked egg, a thin-faced man with blue hair shoves her in the small of her back and snatches at her shoulder bag. + +_1 "Hey!" she yells, stumbling. Her mind's a blur, optics refusing to respond and grab a biometric model of her assailant. It's the frozen moment, the dead zone when on-line coverage fails, and the thief is running away before she can catch her balance or try to give chase. Plus, with her extensions off-line she doesn't know how to yell "stop, thief!" in Cantonese. + +_1 Seconds later, the fighter is out of visual range and the state censorship field lets up. "Get him, you bastards!" she screams, but the curious shoppers simply stare at the rude foreign child: An elderly woman brandishes a disposable phonecam at her and screeches something back. Amber picks up her feet and runs. Already she can feel the subsonics from her luggage growling at her guts - it's going to make a scene if she doesn't catch up in time. Shoppers scatter, a woman with a baby carriage almost running her down in her panic to get away from it. + +_1 By the time Amber reaches her terrified shoulder bag, the thief has disappeared: She has to spend almost a minute petting the scared luggage before it stops screeching and retracts its spines enough for her to pick it up. And by that time there's a robocop in attendance. "Identify yourself," it rasps in synthetic English. + +_1 Amber stares at her bag in horror: There's a huge gash in the side, and it's far too light. /{It's gone}/, she thinks, despairingly. /{He stole it}/. "Help," she says faintly, holding up her bag for the distant policeman looking through the robot's eyes. "Been stolen." + +_1 "What item missing?" asks the robot. + +_1 "My Hello Kitty," she says, batting her eyelashes, mendacity full-on at maximum utilization, prodding her conscience into submission, warning of dire consequences should the police discover the true nature of her pet cat. "My kitten's been stolen! Can you help me?" + +_1 "Certainly," says the cop, resting a reassuring hand on her shoulder - a hand that turns into a steel armband, as it pushes her into a van and notifies her in formally stilted language that she is under arrest on suspicion of shoplifting and will be required to produce certificates of authenticity and a fully compliant ownership audit for all items in her possession if she wants to prove her innocence. + +_1 By the time Amber's meatbrain realizes that she is being politely arrested, some of her external threads have already started yelling for help and her m-commerce trackers have identified the station she's being taken to by way of click-thru trails and an obliging software license manager. They spawn agents to go notify the Franklin trustees, Amnesty International, the Space and Freedom Party, and her father's lawyers. As she's being booked into a cerise-and-turquoise juvenile offenders holding room by a middle-aged policewoman, the phones on the front desk are already ringing with inquiries from attorneys, fast-food vendors, and a particularly on-the-ball celebrity magazine that's been tracking her father's connections. "Can you help me get my cat back?" she asks the policewoman earnestly. + +_1 "Name," the officer reads, eyes flickering from the simultaneous translation. "To please wax your identity stiffly." + +_1 "My cat has been stolen," Amber insists. + +_1 "Your cat?" The cop looks perplexed, then exasperated. Dealing with foreign teenagers who answer questions with gibberish isn't in her repertoire. "We are asking your name?" + +_1 "No," says Amber. "It's my cat. It has been stolen. My /{cat}/ has been /{stolen}/." + +_1 "Aha! Your papers, please?" + +_1 "Papers?" Amber is growing increasingly worried. She can't feel the outside world; there's a Faraday cage wrapped around the holding cell, and it's claustrophobically quiet inside. "I want my cat! Now!" + +_1 The cop snaps her fingers, then reaches into her own pocket and produces an ID card, which she points to insistently. "Papers," she repeats. "Or else." + +_1 "I don't know what you're talking about!" Amber wails. + +_1 The cop stares at her oddly. "Wait." She rises and leaves, and a minute later, returns with a thin-faced man in a business suit and wire-rimmed glasses that glow faintly. + +_1 "You are making a scene," he says, rudely and abruptly. "What is your name? Tell me truthfully, or you'll spend the night here." + +_1 Amber bursts into tears. "My /{cat's}/ been stolen," she chokes out. + +_1 The detective and the cop obviously don't know how to deal with this scene; it's freaking them out, with its overtones of emotional messiness and sinister diplomatic entanglement. "You wait here," they say, and back out of the cell, leaving her alone with a plastic animatronic koala and a cheap Lebanese coffee machine. + +_1 The implications of her loss - of Aineko's abduction - are sinking in, finally, and Amber is weeping loudly and hopelessly. It's hard to deal with bereavement and betrayal at any age, and the cat has been her wisecracking companion and consolation for a year, the rock of certainty that gave her the strength to break free from her crazy mother. To lose her cat to a body shop in Hong Kong, where she will probably be cut up for spare circuitry or turned into soup is too horrible to contemplate. Filled with despair and hopeless anguish, Amber howls at the interrogation room walls while outside, trapped threads of her consciousness search for backups to synchronize with. + +_1 But after an hour, just as she's quieting down into a slough of raw despair, there's a knock - a knock! - at the door. An inquisitive head pops in. "Please to come with us?" It's the female cop with the bad translationware. She takes in Amber's sobbing and tuts under her breath, but as Amber stands up and shambles toward her, she pulls back. + +_1 At the front desk of a cubicle farm full of police bureaucrats in various states of telepresence, the detective is waiting with a damp cardboard box wrapped in twine. "Please identify," he asks, snipping the string. + +_1 Amber shakes her head, dizzy with the flow of threads homing in to synchronize their memories with her. "Is it -" she begins to ask as the lid comes apart, wet pulp disintegrating. A triangular head pops up, curiously, sniffing the air. Bubbles blow from brown-furred nostrils. "What took you so long?" asks the cat, as she reaches into the box and picks her up, fur wet and matted with seawater. + +* * * + +"If you want me to go fix your alien, for starters I want you to give me reality alteration privileges," says Amber. "Then I want you to find the latest instances of everyone who came here with me - round up the usual suspects - and give /{them}/ root privileges, too. Then we'll want access to the other embedded universes in the DMZ. Finally, I want guns. /{Lots}/ of guns." + +"That may be difficult," says the ghost. "Many other humans reached halting state long since. Is at least one other still alive, but not accessible for duration of eschatological experiment in progress. Not all were recorded with version control engine; others were-is lost in DMZ. We-are can provide you with extreme access to the demilitarized zone, but query the need for kinetic energy weapons." + +Amber sighs. "You guys really /{are}/ media illiterates, aren't you?" She stands up and stretches, feeling a facsimile of sleep's enervation leaching from her muscles. "I'll also need my -" it's on the tip of her tongue: There's something missing. "Hang on. There's something I've forgotten." /{Something important}/, she thinks, puzzled. /{Something that used to be around all the time that would ... know? ... purr? ... help?}/ "Never mind," she hears her lips say. "This other human. I /{really}/ want her. Non-negotiable. All right?" + +"That may be difficult," repeats the ghost. "Entity is looping in a recursively confined universe." + +"Eh?" Amber blinks at it. "Would you mind rephrasing that? Or illustrating?" + +"Illustration:" The ghost folds the air in the room into a glowing ball of plasma, shaped like a Klein bottle. Amber's eyes cross as she looks at it. "Closest reference from human historical database is Descartes's demon. This entity has retreated within a closed space, but is now unsure whether it is objectively real or not. In any event, it refuses to interact." + +"Well, can you get me into that space?" asks Amber. Pocket universes she can deal with; it's part and parcel of her life. "Give me some leverage -" + +"Risk may attach to this course of action," warns the ghost. + +"I don't care," she says irritably. "Just /{put}/ me there. It's someone I know, isn't it? Send me into her dream, and I'll wake her up, okay?" + +"Understood," says the ghost. "Prepare yourself." + +Without any warning, Amber is somewhere else. She glances around, taking in an ornate mosaic floor, whitewashed walls set with open windows through which stars twinkle faintly in the night sky. Her clothing has somehow been replaced by sexy lingerie under a nearly transparent robe, and her hair's grown longer by about half a meter. It's all very disorienting. The walls are stone, and she stands in a doorway to a room with nothing in it but a bed. Occupied by - + +"Shit," she exclaims. "Who are you?" The young and incredibly, classically beautiful woman in the bed looks at her vacantly, then rolls over on her side. She isn't wearing a stitch, she's completely hairless from the ears down, and her languid posture is one of invitation. "Yes?" Amber asks. "What is it?" + +The woman on the bed beckons to her slowly. Amber shakes her head. "Sorry, that's just not my scene." She backs away into the corridor, unsteady in unaccustomedly high heels. "This is some sort of male fantasy, isn't it? And a dumb adolescent one at that." She looks around again. In one direction, a corridor heads past more open doorways, and in the other, it ends with a spiral staircase. Amber concentrates, trying to tell the universe to take her to the logical destination, but nothing happens. "Looks like I'm going to have to do this the hard way. I wish -" she frowns. She was about to wish that /{someone}/ else was here, but she can't remember who. So she takes a deep breath and heads toward the staircase. + +"Up or down?" she asks herself. /{Up}/ - it seems logical, if you're going to have a tower, to sleep up at the top of it. So she climbs the steps carefully, holding the spiraling rail. /{I wonder who designed this space? she wonders, and what role am I supposed to fit into in their scenario?}/ On second thoughts, the latter question strikes her as laughable. /{Wait till I give him an earful ...}/ + +There's a plain wooden door at the top of the staircase, with a latch that isn't fastened. Amber pauses for a few seconds, nerving herself to confront a sleeper so wrapped in solipsism that he's built this sex-fantasy castle around himself. /{I hope it isn't Pierre}/, she thinks grimly as she pushes the door inward. + +The room is bare and floored in wood. There's no furniture, just an open window set high in one wall. A man sits cross-legged and robed, with his back to her, mumbling quietly to himself and nodding slightly. Her breath catches as she realizes who it is. /{Oh shit}/! Her eyes widen. /{Is this what's been inside his head all along?}/ + +"I did not summon you," Sadeq says calmly, not turning round to look at her. "Go away, tempter. You aren't real." + +Amber clears her throat. "Sorry to disappoint you, but you're wrong," she says. "We've got an alien monster to catch. Want to come hunting?" + +Sadeq stops nodding. He sits up slowly, stretching his spine, then stands up and turns round. His eyes glint in the moonlight. "That's odd." He undresses her with his gaze. "You look like someone I used to know. You've never done that before." + +"For fuck's sake!" Amber nearly explodes, but catches herself after a moment. "What /{is}/ this, a Solipsists United chapterhouse meeting?" + +"I -" Sadeq looks puzzled. "I'm sorry, are you claiming to be real?" + +"As real as you are." Amber reaches out and grabs a hand: He doesn't resist as she pulls him toward the doorway. + +"You're the first visitor I've ever had." He sounds shocked. + +"Listen, come /{on}/." She tugs him after her, down the spiral staircase to the floor below. "Do you want to stay here? Really?" She glances back at him. "What /{is}/ this place?" + +"Hell is a perversion of heaven," he says slowly, running the fingers of his free hand through his beard. Abruptly, he reaches out and grabs her around the waist, then yanks her toward him. "We'll have to /{see}/ how real you are -" Amber, who is not used to this kind of treatment, responds by stomping on his instep and backhanding him hard. + +"You're real!" he cries, as he falls back against the staircase. "Forgive me, please! I had to know -" + +"Know /{what}/?" she snarls. "Lay one finger on me again, and I'll leave you here to rot!" She's already spawning the ghost that will signal the alien outside to pull her out of this pocket universe: It's a serious threat. + +"But I had to - wait. You have /{free will}/. You just demonstrated that." He's breathing heavily and looking up at her imploringly. "I'm /{sorry}/, I apologize! But I had to know whether you were another zombie. Or not." + +"A zombie?" She looks round. Another living doll has appeared behind her, standing in an open doorway wearing a skintight leather suit with a cutaway crotch. She beckons to Sadeq invitingly. Another body wearing strategically placed strips of rubber mewls at her feet, writhing for attention. Amber raises an eyebrow in disgust. "You thought I was one of those?" + +Sadeq nods. "They've got cleverer lately. Some of them can talk. I nearly mistook one for -" He shudders convulsively. "Unclean!" + +"Unclean." Amber looks down at him thoughtfully. "This isn't really your personal paradise after all, is it?" After a moment she holds out a hand to him. "Come on." + +"I'm sorry I thought you were a zombie," he repeats. + +"Under the circumstances, I think I forgive you," she says. Then the ghost yanks them both back to the universe outside. + +* * * + +_1 More memories converge on the present moment: + +_1 The Ring Imperium is a huge cluster of self-replicating robots that Amber has assembled in low Jupiter orbit, fueled by the mass and momentum of the small moon J-47 Barney, to provide a launching platform for the interstellar probe her father's business partners are helping her to build. It's also the seat of her court, the leading jurisprudential nexus in the outer solar system. Amber is the Queen, here, arbitrator and ruler. And Sadeq is her judge and counsel. + +_1 A plaintiff Amber only knows as a radar blip thirty light-minutes away has filed a lawsuit in her court, alleging malfeasance, heresy, and barratry against a semisentient corporate pyramid scheme that arrived in Jovian space twelve million seconds ago and currently seems set on converting every other intelligence in the region to its peculiar memeset. A whole bundle of multithreaded countersuits are dragging at her attention, in a counterattack alleging that the light blip is in violation of copyright, patent, and trade secrecy laws by discussing the interloper's intentions. + +_1 Right now, Amber isn't home on the Ring to hear the case in person. She's left Sadeq behind to grapple with the balky mechanics of her legal system - tailor-designed to make corporate litigation a pain in the ass - while she drags Pierre off on a diplomatic visit to another Jovian colony, the Nursery Republic. Planted by the Franklin Trust's orphanage ship /{Ernst Sanger}/, the Nursery has grown over the past four years into a spindly snowflake three kilometers across. A slow-growing O'Neil cylinder sprouts from its hub: Most of the inhabitants of the space station are less than two years old, precocious additions to the Trust's borganism. + +_1 There's a piazza, paved with something not unlike rough marble, on the side of a hill that clings insecurely to the inner edge of a spinning cup. The sky is a black vastness overhead, wheeling slowly around a central axis lined up on Jupiter. Amber sprawls in a wicker chair, her legs stretched out before her and one arm flung across her forehead. The wreckage of an incredible meal is scattered across the tables around her. Torpid and full, she strokes the cat that lies curled in her lap. Pierre is off somewhere, touring one or another of the prototype ecosystems that one or another of the borg's special interest minds is testing. Amber, for her part, can't be bothered. She's just had a great meal, she doesn't have any lawsuits to worry about, everything back home is on the critpath, and quality time like this is so hard to come by - + +_1 "Do you keep in touch with your father?" asks Monica. + +_1 "Mmm." The cat purrs quietly, and Amber strokes its flank. "We e-mail. Sometimes." + +_1 "I just wondered." Monica is the local borg den mother, willowy and brown-eyed and with a deceptively lazy drawl - Yorkshire English overlaid with Silicon Valley speak. "I hear from him, y'know. From time to time. Now that Gianni's retired, he doesn't have much to do down-well anymore. So he was talking about coming out here." + +_1 "What? To Perijove?" Amber's eyes open in alarm: Aineko stops purring and looks round at Monica accusingly. + +_1 "Don't worry." Monica sounds vaguely amused: "He wouldn't cramp your style, I think." + +_1 "But, out here -" Amber sits up. "Damn," she says, quietly. "What got into him?" + +_1 "Middle-aged restlessness, my downwell sibs say." Monica shrugs. "This time Annette didn't stop him. But he hasn't made up his mind to travel yet." + +_1 "Good. Then he might not -" Amber stops. "The phrase, 'made up his mind', what exactly do you mean?" + +_1 Monica's smile mocks her for a few seconds before the older woman surrenders. "He's talking about uploading." + +_1 "Is that embarrassing or what?" asks Ang. Amber glances at her, mildly annoyed, but Ang isn't looking her way. /{So much for friends}/, Amber thinks. Being queen of all you survey is a great way of breaking up peer relationships - + +_1 "He won't do it," Amber predicts. "Dad's burned out." + +_1 "He thinks he'll get it back if he optimizes himself for re-entrancy." Monica continues to smile. "I've been telling him it's just what he needs." + +_1 "I do /{not}/ want my father bugging me. Or my mother. Or Auntie 'Nette and Uncle Gianni. Memo to immigration control: No entry rights for Manfred Macx or the other named individuals without clearance through the Queen's secretary." + +_1 "What did he do to get you so uptight?" asks Monica idly. + +_1 Amber sighs, and subsides. "Nothing. It's not that I'm ungrateful or anything, but he's just so extropian, it's embarrassing. Like, that was the last century's apocalypse. Y'know?" + +_1 "I think he was a really very forward-looking organic," Monica, speaking for the Franklin borg, asserts. Amber looks away. /{Pierre would get it}/, she thinks. Pierre would understand her aversion to Manfred's showing up. Pierre, too, wants to carve out his own niche without parents looking over his shoulders, although for very different reasons. She focuses on someone male and more or less mature - Nicky, she thinks, though she hasn't seen him for a long time - walking toward the piazza, bare-ass naked and beautifully tanned. + +_1 "Parents. What are they good for?" asks Amber, with all the truculence of her seventeen years. "Even if they stay neotenous, they lose flexibility. And there's that long Paleolithic tradition of juvenile slavery. Inhuman, I call it." + +_1 "How old were you when it was safe to leave you around the house on your own?" challenges Monica. + +_1 "Three. That's when I had my first implants." Amber smiles at the approaching young Adonis, who smiles back: Yes, it's Nicky, and he seems pleased to see her. /{Life is good}/, she thinks, idly considering whether or not to tell Pierre. + +_1 "Times change," remarks Monica. "Don't write your family off too soon; there might come a time when you want their company." + +_1 "Huh." Amber pulls a face at the old borg component. "That's what you all say!" + +* * * + +As soon as Amber steps onto the grass, she can feel possibilities open up around her. She has management authority here, and this universe is /{big}/, wide open, not like Sadeq's existential trap. A twitch of a sub-process reasserts her self-image, back to short hair and comfortable clothing. Another twitch brings up a whole load of useful diagnostics. Amber has a nasty feeling that she's running in a compatibility sandbox here - there are signs that her access to the simulation system's control interface is very much via proxy - but at least she's got it. + +"Wow! Back in the real world at last!" She can hardly contain her excitement, even forgetting to be pissed at Sadeq for thinking she was just an actor in his Cartesian theatre's performance of Puritan Hell. "Look! It's the DMZ!" + +They're standing on a grassy knoll overlooking a gleaming Mediterranean city. It snoozes beneath a Mandelbrot-fuzzy not-sun that hangs at the center of a hyperbolic landscape, which dwindles into a blue yonder that seems incomprehensibly distant. Circular baby-blue wells open in the walls of the world at regular intervals, connecting to other parts of the manifold. "How big is it, ghost? In planetary simulation-equivalents." + +"This demilitarized zone is an embedded reality, funneling all transfers between the local star system's router and the civilization that built it. It uses on the order of a thousandth of the capacity of the Matrioshka brain it is part of, although the runaway excursion currently in force has absorbed most of that. Matrioshka brain, you are familiar with the concept?" The ghost sounds fussily pedantic. + +Sadeq shakes his head. Amber glances at him, askance. "Take all the planets in a star system and dismantle them," she explains. "Turn them into dust - structured nanocomp, powered by heat exchangers, spread in concentric orbits around the central star. The inner orbitals run close to the melting point of iron, the outer ones are cold as liquid nitrogen, and each layer runs off the waste heat of the next shell in. It's like a Russian doll made out of Dyson spheres, shell enclosing shell enclosing shell, but it's not designed to support human life. It's computronium, matter optimized at the atomic level to support computing, and they're all running uploads - Dad figured our own solar system could support, uh, about a hundred billion times as many inhabitants as Earth. At a conservative estimate. As uploads, living in simulation space. If you first dismantle all the planets and use the resulting materials to build a Matrioshka brain." + +"Ah." Sadeq nods thoughtfully. "Is that your definition, too?" he asks, glancing up at the glowing point the ghost uses to localize its presence. + +"Substantially," it says, almost grudgingly. + +"Substantially?" Amber glances around. /{A billion worlds to explore}/, she thinks dizzily. /{And that's just the}/ firewall? She feels obscurely cheated: You need to be vaster than human just to count the digits in the big numbers at play here, but there's nothing fundamentally incomprehensible about it. This is the sort of civilization Dad said she could expect to live in, within her meatbody life expectancy. Dad and his drinking buddies, singing, "Dismantle the Moon! Melt down Mars!" in a castle outside Prague as they waited for the results of a shamelessly gerrymandered election to arrive in the third decade of the third millennium. The Space and Freedom Party taking over the EU, and cranking up to escape velocity. But this is supposed to be kiloparsecs from home, ancient alien civilizations and all that! Where's the exotic superscience? What about the neuron stars, strange matter suns structured for computing at nucleonic, rather than electronic, speeds? /{I have a bad feeling about this}/, she thinks, spawning a copy of herself to set up a private channel to Sadeq. /{It's not advanced enough. Do you suppose these guys could be like the Wunch? Parasites or barbarians hitching a ride in the machine?}/ + +/{You believe it's lying to us?}/ Sadeq sends back. + +"Hmm." Amber sets off downslope toward the piazza below, at the heart of the fake town. "It looks a bit too human to me." + +"Human," echoes Sadeq, a curious wistfulness in his voice. "Did you not say humans are extinct?" + +"Your species is obsolete," the ghost comments smugly. "Inappropriately adapted to artificial realities. Poorly optimized circuitry, excessively complex low-bandwidth sensors, messily global variables -" + +"Yeah, yeah, I get the picture," says Amber, turning her attention to the town. "So why do you think we can deal with this alien god you've got a problem with?" + +"It asked for you," says the ghost, narrowing from an ellipse to a line, then shrinking to a dimensionless point of brilliance. "And now it's coming. We-I not willing to risk exposure. Call us-me when you have slain the dragon. Goodbye." + +"Oh /{shit}/ -" Amber spins round. But she and Sadeq are alone beneath the hot sunlight from above. The piazza, like the one in the Nursery Republic, is charmingly rustic - but there's nobody home, nothing but ornate cast-iron furniture basking beneath the noon-bright sun, a table with a parasol over it, and something furry lying sprawled in a patch of sunlight beside it. + +"We appear to be alone for now," says Sadeq. He smiles crookedly, then nods at the table. "Maybe we should wait for our host to arrive?" + +"Our host." Amber peers around. "The ghost is kind of frightened of this alien. I wonder why?" + +"It asked for us." Sadeq heads toward the table, pulls out a chair, and sits down carefully. "That could be very good news - or very bad." + +"Hmm." Amber finishes her survey, sees no sign of life. For lack of any better ideas, she ambles over to the table and sits down on the other side of it from Sadeq. He looks slightly nervous beneath her inspection, but maybe it's just embarrassment about having seen her in her underwear. /{If I had an afterlife like that, I'd be embarrassed about it, too,}/ Amber thinks to herself. + +"Hey, you nearly tripped over -" Sadeq freezes, peering at something close to Amber's left foot. He looks puzzled for a moment, then smiles broadly. "What are /{you}/ doing here?" he asks her blind spot. + +"What are you talking to?" she asks, startled. + +/{He's talking to}/ me, /{dummy}/, says something tantalizingly familiar from her blind spot. /{So the fuckwits are trying to use you to dislodge me, hmm? That's not exactly clever.}/ + +"Who -" Amber squints at the flagstone, spawns a bunch of ghosts who tear hurriedly at her reality modification ackles. Nothing seems to shift the blindness. "Are you the alien?" + +"What else could I be?" the blind spot asks with heavy irony. "No, I'm your father's pet cat. Listen, do you want to get out of here?" + +"Uh." Amber rubs her eyes. "I can't see you, whatever you are," she says politely. "Do I know you?" She's got a strange sense that she /{does}/ know the blind spot, that it's really important, and she's missing something intimate to her own sense of identity, but what it might be she can't tell. + +"Yeah, kid." There's a note of world-weary amusement in the not-voice coming from the hazy patch on the ground. "They've hacked you but good, both of you. Let me in, and I'll fix it." + +"No!" Exclaims Amber, a second ahead of Sadeq, who looks at her oddly. "Are you really an invader?" + +The blind spot sighs. "I'm as much an invader as you are, remember? I came here with you. Difference is, I'm not going to let some stupid corporate ghost use me as fungible currency." + +"Fungible -" Sadeq stops. "I remember you," he says slowly, with an expression of absolute, utter surprise on his face. "What do you mean?" + +The blind spot /{yawns}/, baring sharp ivory fangs. Amber shakes her head, dismissing the momentary hallucination. "Lemme guess. You woke up in a room, and this alien ghost tells you the human species is extinct and asks you to do a number on me. Is that right?" + +Amber nods, as an icy finger of fear trails up and down her spine. "Is it lying?" she asks. + +"Damn right." The blind spot is smiling, now, and the smile on the void won't go away - she can see the smile, just not the body it's attached to. "My reckoning is, we're about sixteen light-years from Earth. The Wunch came through here, stripped the dump, then took off for parts unknown; it's a trashhole, you wouldn't believe it. The main life-form is an incredibly ornate corporate ecosphere, legal instruments breeding and replicating. They mug passing sapients and use them as currency." + +There's a triangular, pointy head behind the smile, slit eyes and sharp ears, a predatory, intelligent-looking but infinitely alien face. Amber can see it out of the corners of her eyes when she looks around the piazza. "You mean we, uh, they grabbed us when we appeared, and they've mangled my memories -" Amber suddenly finds it incredibly difficult to concentrate, but if she focuses on the smile, she can almost see the body behind it, hunched like a furry chicken, tail wrapped neatly around its front paws. + +"Yeah. Except they didn't bargain on meeting something like me." The smile is infinitely wide, a Cheshire-cat grin on front of an orange-and-brown stripy body that shimmers in front of Amber's gaze like a hallucination. "Your mother's cracking tools are self-extending, Amber. Do you remember Hong Kong?" + +"Hong -" + +There is a moment of painless pressure, then Amber feels huge invisible barriers sliding away on all sides. She looks around, for the first time seeing the piazza as it really is, half the crew of the /{Field Circus}/ waiting nervously around her, the grinning cat crouched on the floor at her feet, the enormous walls of recomplicating data that fence their little town off from the gaping holes - interfaces to the other routers in the network. + +"Welcome back," Pierre says gravely, as Amber gives a squeak of surprise and leans forward to pick up her cat. "Now you're out from under, how about we start trying to figure out how to get home?" + +* * * + +_1 Welcome to decade the sixth, millennium three. These old datelines don't mean so much anymore, for while some billions of fleshbody humans are still infected with viral memes, the significance of theocentric dating has been dealt a body blow. This may be the fifties, but what that means to you depends on how fast your reality rate runs. The various upload clades exploding across the reaches of the solar system vary by several orders of magnitude - some are barely out of 2049, while others are exploring the subjective thousandth millennium. + +_1 While the /{Field Circus}/ floats in orbit around an alien router (itself orbiting the brown dwarf Hyundai ^{+4904}^/,{-56},), while Amber and her crew are trapped on the far side of a wormhole linking the router to a network of incomprehensibly vast alien mindscapes - while all this is going on, the damnfool human species has finally succeeded in making itself obsolete. The proximate cause of its displacement from the pinnacle of creation (or the pinnacle of teleological self-congratulation, depending on your stance on evolutionary biology) is an attack of self-aware corporations. The phrase "smart money" has taken on a whole new meaning, for the collision between international business law and neurocomputing technology has given rise to a whole new family of species - fast-moving corporate carnivores in the Net. The planet Mercury has been broken up by a consortium of energy brokers, and Venus is an expanding debris cloud, energized to a violent glare by the trapped and channeled solar output. A million billion fist-sized computing caltrops, backsides glowing dull red with the efflux from their thinking, orbit the sun at various inclinations no farther out than Mercury used to be. + +_1 Billions of fleshbody humans refuse to have anything to do with the blasphemous new realities. Many of their leaders denounce the uploads and AIs as soulless machines. Many more are timid, harboring self-preservation memes that amplify a previously healthy aversion to having one's brain peeled like an onion by mind-mapping robots into an all-pervading neurosis. Sales of electrified tinfoil-lined hats are at an all-time high. Still, hundreds of millions have already traded their meat puppets for mind machines, and they breed fast. In another few years, the fleshbody populace will be an absolute minority of the posthuman clade. Sometime later, there will probably be a war. The dwellers in the thoughtcloud are hungry for dumb matter to convert, and the fleshbodies make notoriously poor use of the collection of silicon and rare elements that pool at the bottom of the gravity well that is Earth. + +_1 Energy and thought are driving a phase-change in the condensed matter substance of the solar system. The MIPS per kilogram metric is on the steep upward leg of a sigmoid curve - dumb matter is coming to life as the mind children restructure everything with voracious nanomechanical servants. The thoughtcloud forming in orbit around the sun will ultimately be the graveyard of a biological ecology, another marker in space visible to the telescopes of any new iron-age species with the insight to understand what they're seeing: the death throes of dumb matter, the birth of a habitable reality vaster than a galaxy and far speedier. Death throes that, within a few centuries, will mean the extinction of biological life within a light-year or so of that star - for the majestic Matrioshka brains, though they are the pinnacles of sentient civilization, are intrinsically hostile environments for fleshy life. + +* * * + +Pierre, Donna-the-all-seeing-eye, and Su Ang fill Amber in on what they've discovered about the bazaar - as they call the space the ghost referred to as the demilitarized zone - over ice-cold margaritas and a very good simulation of a sociable joint. Some of them have been on the loose in here for subjective years. There's a lot of information to absorb. + +"The physical layer is half a light-hour in diameter, four hundred times as massive as Earth," Pierre explains. "Not solid, of course - the largest component is about the size my fist used to be." Amber squints, trying to remember how big that was - scale factors are hard to remember accurately. "I met this old chatbot that said it's outlived its original star, but I'm not sure it's running with a full deck. Anyway, if it's telling the truth, we're a third of a light year out from a closely coupled binary system - they use orbital lasers the size of Jupiter to power it without getting too close to all those icky gravity wells." + +Amber is intimidated, despite her better judgment, because this bizarre bazaar is several hundred billion times as big as the totality of human presingularity civilization. She tries not to show it in front of the others, but she's worried that getting home may be impossible - requiring enterprise beyond the economic event horizon, as realistic a proposition as a dime debuting as a dollar bill. Still, she's got to at least try. Just knowing about the existence of the bazaar will change so many things ... + +"How much money can we lay our hands on?" She asks. "What /{is}/ money hereabouts, anyway? Assuming they've got a scarcity-mediated economy. Bandwidth, maybe?" + +"Ah, well." Pierre looks at her oddly. "That's the problem. Didn't the ghost tell you?" + +"Tell me?" Amber raises an eyebrow. "Yeah, but it hasn't exactly proven to be a reliable guide to anything, has it?" + +"Tell her," Su Ang says quietly. She looks away, embarrassed by something. + +"They've got a scarcity economy all right," says Pierre. "Bandwidth is the limited resource, that and matter. This whole civilization is tied together locally because if you move too far away, well, it takes ages to catch up on the gossip. Matrioshka brain intelligences are much more likely to stay at home than anybody realized, even though they chat on the phone a lot. And they use things that come from other cognitive universes as, well, currency. We came in through the coin slot, is it any wonder we ended up in the bank?" + +"That's so deeply wrong that I don't know where to begin," Amber grumbles. "How did they get into this mess?" + +"Don't ask me." Pierre shrugs. "I have the distinct feeling that anyone or anything we meet in this place won't have any more of a clue than we do - whoever or whatever built this brain, there ain't nobody home anymore except the self-propelled corporations and hitchhikers like the Wunch. We're in the dark, just like they were." + +"Huh. You mean they built something like this, then they went extinct? That sounds so dumb ..." + +Su Ang sighs. "They got too big and complex to go traveling once they built themselves a bigger house to live in. Extinction tends to be what happens to overspecialized organisms that are stuck in one environmental niche for too long. If you posit a singularity, then maximization of local computing resources - like this - as the usual end state for tool users, is it any wonder none of them ever came calling on us?" + +Amber focuses on the table in front of her, rests the heel of her palm on the cool metal, and tries to remember how to fork a second copy of her state vector. A moment later, her ghost obligingly fucks with the physics model of the table. Iron gives way like rubber beneath her fingertips, a pleasant elasticity. "Okay, we have some control over the universe, at least that's something to work with. Have any of you tried any self-modification?" + +"That's dangerous," Pierre says emphatically. "The more of us the better before we start doing that stuff. And we need some firewalling of our own." + +"How deep does reality go, here?" asks Sadeq. It's almost the first question he's asked of his own volition, and Amber takes it as a positive sign that he's finally coming out of his shell. + +"Oh, the Planck length is about a hundredth of a millimeter in this world. Too small to see, comfortably large for the simulation engines to handle. Not like /{real}/ space-time." + +"Well, then." Sadeq pauses. "They can zoom their reality if they need to?" + +"Yeah, fractals work in here." Pierre nods. "I didn't -" + +"This place is a trap," Su Ang says emphatically. + +"No it isn't," Pierre replies, nettled. + +"What do you mean, a trap?" asks Amber. + +"We've been here a while," says Ang. She glances at Aineko, who sprawls on the flagstones, snoozing or whatever it is that weakly superhuman AIs do when they're emulating a sleeping cat. "After your cat broke us out of bondage, we had a look around. There are things out there that -" She shivers. "Humans can't survive in most of the simulation spaces here. Universes with physics models that don't support our kind of neural computing. You could migrate there, but you'd need to be ported to a whole new type of logic - by the time you did that, would you still be you? Still, there are enough entities roughly as complex as we are to prove that the builders aren't here anymore. Just lesser sapients, rooting through the wreckage. Worms and parasites squirming through the body after nightfall on the battlefield." + +"I ran into the Wunch," Donna volunteers helpfully. "The first couple of times they ate my ghost, but eventually I figured out how to talk to them." + +"And there's other aliens, too," Su Ang adds gloomily. "Just nobody you'd want to meet on a dark night." + +"So there's no hope of making contact," Amber summarizes. "At least, not with anything transcendent and well-intentioned toward visiting humans." + +"That's probably right," Pierre concedes. He doesn't sound happy about it. + +"So we're stuck in a pocket universe with limited bandwidth to home and a bunch of crazy slum dwellers who've moved into the abandoned and decaying mansion and want to use us for currency. 'Jesus saves, and redeems souls for valuable gifts.' Yeah?" + +"Yeah." Su Ang looks depressed. + +"Well." Amber glances at Sadeq speculatively. Sadeq is staring into the distance, at the crazy infinite sunspot that limns the square with shadows. "Hey, god-man. Got a question for you." + +"Yes?" Sadeq looks at her, a slightly dazed expression on his face. "I'm sorry, I am just feeling the jaws of a larger trap around my throat -" + +"Don't be." Amber grins, and it is not a pleasant expression. "Have you ever been to Brooklyn?" + +"No, why -" + +"Because you're going to help me sell these lying bastards a bridge. Okay? And when we've sold it we're going to use the money to pay the purchasing fools to drive us across, so we can go home. Listen, this is what I'm planning ..." + +* * * + +"I can do this, I think," Sadeq says, moodily examining the Klein bottle on the table. The bottle is half-empty, its fluid contents invisible around the corner of the fourth-dimensional store. "I spent long enough alone in there to -" He shivers. + +"I don't want you damaging yourself," Amber says, calmly enough, because she has an ominous feeling that their survival in this place has an expiry date attached. + +"Oh, never fear." Sadeq grins lopsidedly. "One pocket hell is much like another." + +"Do you understand why -" + +"Yes, yes," he says dismissively. "We can't send copies of ourselves into it, that would be an abomination. It needs to be unpopulated, yes?" + +"Well, the idea is to get us home, not leave thousands of copies of ourselves trapped in a pocket universe here. Isn't that it?" Su Ang asks hesitantly. She's looking distracted, most of her attention focused on absorbing the experiences of a dozen ghosts she's spun off to attend to perimeter security. + +"Who are we selling this to?" asks Sadeq. "If you want me to make it attractive -" + +"It doesn't need to be a complete replica of the Earth. It just has to be a convincing advertisement for a presingularity civilization full of humans. You've got two-and-seventy zombies to dissect for their brains; bolt together a bunch of variables you can apply to them, and you can permutate them to look a bit more varied." + +Amber turns her attention to the snoozing cat. "Hey, furball. How long have we been here really, in real time? Can you grab Sadeq some more resources for his personal paradise garden?" + +Aineko stretches and yawns, totally feline, then looks up at Amber with narrowed eyes and raised tail. "'Bout eighteen minutes, wall-clock time." The cat stretches again and sits, front paws drawn together primly, tail curled around them. "The ghosts are pushing, you know? I don't think I can sustain this for too much longer. They're not good at hacking people, but I think it won't be too long before they instantiate a new copy of you, one that'll be predisposed to their side." + +"I don't get why they didn't assimilate you along with the rest of us." + +"Blame your mother again - she's the one who kept updating the digital rights management code on my personality. 'Illegal consciousness is copyright theft' sucks until an alien tries to rewire your hindbrain with a debugger; then it's a lifesaver." Aineko glances down and begins washing one paw. "I can give your mullah-man about six days, subjective time. After that, all bets are off." + +"I will take it, then." Sadeq stands. "Thank you." He smiles at the cat, a smile that fades to translucency, hanging in the simulated air like an echo as the priest returns to his tower - this time with a blueprint and a plan in mind. + +"That leaves just us." Su Ang glances at Pierre, back to Amber. "Who are you going to sell this crazy scheme to?" + +Amber leans back and smiles. Behind her, Donna - her avatar an archaic movie camera suspended below a model helicopter - is filming everything for posterity. She nods lazily at the reporter. "She's the one who gave me the idea. Who do we know who's dumb enough to buy into a scam like this?" + +Pierre looks at her suspiciously. "I think we've been here before," he says slowly. "You aren't going to make me kill anyone, are you?" + +"I don't think that'll be necessary, unless the corporate ghosts think we're going to get away from them and are greedy enough to want to kill us." + +"You see, she learned from last time," Ang comments, and Amber nods. "No more misunderstandings, right?" She beams at Amber. + +Amber beams back at her. "Right. And that's why you -" she points at Pierre - "are going to go find out if any relics of the Wunch are hanging about here. I want you to make them an offer they won't refuse." + +* * * + +"How much for just the civilization?" asks the Slug. + +Pierre looks down at it thoughtfully. It's not really a terrestrial mollusk: Slugs on Earth aren't two meters long and don't have lacy white exoskeletons to hold their chocolate-colored flesh in shape. But then, it isn't really the alien it appears to be. It's a defaulting corporate instrument that has disguised itself as a long-extinct alien upload, in the hope that its creditors won't recognize it if it looks like a randomly evolved sentient. One of the stranded members of Amber's expedition made contact with it a couple of subjective years ago, while exploring the ruined city at the center of the firewall. Now Pierre's here because it seems to be one of their most promising leads. Emphasis on the word promising - because it promises much, but there is some question over whether it can indeed deliver. + +"The civilization isn't for sale," Pierre says slowly. The translation interface shimmers, storing up his words and transforming them into a different deep grammar, not merely translating his syntax but mapping equivalent meanings where necessary. "But we can give you privileged observer status if that's what you want. And we know what you are. If you're interested in finding a new exchange to be traded on, your existing intellectual property assets will be worth rather more there than here." + +The rogue corporation rears up slightly and bunches into a fatter lump. Its skin blushes red in patches. "Must think about this. Is your mandatory accounting time cycle fixed or variable term? Are self-owned corporate entities able to enter contracts?" + +"I could ask my patron," Pierre says casually. He suppresses a stab of angst. He's still not sure where he and Amber stand, but theirs is far more than just a business relationship, and he worries about the risks she's taking. "My patron has a jurisdiction within which she can modify corporate law to accommodate your requirements. Your activities on a wider scale might require shell companies -" the latter concept echoes back in translation to him as host organisms - "but that can be taken care of." + +The translation membrane wibbles for a while, apparently reformulating some more abstract concepts in a manner that the corporation can absorb. Pierre is reasonably confident that it'll take the offer, however. When it first met them, it boasted about its control over router hardware at the lowest levels. But it also bitched and moaned about the firewall protocols that were blocking it from leaving (before rather rudely trying to eat its conversationalist). He waits patiently, looking around at the swampy landscape, mudflats punctuated by clumps of spiky violet ferns. The corporation has to be desperate, to be thinking of the bizarre proposition Amber has dreamed up for him to pitch to it. + +"Sounds interesting," the Slug declares after a brief confirmatory debate with the membrane. "If I supply a suitable genome, can you customize a container for it?" + +"I believe so," Pierre says carefully. "For your part, can you deliver the energy we need?" + +"From a gate?" For a moment the translation membrane hallucinates a stick-human, shrugging. "Easy. Gates are all entangled: Dump coherent radiation in at one, get it out at another. Just get me out of this firewall first." + +"But the lightspeed lag -" + +"No problem. You go first, then a dumb instrument I leave behind buys up power and sends it after. Router network is synchronous, within framework of state machines that run Universe 1.0; messages propagate at same speed, speed of light in vacuum, except use wormholes to shorten distances between nodes. Whole point of the network is that it is nonlossy. Who would trust their mind to a communications channel that might partially randomize them in transit?" + +Pierre goes cross-eyed, trying to understand the implications of the Slug's cosmology. But there isn't really time, here and now: They've got on the order of a minute of wall-clock time left to get everything sorted out, if Aineko is right. One minute to go before the angry ghosts start trying to break into the DMZ by other means. "If you are willing to try this, we'd be happy to accommodate you," he says, thinking of crossed fingers and rabbits' feet and firewalls. + +"It's a deal," the membrane translates the Slug's response back at him. "Now we exchange shares/plasmids/ownership? Then merger complete?" + +Pierre stares at the Slug: "But this is a business arrangement!" he protests. "What's sex got to do with it?" + +"Apologies offered. I am thinking we have a translation error. You said this was to be a merging of businesses?" + +"Not /{that}/ way. It's a contract. We agree to take you with us. In return, you help lure the Wunch into the domain we're setting up for them and configure the router at the other end ..." + +And so on. + +* * * + +Steeling herself, Amber recalls the address the ghost gave her for Sadeq's afterlife universe. In her own subjective time it's been about half an hour since he left. "Coming?" she asks her cat. + +"Don't think I will," says Aineko. It looks away, blissfully unconcerned. + +"Bah." Amber tenses, then opens the port to Sadeq's pocket universe. + +As usual she finds herself indoors, standing on an ornate mosaic floor in a room with whitewashed walls and peaked windows. But there's something different about it, and after a moment, she realizes what it is. The sound of vehicle traffic from outside, the cooing of pigeons on the rooftops, someone shouting across the street: There are people here. + +She walks over to the nearest window and looks out, then recoils. It's /{hot}/ outside. Dust and fumes hang in air the color of cement over rough-finished concrete apartment buildings, their roofs covered in satellite uplinks and cheap, garish LED advertising panels. Looking down she sees motor scooters, cars - filthy, fossil-fueled behemoths, a tonne of steel and explosives in motion to carry only one human, a mass ratio worse than an archaic ICBM - brightly dressed people walking to and fro. A news helicam buzzes overhead, lenses darting and glinting at the traffic. + +"Just like home, isn't it?" says Sadeq, behind her. + +Amber starts. "This is where you grew up? This is Yazd?" + +"It doesn't exist anymore, in real space." Sadeq looks thoughtful, but far more animated than the barely conscious parody of himself that she'd rescued from this building - back when it was a mediaeval vision of the afterlife - scant subjective hours ago. He cracks a smile: "Probably a good thing. We were dismantling it even while we were preparing to leave, you know?" + +"It's detailed." Amber throws her eyes at the scene out the window, multiplexes them, and tells them to send little virtual ghosts dancing through the streets of the Iranian industrial 'burb. Overhead, big Airbuses ply the skyways, bearing pilgrims on the hajj, tourists to the coastal resorts on the Persian Gulf, produce to the foreign markets. + +"It's the best time I could recall," Sadeq says. "I didn't spend many days here then - I was in Qom, studying, and Kazakhstan, for cosmonaut training - but it's meant to be the early twenties. After the troubles, after the fall of the guardians; a young, energetic, liberal country full of optimism and faith in democracy. Values that weren't doing well elsewhere." + +"I thought democracy was a new thing there?" + +"No." Sadeq shakes his head. "There were prodemocracy riots in Tehran in the nineteenth century, did you know that? That's why the first revolution - no." He makes a cutting gesture. "Politics and faith are a combustible combination." He frowns. "But look. Is this what you wanted?" + +Amber recalls her scattered eyes - some of which have flown as much as a thousand kilometers from her locus - and concentrates on reintegrating their visions of Sadeq's re-creation. "It looks convincing. But not too convincing." + +"That was the idea." + +"Well, then." She smiles. "Is it just Iran? Or did you take any liberties around the edges?" + +"Who, me?" He raises an eyebrow. "I have enough doubts about the morality of this - project - without trying to trespass on Allah's territory, peace be unto him. I promise you, there are no sapients in this world but us. The people are the hollow shells of my dreaming, storefront dummies. The animals are crude bitmaps. This is what you asked for, and no more." + +"Well, then." Amber pauses. She recalls the expression on the dirt-smudged face of a little boy, bouncing a ball at his companions by the boarded-up front of a gas station on a desert road; remembers the animated chatter of two synthetic housewives, one in traditional black and the other in some imported Eurotrash fashion. "Are you sure they aren't real?" she asks. + +"Quite sure." But for a moment, she sees Sadeq looking uncertain. "Shall we go? Do you have the occupiers ready to move in yet?" + +"Yes to the first, and Pierre's working on the second. Come on, we don't want to get trampled by the squatters." She waves and opens a door back onto the piazza where her robot cat - the alien's nightmare intruder in the DMZ - sleeps, chasing superintelligent dream mice through multidimensional realities. "Sometimes I wonder if /{I'm}/ conscious. Thinking these thoughts gives me the creeps. Let's go and sell some aliens a bridge in Brooklyn." + +* * * + +Amber confronts the mendacious ghost in the windowless room stolen from 2001. + +"You have confined the monster," the ghost states. + +"Yes." Amber waits for a subjective moment, feeling delicate fronds tickle at the edges of her awareness in what seems to be a timing channel attack. She feels a momentary urge to sneeze, and a hot flash of anger that passes almost immediately. + +"And you have modified yourself to lock out external control," the ghost adds. "What is it that you want, Autonome Amber?" + +"Don't you have any concept of individuality?" she asks, annoyed by its presumption at meddling with her internal states. + +"Individuality is an unnecessary barrier to information transfer," says the ghost, morphing into its original form, a translucent reflection of her own body. "It reduces the efficiency of a capitalist economy. A large block of the DMZ is still inaccessible to we-me. Are you /{sure}/ you have defeated the monster?" + +"It'll do as I say," Amber replies, forcing herself to sound more confident than she feels - sometimes that damned transhuman cyborg cat is no more predictable than a real feline. "Now, the matter of payment arises." + +"Payment." The ghost sounds amused. But Pierre's filled her in on what to look for, and Amber can now see the translation membranes around it. Their color shift maps to a huge semantic distance; the creature on the other side, even though it looks like a ghost-image of herself, is very far from human. "How can we-us be expected to pay our own money for rendering services to us?" + +Amber smiles. "We want an open channel back to the router we arrived through." + +"Impossible," says the ghost. + +"We want an open channel, /{and}/ for it to stay open for six hundred million seconds after we clear it." + +"Impossible," the ghost repeats. + +"We can trade you a whole civilization," Amber says blandly. "A whole human nation, millions of individuals. Just let us go, and we'll see to it." + +"You - please wait." The ghost shimmers slightly, fuzzing at the edges. + +Amber opens a private channel to Pierre while the ghost confers with its other nodes. /{Are the Wunch in place yet?}/ she sends. + +/{They're moving in. This bunch don't remember what happened on the}/ Field Circus, /{memories of those events never made it back to them. So the Slug's got them to cooperate. It's kinda scary to watch - like}/ the Invasion of the Body Snatchers, /{you know?}/ + +/{I don't care if it's scary to watch}/, Amber replies, /{I need to know if we're ready yet}/. + +/{Sadeq says yes, the universe is ready.}/ + +/{Right, pack yourself down. We'll be moving soon.}/ + +The ghost is firming up in front of her. "A whole civilization?" it asks. "That is not possible. Your arrival -" It pauses, fuzzing a little. /{Hah, Gotcha!}/ thinks Amber. /{Liar, liar, pants on fire!}/ "You cannot possibly have found a human civilization in the archives?" + +"The monster you complain about that came through with us is a predator," she asserts blandly. "It swallowed an entire nation before we heroically attracted its attention and induced it to follow us into the router. It's an archivore - everything was inside it, still frozen until we expanded it again. This civilization will already have been restored from hot shadows in our own solar system: There is nothing to gain by taking it home with us. But we need to return to ensure that no more predators of this type discover the router - or the high-bandwidth hub we linked to it." + +"You are sure you have killed this monster?" asks the ghost. "It would be inconvenient if it were to emerge from hiding in its digest archives." + +"I can guarantee it won't trouble you again if you let us go," says Amber, mentally crossing her fingers. The ghost doesn't seem to have noticed the huge wedge of fractally compressed data that bloats her personal scope by an order of magnitude. She can still feel Aineko's goodbye smile inside her head, an echo of ivory teeth trusting her to revive it if the escape plan succeeds. + +"We-us agree." The ghost twists weirdly, morphs into a five-dimensional hypersphere. It bubbles violently for a moment, then spits out a smaller token - a warped distortion in the air, like a gravityless black hole. "Here is your passage. Show us the civilization." + +"Okay " - /{Now!}/ - "catch." Amber twitches an imaginary muscle, and one wall of the room dissolves, forming a doorway into Sadeq's existential hell, now redecorated as a fair facsimile of a twenty-first-century industrial city in Iran, and populated by a Wunch of parasites who can't believe what they've lucked into - an entire continent of zombies waiting to host their flesh-hungry consciousness. + +The ghost drifts toward the open window. Amber grabs the hole and yanks it open, gets a grip on her own thoughts, and sends /{Open wide!}/ on the channel everybody is listening in on. For a moment time stands still, and then - + +* * * + +A synthetic gemstone the size of a Coke can falls through the cold vacuum, in high orbit around a brown dwarf. But the vacuum is anything but dark. A sapphire glare as bright as the noonday sun on Mars shines on the crazy diamond, billowing and cascading off sails as fine as soap bubbles that slowly drift and tense away from the can. The runaway Slug-corporation's proxy has hacked the router's firmware, and the open wormhole gate that feeds power to it is shining with the brilliance of a nuclear fireball, laser light channeled from a star many light-years away to power the /{Field Circus}/ on its return trip to the once-human solar system. + +Amber has retreated, with Pierre, into a simulation of her home aboard the Ring Imperium. One wall of her bedroom is a solid slab of diamond, looking out across the boiling Jovian ionosphere from an orbit low enough to make the horizon appear flat. They're curled together in her bed, a slightly more comfortable copy of the royal bed of King Henry VIII of England. It appears to be carved from thousand-year-old oak beams. As with so much else about the Ring Imperium, appearances are deceptive; and this is even more true of the cramped simulation spaces aboard the /{Field Circus}/, as it limps toward a tenth the speed of light, the highest velocity it's likely to achieve on a fraction of its original sail area. + +"Let me get this straight. You convinced. The locals. That a simulation of Iran, with zombie bodies that had been taken over by members of the Wunch. Was a human civilization?" + +"Yeah." Amber stretches lazily and smirks at him. "It's their damn fault; if the corporate collective entities didn't use conscious viewpoints as money, they wouldn't have fallen for a trick like that, would they?" + +"People. Money." + +"Well." She yawns, then sits up and snaps her finger imperiously: Down-stuffed pillows appear behind her back, and a silver salver bearing two full glasses of wine materializes between them. "Corporations are life-forms back home, too, aren't they? And we trade them. We give our AIs corporations to make them legal entities, but the analogy goes deeper. Look at any company headquarters, fitted out with works of art and expensive furniture and staff bowing and scraping everywhere -" + +" - They're the new aristocracy. Right?" + +"Wrong. When they take over, what you get is more like the new biosphere. Hell, the new primordial soup: prokaryotes, bacteria, and algae, mindlessly swarming, trading money for plasmids." The Queen passes her consort a wineglass. When he drinks from it, it refills miraculously. "Basically, sufficiently complex resource-allocation algorithms reallocate scarce resources ... and if you don't jump to get out of their way, they'll reallocate you. I think that's what happened inside the Matrioshka brain we ended up in: Judging by the Slug it happens elsewhere, too. You've got to wonder where the builders of that structure came from. And where they went. And whether they realized that the destiny of intelligent tool-using life was to be a stepping-stone in the evolution of corporate instruments." + +"Maybe they tried to dismantle the companies before the companies spent them." Pierre looks worried. "Running up a national debt, importing luxurious viewpoint extensions, munching exotic dreams. Once they plugged into the Net, a primitive Matrioshka civilization would be like, um." He pauses. "Tribal. A primitive postsingularity civilization meeting the galactic net for the first time. Overawed. Wanting all the luxuries. Spending their capital, their human - or alien - capital, the meme machines that built them. Until there's nothing left but a howling wilderness of corporate mechanisms looking for someone to own." + +"Speculation." + +"Idle speculation," he agrees. + +"But we can't ignore it." She nods. "Maybe some early corporate predator built the machines that spread the wormholes around brown dwarfs and ran the router network on top of them in an attempt to make money fast. By not putting them in the actual planetary systems likely to host tool-using life, they'd ensure that only near-singularity civilizations would stumble over them. Civilizations that had gone too far to be easy prey probably wouldn't send a ship out to look ... so the network would ensure a steady stream of yokels new to the big city to fleece. Only they set the mechanism in motion billions of years ago and went extinct, leaving the network to propagate, and now there's nothing out there but burned-out Matrioshka civilizations and howling parasites like the angry ghosts and the Wunch. And victims like us." She shudders and changes the subject: "Speaking of aliens, is the Slug happy?" + +"Last time I checked on him, yeah." Pierre blows on his wineglass and it dissolves into a million splinters of light. He looks dubious at the mention of the rogue corporate instrument they're taking with them. "I don't trust him out in the unrestricted sim-spaces yet, but he delivered on the fine control for the router's laser. I just hope you don't ever have to actually use him, if you follow my drift. I'm a bit worried that Aineko is spending so much time in there." + +"So that's where she is? I'd been worrying." + +"Cats never come when you call them, do they?" + +"There is that," she agrees. Then, with a worried glance at the vision of Jupiter's cloudscape: "I wonder what we'll find when we get there?" + +Outside the window, the imaginary Jovian terminator is sweeping toward them with eerie rapidity, sucking them toward an uncertain nightfall. + +PART 3: Singularity + +There's a sucker born every minute. + +- P. T. Barnum + +Chapter 7: Curator + +Sirhan stands on the edge of an abyss, looking down at a churning orange-and-gray cloudscape far below. The air this close to the edge is chilly and smells slightly of ammonia, although that might be his imagination at work - there's little chance of any gas exchange taking place across the transparent pressure wall of the flying city. He feels as if he could reach out and touch the swirling vaporscape. There's nobody else around, this close to the edge - it's an icy sensation to look out across the roiling depths, at an ocean of gas so cold human flesh would freeze within seconds of exposure, knowing that there's nothing solid out there for tens of thousands of kilometers. The sense of isolation is aggravated by the paucity of bandwidth, this far out of the system. Most people huddle close to the hub, for comfort and warmth and low latency: posthumans are gregarious. + +Beneath Sirhan's feet, the lily-pad city is extending itself, mumbling and churning in endless self-similar loops like a cubist blastoma growing in the upper atmosphere of Saturn. Great ducts suck in methane and other atmospheric gases, apply energy, polymerize and diamondize, and crack off hydrogen to fill the lift cells high above. Beyond the sapphire dome of the city's gasbag, an azure star glares with the speckle of laser light; humanity's first - and so far, last - starship, braking into orbit on the last shredded remnant of its light sail. + +He's wondering maliciously how his mother will react to discovering her bankruptcy when the light above him flickers. Something gray and unpleasant splatters against the curve of nearly invisible wall in front of him, leaving a smear. He takes a step back and looks up angrily. "Fuck you!" he yells. Raucous cooing laughter follows him away from the boundary, feral pigeon voices mocking. "I mean it," he warns, flicking a gesture at the air above his head. Wings scatter in a burst of thunder as a slab of wind solidifies, thistledown-shaped nanomachines suspended on the breeze locking edge to edge to form an umbrella over his head. He walks away from the perimeter, fuming, leaving the pigeons to look for another victim. + +Annoyed, Sirhan finds a grassy knoll a couple of hundred meters from the rim and around the curve of the lily-pad from the museum buildings. It's far enough from other humans that he can sit undisturbed with his thoughts, far enough out to see over the edge without being toilet-bombed by flocking flying rats. (The flying city, despite being the product of an advanced technology almost unimaginable two decades before, is full of bugs - software complexity and scaling laws ensured that the preceding decades of change acted as a kind of cosmological inflationary period for design glitches, and an infestation of passenger pigeons is by no means the most inexplicable problem this biosphere harbors.) + +In an attempt to shut the more unwelcome manifestations of cybernature out, he sits under the shade of an apple tree and marshals his worlds around him. "When is my grandmother arriving?" he asks one of them, speaking into an antique telephone in the world of servants, where everything is obedient and knows its place. The city humors him, for its own reasons. + +"She is still containerized, but aerobraking is nearly over. Her body will be arriving down-well in less than two megaseconds." The city's avatar in this machinima is a discreet Victorian butler, stony-faced and respectful. Sirhan eschews intrusive memory interfaces; for an eighteen-year-old, he's conservative to the point of affectation, favoring voice commands and anthropomorphic agents over the invisible splicing of virtual neural nets. + +"You're certain she's transferred successfully?" Sirhan asks anxiously. He heard a lot about his grandmama when he was young, very little of it complimentary. Nevertheless, the old bat must be a lot more flexible than his mother ever gave her credit for, to be subjecting herself to this kind of treatment for the first time at her current age. + +"I'm as certain as I can be, young master, for anyone who insists on sticking to their original phenotype without benefit of off-line backup or medical implants. I regret that omniscience is not within my remit. Would you like me to make further specific inquiries?" + +"No." Sirhan peers up at the bright flare of laser light, visible even through the soap-bubble membrane that holds in the breathable gas mix, and the trillions of liters of hot hydrogen in the canopy above it. "As long as you're sure she'll arrive before the ship?" Tuning his eyes to ultraviolet, he watches the emission spikes, sees the slow strobing of the low-bandwidth AM modulation that's all the starship can manage by way of downlink communication until it comes within range of the system manifold. It's sending the same tiresomely repetitive question about why it's being redirected to Saturn that it's been putting out for the past week, querying the refusal to supply terawatts of propulsion energy on credit. + +"Unless there's a spike in their power beam, you can be certain of that," City replies reassuringly. "And you can be certain also that your grandmother will revive comfortably." + +"One may hope so." To undertake the interplanetary voyage in corporeal person, at her age, without any upgrades or augmentation, must take courage, he decides. "When she wakes up, if I'm not around, ask her for an interview slot on my behalf. For the archives, of course." + +"It will be my pleasure." City bobs his head politely. + +"That will be all," Sirhan says dismissively, and the window into servantspace closes. Then he looks back up at the pinprick of glaring blue laser light near the zenith. /{Tough luck, Mom}/, he subvocalizes for his journal cache. Most of his attention is forked at present, focused on the rich historical windfall from the depths of the singularity that is coming his way, in the form of the thirty-year-old starwisp's Cartesian theatre. But he can still spare some schadenfreude for the family fortunes. /{All your assets belong to me, now. He smiles, inwardly. I'll just have to make sure they're put to a sensible use this time}/. + +* * * + +"I don't see why they're diverting us toward Saturn. It's not as if they can possibly have dismantled Jupiter already, is it?" asks Pierre, rolling the chilled beer bottle thoughtfully between fingers and thumb. + +"Why not you ask Amber?" replies the velociraptor squatting beside the log table. (Boris's Ukrainian accent is unimpeded by the dromaeosaurid's larynx; in point of fact, it's an affectation, one he could easily fix by sideloading an English pronunciation patch if he wanted to.) + +"Well." Pierre shakes his head. "She's spending all her time with that Slug, no multiplicity access, privacy ackles locked right down. I could get jealous." His voice doesn't suggest any deep concern. + +"What's to get jealous about? Just ask to fork instance to talk to you, make love, show boyfriend good time, whatever." + +"Hah!" Pierre chuckles grimly, then drains the last drops from the bottle into his mouth. He throws it away in the direction of a clump of cycads, then snaps his fingers; another one appears in its place. + +"Are two megaseconds out from Saturn in any case," Boris points out, then pauses to sharpen his inch-long incisors on one end of the table. Fangs crunch through timber like wet cardboard. "Grrrrn. Am seeing most /{peculiar}/ emission spectra from inner solar system. Foggy flying down bottom of gravity well. Am wondering, does ensmartening of dumb matter extend past Jovian orbit now?" + +"Hmm." Pierre takes a swig from the bottle and puts it down. "That might explain the diversion. But why haven't they powered up the lasers on the Ring for us? You missed that, too." For reasons unknown, the huge battery of launch lasers had shut down, some millions of seconds after the crew of the Field Circus had entered the router, leaving it adrift in the cold darkness. + +"Don't know why are not talking." Boris shrugged. "At least are still alive there, as can tell from the 'set course for Saturn, following thus-and-such orbital elements' bit. Someone is paying attention. Am telling you from beginning, though, turning entire solar system into computronium is real bad idea, long-term. Who knows how far has gone already?" + +"Hmm, again." Pierre draws a circle in the air. "Aineko," he calls, "are you listening?" + +"Don't bug me." A faint green smile appears in the circle, just the suggestion of fangs and needle-sharp whiskers. "I had an idea I was sleeping furiously." + +Boris rolls one turreted eye and drools on the tabletop. "Munch munch," he growls, allowing his saurian body-brain to put in a word. + +"What do you need to sleep for? This is a fucking sim, in case you hadn't noticed." + +"I /{enjoy}/ sleeping," replies the cat, irritably lashing its just-now-becoming-visible tail. "What do you want? Fleas?" + +"No thanks," Pierre says hastily. Last time he called Aineko's bluff the cat had filled three entire pocket universes with scurrying gray mice. One of the disadvantages of flying aboard a starship the size of a baked bean can full of smart matter was the risk that some of the passengers could get rather too creative with the reality control system. This Cretaceous kaffee klatsch was just Boris's entertainment partition; compared to some of the other simulation spaces aboard the *{Field Circus}*, it was downright conservative. "Look, do you have any updates on what's going on down-well? We're only twenty objective days out from orbital insertion, and there's so little to see -" + +"They're not sending us power." Aineko materializes fully now, a large orange-and-white cat with a swirl of brown fur in the shape on an @-symbol covering her ribs. For whatever reason, she plants herself on the table tauntingly close to Boris's velociraptor body's nose. "No propulsion laser means insufficient bandwidth. They're talking in Latin-1 text at 1200 baud, if you care to know." (Which is an insult, given the ship's multi-avabit storage capacity - one avabit is Avogadro's number of bits; about 1023 bytes, several billion times the size of the Internet in 2001 - and outrageous communications bandwidth.) "Amber says, come and see her now. Audience chamber. Informal, of course. I think she wants to discuss it." + +"Informal? Am all right without change bodies?" + +The cat sniffs. "/{I'm}/ wearing a real fur coat," it declares haughtily, "but no knickers." Then blinks out a fraction of a second ahead of the snicker- *{snack}* of Bandersnatch-like jaws. + +% watch snicker-*{snack}* error, watch http:// sequence if to fix + +"Come on," says Pierre, standing up. "Time to see what Her Majesty wants with us today." + +* * * + +_1 Welcome to decade eight, third millennium, when the effects of the phase-change in the structure of the solar system are finally becoming visible on a cosmological scale. + +_1 There are about eleven billion future-shocked primates in various states of life and undeath throughout the solar system. Most of them cluster where the interpersonal bandwidth is hottest, down in the water zone around old Earth. Earth's biosphere has been in the intensive care ward for decades, weird rashes of hot-burning replicators erupting across it before the World Health Organization can fix them - gray goo, thylacines, dragons. The last great transglobal trade empire, run from the arcologies of Hong Kong, has collapsed along with capitalism, rendered obsolete by a bunch of superior deterministic resource allocation algorithms collectively known as Economics 2.0. Mercury, Venus, Mars, and Luna are all well on the way to disintegration, mass pumped into orbit with energy stolen from the haze of free-flying thermoelectrics that cluster so thickly around the solar poles that the sun resembles a fuzzy red ball of wool the size of a young red giant. + +_1 Humans are just barely intelligent tool users; Darwinian evolutionary selection stopped when language and tool use converged, leaving the average hairy meme carrier sadly deficient in smarts. Now the brightly burning beacon of sapience isn't held by humans anymore - their cross-infectious enthusiasms have spread to a myriad of other hosts, several types of which are qualitatively better at thinking. At last count, there were about a thousand nonhuman intelligent species in Sol space, split evenly between posthumans on one side, naturally self-organizing AIs in the middle, and mammalian nonhumans on the other. The common mammal neural chassis is easily upgraded to human-style intelligence in most species that can carry, feed and cool a half kilogram of gray matter, and the descendants of a hundred ethics-challenged doctoral theses are now demanding equal rights. So are the unquiet dead; the panopticon-logged Net ghosts of people who lived recently enough to imprint their identities on the information age, and the ambitious theological engineering schemes of the Reformed Tiplerite Church of Latter-day Saints (who want to emulate all possible human beings in real time, so that they can have the opportunity to be saved). + +_1 The human memesphere is coming alive, although how long it remains recognizably human is open to question. The informational density of the inner planets is visibly converging on Avogadro's number of bits per mole, one bit per atom, as the deconstructed dumb matter of the inner planets (apart from Earth, preserved for now like a picturesque historic building stranded in an industrial park) is converted into computronium. And it's not just the inner system. The same forces are at work on Jupiter's moons, and those of Saturn, although it'll take thousands of years rather than mere decades to dismantle the gas giants themselves. Even the entire solar energy budget isn't enough to pump Jupiter's enormous mass to orbital velocity in less than centuries. The fast-burning primitive thinkers descended from the African plains apes may have vanished completely or transcended their fleshy architecture before the solar Matrioshka brain is finished. + +_1 It won't be long now ... + +* * * + +Meanwhile, there's a party brewing down in Saturn's well. + +Sirhan's lily-pad city floats inside a gigantic and nearly-invisible sphere in Saturn's upper atmosphere; a balloon kilometers across with a shell of fullerene-reinforced diamond below and a hot hydrogen gas bag above. It's one of several hundred multimegaton soap bubbles floating in the sea of turbulent hydrogen and helium that is the upper atmosphere of Saturn, seeded there by the Society for Creative Terraforming, subcontractors for the 2074 Worlds' Fair. + +The cities are elegant, grown from a conceptual seed a few megawords long. Their replication rate is slow (it takes months to build a bubble), but in only a couple of decades, exponential growth will have paved the stratosphere with human-friendly terrain. Of course, the growth rate will slow toward the end, as it takes longer to fractionate the metal isotopes out of the gas giant's turbid depths, but before that happens, the first fruits of the robot factories on Ganymede will be pouring hydrocarbons down into the mix. Eventually Saturn - cloud-top gravity a human-friendly 11 meters per second squared - will have a planet wide biosphere with nearly a hundred times the surface area of Earth. And a bloody good thing indeed this will be, for otherwise, Saturn is no use to anyone except as a fusion fuel bunker for the deep future when the sun's burned down. + +This particular lily-pad is carpeted in grass, the hub of the disk rising in a gentle hill surmounted by the glowering concrete hump of the Boston Museum of Science. It looks curiously naked, shorn of its backdrop of highways and the bridges of the Charles River - but even the generous kiloton dumb matter load-outs of the skyhooks that lifted it into orbit wouldn't have stretched to bringing its framing context along with it. Probably someone will knock up a cheap diorama backdrop out of utility fog, Sirhan thinks, but for now, the museum stands proud and isolated, a solitary redoubt of classical learning in exile from the fast-thinking core of the solar system. + +"Waste of money," grumbles the woman in black. "Whose stupid idea was this, anyway?" She jabs the diamond ferrule of her cane at the museum. + +"It's a statement," Sirhan says absently. "You know the kind, we've got so many newtons to burn we can send our cultural embassies wherever we like. The Louvre is on its way to Pluto, did you hear that?" + +"Waste of energy." She lowers her cane reluctantly and leans on it. Pulls a face: "It's not /{right}/." + +"You grew up during the second oil crunch, didn't you?" Sirhan prods. "What was it like then?" + +"What was it ...? Oh, gas hit fifty bucks a gallon, but we still had plenty for bombers," she says dismissively. "We knew it would be okay. If it hadn't been for those damn' meddlesome posthumanists -" Her wrinkled, unnaturally aged face scowls at him furiously from underneath hair that has faded to the color of rotten straw, but he senses a subtext of self-deprecating irony that he doesn't understand. "Like your grandfather, damn him. If I was young again I'd go and piss on his grave to show him what I think of what he did. If he /{has}/ a grave," she adds, almost fondly. + +*{Memo checkpoint: log family history}*, Sirhan tells one of his ghosts. As a dedicated historian, he records every experience routinely, both before it enters his narrative of consciousness - efferent signals are the cleanest - and also his own stream of selfhood, against some future paucity of memory. But his grandmother has been remarkably consistent over the decades in her refusal to adapt to the new modalities. + +"You're recording this, aren't you?" she sniffs. + +"I'm not recording it, Grandmama," he says gently, "I'm just preserving my memories for future generations." + +"Hah! We'll see," she says suspiciously. Then she surprises him with a bark of laughter, cut off abruptly: "No, /{you'll}/ see, darling. I won't be around to be disappointed." + +"Are you going to tell me about my grandfather?" asks Sirhan. + +"Why should I bother? I know you posthumans, you'll just go and ask his ghost yourself. Don't try to deny it! There are two sides to every story, child, and he's had more than his fair share of ears, the sleazebag. Leaving me to bring up your mother on my own, and nothing but a bunch of worthless intellectual property and a dozen lawsuits from the Mafiya to do it with. I don't know what I ever saw in him." Sirhan's voice-stress monitor detects a distinct hint of untruth in this assertion. "He's worthless trash, and don't you forget it. Lazy idiot couldn't even form just one start-up on his own: He had to give it all away, all the fruits of his genius." + +While she rambles on, occasionally punctuating her characterization with sharp jabs of the cane, Pamela leads Sirhan on a slow, wavering stroll that veers around one side of the museum, until they're standing next to a starkly engineered antique loading bay. "He should have tried /{real}/ communism instead," she harrumphs: "Put some steel into him, shake those starry-eyed visionary positive-sum daydreams loose. You knew where you were in the old times, and no mistake. Humans were real humans, work was real work, and corporations were just things that did as we told them. And then, when /{she}/ went to the bad, that was all his fault, too, you know." + +"She? You mean my, ah, mother?" Sirhan diverts his primary sensorium back to Pamela's vengeful muttering. There are aspects to this story that he isn't completely familiar with, angles he needs to sketch in so that he can satisfy himself that all is as it should be when the bailiffs go in to repossess Amber's mind. + +"He sent her our cat. Of all the mean-spirited, low, downright dishonest things he ever did, that was the worst part of it. That cat was /{mine}/, but he reprogrammed it to lead her astray. And it succeeded admirably. She was only twelve at the time, an impressionable age, I'm sure you'd agree. I was trying to raise her right. Children need moral absolutes, especially in a changing world, even if they don't like it much at the time. Self-discipline and stability, you can't function as an adult without them. I was afraid that, with all her upgrades, she'd never really get a handle on who she was, that she'd end up more machine than woman. But Manfred never really understood childhood, mostly on account of his never growing up. He always was inclined to meddle." + +"Tell me about the cat," Sirhan says quietly. One glance at the loading bay door tells him that it's been serviced recently. A thin patina of expended foglets have formed a snowy scab around its edges, flaking off like blue refractive candyfloss that leaves bright metal behind. "Didn't it go missing or something?" + +Pamela snorts. "When your mother ran away, it uploaded itself to her starwisp and deleted its body. It was the only one of them that had the guts - or maybe it was afraid I'd have it subpoenaed as a hostile witness. Or, and I can't rule this out, your grandfather gave it a suicide reflex. He was quite evil enough to do something like that, after he reprogrammed himself to think I was some kind of mortal enemy." + +"So when my mother died to avoid bankruptcy, the cat ... didn't stay behind? Not at all? How remarkable." Sirhan doesn't bother adding /{how suicidal}/. Any artificial entity that's willing to upload its neural state vector into a one-kilogram interstellar probe three-quarters of the way to Alpha Centauri without backup or some clear way of returning home has got to be more than a few methods short in the object factory. + +"It's a vengeful beast." Pamela pokes her stick at the ground sharply, mutters a command word, and lets go of it. She stands before Sirhan, craning her neck back to look up at him. "My, what a tall boy you are." + +"Person," he corrects, instinctively. "I'm sorry, I shouldn't presume." + +"Person, thing, boy, whatever - you're engendered, aren't you?" she asks, sharply, waiting until he nods reluctantly. "Never trust anyone who can't make up their mind whether to be a man or a woman," she says gloomily. "You can't rely on them." Sirhan, who has placed his reproductive system on hold until he needs it, bites his tongue. "That damn cat," his grandmother complains. "/{It}/ carried your grandfather's business plan to my daughter and spirited her away into the big black. /{It}/ poisoned her against me. /{It}/ encouraged her to join in that frenzy of speculative bubble-building that caused the market reboot that brought down the Ring Imperium. And now /{it}/ -" + +"Is it on the ship?" Sirhan asks, almost too eagerly. + +"It might be." She stares at him through narrowed eyes. "You want to interview it, too, huh?" + +Sirhan doesn't bother denying it. "I'm a historian, Grandmama. And that probe has been somewhere no other human sensorium has ever seen. It may be old news, and there may be old lawsuits waiting to feed on the occupants, but ..." He shrugs. "Business is business, and /{my}/ business lies in ruins." + +"Hah!" She stares at him for a moment, then nods, very slowly. She leans forward to rest both wrinkled hands atop her cane, joints like bags of shriveled walnuts: Her suit's endoskeleton creaks as it adjusts to accommodate her confidential posture. "You'll get yours, kid." The wrinkles twist into a frightening smile, sixty years of saved-up bitterness finally within spitting distance of a victim. "And I'll get what I want, too. Between us, your mother won't know what's hit her." + +* * * + +"Relax, between us your mother won't know what's hit her," says the cat, baring needle teeth at the Queen in the big chair - carved out of a single lump of computational diamond, her fingers clenched whitely on the sapphire-plated arms - her minions, lovers, friends, crew, shareholders, bloggers, and general factional auxiliaries spaced out around her. And the Slug. "It's just another lawsuit. You can deal with it." + +"Fuck 'em if they can't take a joke," Amber says, a trifle moodily. Although she's ruler of this embedded space, with total control over the reality model underlying it, she's allowed herself to age to a dignified twentysomething: Dressed casually in gray sweats, she doesn't look like the once-mighty ruler of a Jovian moon, or for that matter the renegade commander of a bankrupt interstellar expedition. "Okay, I think you'd better run that past me again. Unless anyone's got any suggestions?" + +"If you will excuse me?" asks Sadeq. "We have a shortage of insight here. I believe two laws were cited as absolute systemwide conventions - and how they convinced the ulama to go along with /{that}/ I would very much like to know - concerning the rights and responsibilities of the undead. Which, apparently, we are. Did they by any chance attach the code to their claim?" + +"Do bears shit in woods?" asks Boris, raptor-irascible, with an angry clatter of teeth. "Is full dependency graph and parse tree of criminal code crawling way up carrier's ass as we speak. Am drowning in lawyer gibberish! If you -" + +"Boris, can it!" Amber snaps. Tempers are high in the throne room. She didn't know what to expect when she arrived home from the expedition to the router, but bankruptcy proceedings weren't part of it. She doubts any of them expected anything like this. Especially not the bit about being declared liable for debts run up by a renegade splinter of herself, her own un-uploaded identity that had stayed home to face the music, aged in the flesh, married, gone bankrupt, died - /{incurred child support payments}/? "I don't hold you responsible for this," she added through gritted teeth, with a significant glance toward Sadeq. + +"This is truly a mess fit for the Prophet himself, peace be unto him, to serve judgment upon." Sadeq looks as shaken as she is by the implications the lawsuit raises. His gaze skitters around the room, looking anywhere but at Amber - and Pierre, her lanky toy-boy astrogator and bed warmer - as he laces his fingers. + +"Drop it. I said I /{don't}/ blame you." Amber forces a smile. "We're all tense from being locked in here with no bandwidth. Anyway, I smell Mother-dearest's hand underneath all this litigation. Sniff the glove. We'll sort a way out." + +"We could keep going." This from Ang, at the back of the room. Diffident and shy, she doesn't generally open her mouth without a good reason. "The *{Field Circus}* is in good condition, isn't it? We could divert back to the beam from the router, accelerate up to cruise speed, and look for somewhere to live. There must be a few suitable brown dwarfs within a hundred light-years ..." + +"We've lost too much sail mass," says Pierre. He's not meeting Amber's gaze either. There are lots of subtexts loose in this room, broken narratives from stories of misguided affections. Amber pretends not to notice his embarrassment. "We ejected half our original launch sail to provide the braking mirror at Hyundai ^{+4904}^/,{-56},, and almost eight megaseconds ago, we halved our area again to give us a final deceleration beam for Saturn orbit. If we did it again, we wouldn't have enough area left to repeat the trick and still decelerate at our final target." Laser-boosted light sails do it with mirrors; after boost, they can drop half the sail and use it to reverse the launch beam and direct it back at the ship, to provide deceleration. But you can only do it a few times before you run out of sail. "There's nowhere to run." + +"Nowhere to -" Amber stares at him through narrowed eyes. "Sometimes I really wonder about you, you know?" + +"I know you do." And Pierre really /{does}/ know, because he carries a little homunculoid around in his society of mind, a model of Amber far more accurate and detailed than any pre-upload human could possibly have managed to construct of a lover. (For her part, Amber keeps a little Pierre doll tucked away inside the creepy cobwebs of her head, part of an exchange of insights they took part in years ago. But she doesn't try to fit inside his head too often anymore - it's not good to be able to second-guess your lover every time.) "I also know that you're going to rush in and grab the bull by the, ah, no. Wrong metaphor. This is your mother we are discussing?" + +"My /{mother}/." Amber nods thoughtfully. "Where's Donna?" + +"I don't -" + +There's a throaty roar from the back, and Boris lurches forward with something in his mouth, an angry Bolex that flails his snout with its tripod legs. "Hiding in corners again?" Amber says disdainfully. + +"I am a camera!" protests the camera, aggrieved and self-conscious as it picks itself up off the floor. "I am -" + +Pierre leans close, sticks his face up against the fish-eye lens: "You're fucking well going to be a human being just this once. /{Merde}/!" + +The camera is replaced by a very annoyed blond woman wearing a safari suit and more light meters, lenses, camera bags, and microphones than a CNN outside broadcast unit. "Go fuck yourself!" + +"I don't like being spied on," Amber says sharply. "Especially as you weren't invited to this meeting. Right?" + +"I'm the archivist." Donna looks away, stubbornly refusing to admit anything. "/{You}/ said I should -" + +"Yes, /{well}/." Amber is embarrassed. But it's a bad idea to embarrass the Queen in her audience chamber. "You heard what we were discussing. What do /{you}/ know about my mother's state of mind?" + +"Absolutely nothing," Donna says promptly. She's clearly in a sulk and prepared to do no more than the minimum to help resolve the situation. "I only met her once. You look like her when you are angry, do you know that?" + +"I -" For once, Amber's speechless. + +"I'll schedule you for facial surgery," offers the cat. /{Sotto voce}/: "It's the only way to be sure." + +Normally, accusing Amber of any resemblance to her mother, however slight and passing, would be enough to trigger a reality quake within the upload environment that passes for the bridge of the *{Field Circus}*. It's a sign of how disturbed Amber is by the lawsuit that she lets the cat's impertinence slide. "What /{is}/ the lawsuit, anyway?" Donna asks, nosy as ever and twice as annoying: "I did not that bit see." + +"It's horrible," Amber says vehemently. + +"Truly evil," echoes Pierre. + +"Fascinating but wrong," Sadeq muses thoughtfully. + +"But it's still horrible!" + +"Yes, but what is it?" Donna the all-seeing-eye archivist and camera manqué asks. + +"It's a demand for settlement." Amber takes a deep breath. "Dammit, you might as well tell everyone - it won't stay secret for long." She sighs. "After we left, it seems my other half - my original incarnation, that is - got married. To Sadeq, here." She nods at the Iranian theologian, who looks just as bemused as she did the first time she heard this part of the story. "And they had a child. Then the Ring Imperium went bankrupt. The child is demanding maintenance payments from me, backdated nearly twenty years, on the grounds that the undead are jointly and severally liable for debts run up by their incarnations. It's a legal precedent established to prevent people from committing suicide temporarily as a way to avoid bankruptcy. Worse, the lien on my assets is measured in subjective time from a point at the Ring Imperium about nineteen months after our launch time - we've been in relativistic flight, so while my other half would be out from under it by now if she'd survived, I'm still subject to the payment order. But compound interest applies back home - /{that}/ is to stop people trying to use the twin's paradox as a way to escape liability. So, by being away for about twenty-eight years of wall-clock time, I've run up a debt I didn't know about to enormous levels. + +"This man, this son I've never met, theoretically owns the *{Field Circus}* several times over. And my accounts are wiped out - I don't even have enough money to download us into fleshbodies. Unless one of you guys has got a secret stash that survived the market crash after we left, we're all in deep trouble." + +* * * + +A mahogany dining table eight meters long graces the flagstoned floor of the huge museum gallery, beneath the skeleton of an enormous Argentinosaurus and a suspended antique Mercury capsule more than a century old. The dining table is illuminated by candlelight, silver cutlery and fine porcelain plates setting out two places at opposite ends. Sirhan sits in a high-backed chair beneath the shadow of a triceratops's rib cage. Opposite him, Pamela has dressed for dinner in the fashion of her youth. She raises her wineglass toward him. "Tell me about your childhood, why don't you?" she asks. High above them, Saturn's rings shimmer through the skylights, like a luminous paint splash thrown across the midnight sky. + +Sirhan has misgivings about opening up to her, but consoles himself with the fact that she's clearly in no position to use anything he tells her against him. "Which childhood would you like to know about?" he asks. + +"What do you mean, which?" Her face creases up in a frown of perplexity. + +"I had several. Mother kept hitting the reset switch, hoping I'd turn out better." It's his turn to frown. + +"She did, did she," breathes Pamela, clearly noting it down to hold as ammunition against her errant daughter. "Why do you think she did that?" + +"It was the only way she knew to raise a child," Sirhan says defensively. "She didn't have any siblings. And, perhaps, she was reacting against her own character flaws." /{When I have children there will be more than one}/, he tells himself smugly: when, that is, he has adequate means to find himself a bride, and adequate emotional maturity to activate his organs of procreation. A creature of extreme caution, Sirhan is not planning to repeat the errors of his ancestors on the maternal side. + +Pamela flinches: "it's not my fault," she says quietly. "Her father had quite a bit to do with that. But what - what different childhoods did you have?" + +"Oh, a fair number. There was the default option, with Mother and Father arguing constantly - she refused to take the veil and he was too stiff-necked to admit he was little more than a kept man, and between them, they were like two neutron stars locked in an unstable death spiral of gravity. Then there were my other lives, forked and reintegrated, running in parallel. I was a young goatherd in the days of the middle kingdom in Egypt, I remember that; and I was an all-American kid growing up in Iowa in the 1950s, and another me got to live through the return of the hidden imam - at least, his parents thought it was the hidden imam - and -" Sirhan shrugs. "Perhaps that's where I acquired my taste for history." + +"Did your parents ever consider making you a little girl?" asks his grandmother. + +"Mother suggested it a couple of times, but Father forbade it." /{Or rather, decided it was unlawful}/, he recalls. "I had a very conservative upbringing in some ways." + +"I wouldn't say that. When I was a little girl, that was all there was; none of these questions of self-selected identity. There was no escape, merely escapism. Didn't you ever have a problem knowing who you were?" + +The starters arrive, diced melon on a silver salver. Sirhan waits patiently for his grandmama to chivvy the table into serving her. "The more people you are, the more you know who /{you}/ are," says Sirhan. "You learn what it's like to be other people. Father thought that perhaps it isn't good for a man to know too much about what it's like to be a woman." /{And Grandfather disagreed, but you already know that}/, he adds for his own stream of consciousness. + +"I couldn't agree more." Pamela smiles at him, an expression that might be that of a patronizing elder aunt if it wasn't for the alarming sharkishness of her expression - or is it playfulness? Sirhan covers his confusion by spooning chunks of melon into his mouth, forking temporary ghosts to peruse dusty etiquette manuals and warn him if he's about to commit some faux pas. "So, how did you enjoy your childhoods?" + +"Enjoy isn't a word I would use," he replies as evenly as he can, laying down his spoon so he doesn't spill anything. /{As if childhood is something that ever ends}/, he thinks bitterly. Sirhan is considerably less than a gigasecond old and confidently expects to exist for at least a terasecond - if not in exactly this molecular configuration, then at least in some reasonably stable physical incarnation. And he has every intention of staying young for that entire vast span - even into the endless petaseconds that might follow, although by then, megayears hence, he speculates that issues of neoteny will no longer interest him. "It's not over yet. How about you? Are you enjoying your old age, Grandmama?" + +Pamela almost flinches, but keeps iron control of her expression. The flush of blood in the capillaries of her cheeks, visible to Sirhan through the tiny infrared eyes he keeps afloat in the air above the table, gives her away. "I made some mistakes in my youth, but I'm enjoying it fine nowadays," she says lightly. + +"It's your revenge, isn't it?" Sirhan asks, smiling and nodding as the table removes the entrees. + +"Why, you little -" She stares at him rather than continuing. A very bleak stare it is, too. "What would you know about revenge?" she asks. + +"I'm the family historian." Sirhan smiles humorlessly. "I lived from two to seventeen years several hundred times over before my eighteenth birthday. It was that reset switch, you know. I don't think Mother realized my primary stream of consciousness was journaling everything." + +"That's monstrous." Pamela picks up her wineglass and takes a sip to cover her confusion. Sirhan has no such retreat - grape juice in a tumbler, unfermented, wets his tongue. "I'd /{never}/ do something like that to any child of mine." + +"So why won't you tell me about your childhood?" asks her grandson. "For the family history, of course." + +"I'll -" She puts her glass down. "You intend to write one," she states. + +"I'm thinking about it." Sirhan sits up. "An old-fashioned book covering three generations, living through interesting times," he suggests. "A work of postmodern history, the incoherent school at that - how do you document people who fork their identities at random, spend years dead before reappearing on the stage, and have arguments with their own relativistically preserved other copy? I could trace the history further, of course - if you tell me about /{your}/ parents, although I am certain they aren't around to answer questions directly - but we reach the boring dumb matter slope back to the primeval soup surprisingly fast if we go there, don't we? So I thought that perhaps as a narrative hook I'd make the offstage viewpoint that of the family's robot cat. (Except the bloody thing's gone missing, hasn't it?) Anyway, with so much of human history occupying the untapped future, we historians have our work cut out recording the cursor of the present as it logs events. So I might as well start at home." + +"You're set on immortalism." Pamela studies his face. + +"Yes," he says idly. "Frankly, I can understand your wanting to grow old out of a desire for revenge, but pardon me for saying this, I have difficulty grasping your willingness to follow through with the procedure! Isn't it awfully painful?" + +"Growing old is /{natural}/," growls the old woman. "When you've lived long enough for all your ambitions to be in ruins, friendships broken, lovers forgotten or divorced acrimoniously, what's left to go on for? If you feel tired and old in spirit, you might as well be tired and old in body. Anyway, wanting to live forever is immoral. Think of all the resources you're taking up that younger people need! Even uploads face a finite data storage limit after a time. It's a monstrously egotistical statement, to say you intend to live forever. And if there's one thing I believe in, it's public service. Duty: the obligation to make way for the new. Duty and control." + +Sirhan absorbs all this, nodding slowly to himself as the table serves up the main course - honey-glazed roast long pork with sautéed potatoes a la gratin and carrots Debussy - when there's a loud *{bump}* from overhead. + +"What's that?" Pamela asks querulously. + +"One moment." Sirhan's vision splits into a hazy kaleidoscope view of the museum hall as he forks ghosts to monitor each of the ubiquitous cameras. He frowns; something is moving on the balcony, between the Mercury capsule and a display of antique random-dot stereoisograms. "Oh dear. Something seems to be loose in the museum." + +"Loose? What do you mean, loose?" An inhuman shriek splits the air above the table, followed by a crash from upstairs. Pamela stands up unsteadily, wiping her lips with her napkin. "Is it safe?" + +"No, it isn't safe." Sirhan fumes. "It's disturbing my meal!" He looks up. A flash of orange fur shows over the balcony, then the Mercury capsule wobbles violently on the end of its guy wires. Two arms and a bundle of rubbery /{something}/ covered in umber hair lurches out from the handrail and casually grabs hold of the priceless historical relic, then clambers inside and squats on top of the dummy wearing Al Sheperd's age-cracked space suit. "It's an /{ape}/! City, I say, City! What's a monkey doing loose in my dinner party?" + +"I am most deeply sorry, sir, but I don't know. Would sir care to identify the monkey in question?" replies City, which for reasons of privacy, has manifested itself as a bodiless voice. + +There's a note of humor in City's tone that Sirhan takes deep exception to. "What do you mean? Can't you see it?" he demands, focusing on the errant primate, which is holed up in the Mercury capsule dangling from the ceiling, smacking its lips, rolling its eyes, and fingering the gasket around the capsule's open hatch. It hoots quietly to itself, then leans out of the open door and moons over the table, baring its buttocks. "Get back!" Sirhan calls to his grandmother, then he gestures at the air above the table, intending to tell the utility fog to congeal. Too late. The ape farts thunderously, then lets rip a stream of excrement across the dining table. Pamela's face is a picture of wrinkled disgust as she holds her napkin in front of her nose. "Dammit, solidify, will you!" Sirhan curses, but the ubiquitous misty pollen-grain-sized robots refuse to respond. + +"What's your problem? Invisible monkeys?" asks City. + +"Invisible -" he stops. + +"Can't you see what it did?" Pamela demands, backing him up. "It just defecated all over the main course!" + +"I see nothing," City says uncertainly. + +"Here, let me help you." Sirhan lends it one of his eyes, rolls it to focus on the ape, which is now reaching lazy arms around the hatch and patting down the roof of the capsule, as if hunting for the wires' attachment points. + +"Oh dear," says City, "I've been hacked. That's not supposed to be possible." + +"Well it fucking /{is}/," hisses Pamela. + +"Hacked?" Sirhan stops trying to tell the air what to do and focuses on his clothing instead. Fabric reweaves itself instantly, mapping itself into an armored airtight suit that raises a bubble visor from behind his neck and flips itself shut across his face. "City please supply my grandmama with an environment suit /{now}/. Make it completely autonomous." + +The air around Pamela begins to congeal in a blossom of crystalline security, as a sphere like a giant hamster ball precipitates out around her. "If you've been hacked, the first question is, who did it," Sirhan states. "The second is 'why,' and the third is 'how.'" He edgily runs a self-test, but there's no sign of inconsistencies in his own identity matrix, and he has hot shadows sleeping lightly at scattered nodes across as distance of half a dozen light-hours. Unlike pre-posthuman Pamela, he's effectively immune to murder-simple. "If this is just a prank -" + +Seconds have passed since the orang-utan got loose in the museum, and subsequent seconds have passed since City realized its bitter circumstance. Seconds are long enough for huge waves of countermeasures to sweep the surface of the lily-pad habitat. Invisibly small utility foglets are expanding and polymerizing into defenses throughout the air, trapping the thousands of itinerant passenger pigeons in midflight, and locking down every building and every person who walks the paths outside. City is self-testing its trusted computing base, starting with the most primitive secured kernel and working outward. Meanwhile Sirhan, with blood in his eye, heads for the staircase, with the vague goal of physically attacking the intruder. Pamela retreats at a fast roll, tumbling toward the safety of the mezzanine floor and a garden of fossils. "Who do you think you are, barging in and shitting on my supper?" Sirhan yells as he bounds up the stairs. "I want an explanation! Right now!" + +The orang-utan finds the nearest cable and gives it a yank, setting the one-ton capsule swinging. It bares its teeth at Sirhan in a grin. "Remember me?" it asks, in a sibilant French accent. + +"Remember -" Sirhan stops dead. "Tante Annette? /{What}/ are you doing in that orangutan?" + +"Having minor autonomic control problems." The ape grimaces wider, then bends one arm sinuously and scratches at its armpit. "I am sorry, I installed myself in the wrong order. I was only meaning to say hello and pass on a message." + +"What message?" Sirhan demands. "You've upset my grandmama, and if she finds out you're here -" + +"She won't; I'll be gone in a minute." The ape - Annette - sits up. "Your grandfather salutes you and says he will be visiting shortly. In the person, that is. He is very keen to meet your mother and her passengers. That is all. Have you a message for him?" + +"Isn't he dead?" Sirhan asks, dazed. + +"No more than I am. And I'm overdue. Good day!" The ape swings hand over hand out of the capsule, then lets go and plummets ten meters to the hard stone floor below. Its skull makes a noise like a hard-boiled egg impacting concrete. + +"Oh dear," Sirhan breathes heavily. "City!" + +"Yes, oh master?" + +"Remove that body," he says, pointing over the balcony. "I'll trouble you not to disturb my grandmother with any details. In particular, don't tell her it was Annette. The news may upset her." /{The perils of having a long-lived posthuman family}/, he thinks; /{too many mad}/ aunts in the space capsule. "If you can find a way to stop Auntie 'Nette from growing any more apes, that might be a good idea." A thought strikes him. "By the way, do you know when my grandfather is due to arrive?" + +"Your grandfather?" asks City: "Isn't he dead?" + +Sirhan looks over the balcony, at the blood-seeping corpse of the intruder. "Not according to his second wife's latest incarnation." + +* * * + +Funding the family reunion isn't going to be a problem, as Amber discovers when she receives an offer of reincarnation good for all the passengers and crew of the *{Field Circus}*. + +She isn't sure quite where the money is coming from. Presumably it's some creaky financial engine designed by Dad, stirring from its bear-market bunker for the first time in decades to suck dusty syndication feeds and liquidate long-term assets held against her return. She's duly grateful - even fervently so - for the details of her own impecunious position grow more depressing the more she learns about them. Her sole asset is the *{Field Circus}*, a thirty-years-obsolete starwisp massing less than twenty kilograms including what's left of its tattered sail, along with its cargo of uploaded passengers and crew. Without the farsighted trust fund that has suddenly chugged into life, she'd be stranded in the realm of ever-circling leptons. But now the fund has sent her its offer of incarnation, she's got a dilemma. Because one of the *{Field Circus's}* passengers has never actually had a meatspace body ... + +Amber finds the Slug browsing quietly in a transparent space filled with lazily waving branches that resemble violet coral fans. They're a ghost-memory of alien life, an order of thermophilic quasi fungi with hyphae ridged in actin/myosin analogues, muscular and slippery filter feeders that eat airborne unicellular organisms. The Slug itself is about two meters long and has a lacy white exoskeleton of curves and arcs that don't repeat, disturbingly similar to a Penrose tiling. Chocolate brown organs pulse slowly under the skeleton. The ground underfoot is dry but feels swampy. + +Actually, the Slug is a surgical disguise. Both it and the quasi-fungal ecosystem have been extinct for millions of years, existing only as cheap stage props in an interstellar medicine show run by rogue financial instruments. The Slug itself is one such self-aware scam, probably a pyramid scheme or even an entire compressed junk bond market in heavy recession, trying to hide from its creditors by masquerading as a life-form. But there's a problem with incarnating itself down in Sirhan's habitat - the ecosystem it evolved for is a cool Venusiform, thirty atmospheres of saturated steam baked under a sky the color of hot lead streaked with yellow sulphuric acid clouds. The ground is mushy because it's melting, not because it's damp. + +"You're going to have to pick another somatotype," Amber explains, laboriously rolling her interface around the red-hot coral reef like a giant soap bubble. The environmental interface is transparent and infinitely thin, a discontinuity in the physics model of the simulation space, mapping signals between the human-friendly environment on one side and the crushing, roasting hell on the other. "This one is simply not compatible with any of the supported environments where we're going." + +"I am not understanding. Surely I can integrate with the available worlds of our destination?" + +"Uh, things don't work that way outside cyberspace." Suddenly Amber is at a bit of a loss. "The physics model /{could}/ be supported, but the energy input to do so would be prohibitive, and you would not be able to interact as easily with other physics models as we can now." She forks a ghost, demonstrates a transient other-Amber in a refrigerated tank rolling across the Slug's backyard, crushing coral and hissing and clanking noisily. "You'd be like this." + +"Your reality is badly constructed, then," the Slug points out. + +"It's not constructed at all, it just evolved, randomly." Amber shrugs. "We can't exercise the same level of control over the underlying embedded context that we can over this one. I can't simply magic you an interface that will let you bathe in steam at three hundred degrees." + +"Why not?" asks the Slug. Translation wetware adds a nasty, sharp rising whine to the question, turning it into a demand. + +"It's a privilege violation," Amber tries to explain. "The reality we're about to enter is, uh, provably consistent. It has to be, because it's consistent and stable, and if we could create new local domains with different rules, they might propagate uncontrollably. It's not a good idea, believe me. Do you want to come with us or not?" + +"I have no alternative," the Slug says, slightly sulkily. "But do you have a body I can use?" + +"I think -" Amber stops, suddenly. She snaps her fingers. "Hey, cat!" + +A Cheshire grin ripples into view, masked into the domain wall between the two embedded realities. "Hey, human." + +"Whoa!" Amber takes a backward step from the apparition. "Our friend here's got a problem, no suitable downloadable body. Us meat puppets are all too closely tied to our neural ultrastructure, but you've got a shitload of programmable gate arrays. Can we borrow some?" + +"You can do better than that." Aineko yawns, gathering substance by the moment. The Slug is rearing up and backing away like an alarmed sausage: Whatever it perceives in the membrane seems to frighten it. "I've been designing myself a new body. I figured it was time to change my style for a while. Your corporate scam artist here can borrow my old template until something better comes up. How's that?" + +"Did you hear that?" Amber asks the Slug. "Aineko is kindly offering to donate her body to you. Will that do?" Without waiting, she winks at her cat and taps her heels together, fading out with a whisper and a smile: "See you on the other side ..." + +* * * + +It takes several minutes for the *{Field Circus}*'s antique transceiver to download the dozens of avabits occupied by the frozen state vectors of each of the people running in its simulation engines. Tucked away with most of them is a resource bundle consisting of their entire sequenced genome, a bunch of phenotypic and proteome hint markers, and a wish list of upgrades. Between the gene maps and the hints, there's enough data to extrapolate a meat machine. So the festival city's body shop goes to work turning out hacked stem cells and fabbing up incubators. + +It doesn't take very long to reincarnate a starshipful of relativity-lagged humans these days. First, City carves out skeletons for them (politely ignoring a crudely phrased request to cease and desist from Pamela, on the grounds that she has no power of attorney), then squirts osteoclasts into the spongy ersatz bone. They look like ordinary human stem cells at a distance, but instead of nuclei they have primitive pinpricks of computronium, blobs of smart matter so small they're as dumb as an ancient Pentium, reading a control tape that is nevertheless better structured than anything Mother Nature evolved. These heavily optimized fake stem cells - biological robots in all but name - spawn like cancer, ejecting short-lived anucleated secondary cells. Then City infuses each mess of quasi-cancerous tissue with a metric shitload of carrier capsids, which deliver the /{real}/ cellular control mechanisms to their target bodies. Within a megasecond, the almost random churning of the construction 'bots gives way to a more controlled process as nanoscale CPUs are replaced by ordinary nuclei and eject themselves from their host cells, bailing out via the half-formed renal system - except for those in the central nervous system, which have a final job to do. Eleven days after the invitation, the first passengers are being edited into the pattern of synaptic junctions inside the newly minted skulls. + +(This whole process is tediously slow and laughably obsolescent technology by the standards of the fast-moving core. Down there, they'd just set up a wake shield in orbit, chill it down to a fractional Kelvin, whack two coherent matter beams together, teleport some state information into place, and yank the suddenly materialized meatbody in through an airlock before it has time to asphyxiate. But then again, down in the hot space, they don't have much room for flesh anymore ...) + +Sirhan doesn't pay much attention to the pseudocancers fermenting and churning in the row of tanks that lines the Gallery of the Human Body in the Bush wing of the museum. Newly formed, slowly unskeletonizing corpses - like a time-lapse process of decay with a finger angrily twisting the dial into high-speed reverse - is both distasteful and aesthetically displeasing to watch. Nor do the bodies tell him anything about their occupants. This sort of stuff is just a necessary prequel to the main event, a formal reception and banquet to which he has devoted the full-time attention of four ghosts. + +He could, given a few less inhibitions, go Dumpster-diving in their mental archives, but that's one of the big taboos of the post-wetware age. (Spy agencies went meme-profiling and memory-mining in the third and fourth decades, gained a thought police rap sheet, and spawned a backlash of deviant mental architectures resilient to infowar intrusions. Now the nations that those spook institutions served no longer exist, their very landmasses being part of the orbiting nöosphere construction project that will ultimately turn the mass of the entire solar system into a gigantic Matrioshka brain. And Sirhan is left with an uneasy loyalty to the one great new taboo to be invented since the end of the twentieth century - freedom of thought.) + +So, to indulge his curiosity, he spends most of his waking fleshbody hours with Pamela, asking her questions from time to time and mapping the splenetic overspill of her memeome into his burgeoning family knowledge base. + +"I wasn't always this bitter and cynical," Pamela explains, waving her cane in the vague direction of the cloudscape beyond the edge of the world and fixing Sirhan with a beady stare. (He's brought her out here hoping that it will trigger another cascade of memories, sunsets on honeymoon island resorts and the like, but all that seems to be coming up is bile.) "It was the successive betrayals. Manfred was the first, and the worst in some ways, but that little bitch Amber hurt me more, if anything. If you ever have children, be careful to hold something back for yourself; because if you don't, when they throw it all in your face, you'll feel like dying. And when they're gone, you've got no way of patching things up." + +"Is dying inevitable?" asks Sirhan, knowing damn well that it isn't, but more than happy to give her an excuse to pick at her scabbed-over love wound: He more than half suspects she's still in love with Manfred. This is /{great}/ family history, and he's having the time of his flinty-hearted life leading her up to the threshold of the reunion he's hosting. + +"Sometimes I think death is even more inevitable than taxes," his grandmother replies bleakly. "Humans don't live in a vacuum; we're part of a larger pattern of life." She stares out across the troposphere of Saturn, where a thin rime of blown methane snow catches the distant sunrise in a ruby-tinted fog. "The old gives way to the new," She sighs, and tugs at her cuffs. (Ever since the incident with the gate crashing ape, she's taken to wearing an antique formal pressure suit, all clinging black spidersilk woven with flexible pipes and silvery smart sensor nets.) "There's a time to get out of the way of the new, and I think I passed it sometime ago." + +"Um," says Sirhan, who is somewhat surprised by this new angle in her lengthy, self-justifying confession: "but what if you're just saying this because you /{feel}/ old? If it's just a physiological malfunction, we could fix it and you'd -" + +"/{No}/! I've got a feeling that life prolongation is morally wrong, Sirhan. I'm not passing judgment on you, just stating that I think it's wrong for me. It's immoral because it blocks up the natural order, keeps us old cobweb strands hanging around and getting in you young things' way. And then there are the theological questions. If you try to live forever, you never get to meet your maker." + +"Your maker? Are you a theist, then?" + +"I - think so." Pamela is silent for a minute. "Although there are so many different approaches to the subject that it's hard to know which version to believe. For a long time, I was secretly afraid your grandfather might actually have had the answers. That I might have been wrong all along. But now -" She leans on her cane. "When he announced that he was uploading, I figured out that all he really had was a life-hating antihuman ideology he'd mistaken for a religion. The rapture of the nerds and the heaven of the AIs. Sorry, no thanks; I don't buy it." + +"Oh." Sirhan squints out at the cloudscape. For a moment, he thinks he can see something in the distant mist, an indeterminate distance away - it's hard to distinguish centimeters from megameters, with no scale indicator and a horizon a continental distance away - but he's not sure what it is. Maybe another city, mollusk-curved and sprouting antennae, a strange tail of fabricator nodes wavering below and beneath it. Then a drift of cloud hides it for a moment, and, when it clears the object is gone. "What's left, then? If you don't really believe in some kind of benign creator, dying must be frightening. Especially as you're doing it so slowly." + +Pamela smiles skeletally, a particularly humorless expression. "It's perfectly natural, darling! You don't need to believe in God to believe in embedded realities. We use them every day, as mind tools. Apply anthropic reasoning and isn't it clear that our entire universe is probably a simulation? We're living in the early epoch of the universe. Probably this" - she prods at the spun-diamond inner wall of the bubble that holds in the precarious terrestrial atmosphere, holding out the howling cryogenic hydrogen and methane gales of Saturn - "is but a simulation in some ancient history engine's panopticon, rerunning the sum of all possible origins of sentience, a billion trillion megayears down the line. Death will be like waking up as someone bigger, that's all." Her grin slides away. "And if not, I'll just be a silly old fool who deserves the oblivion she yearns for." + +"Oh, but -" Sirhan stops, his skin crawling. /{She may be mad}/, he realizes abruptly. /{Not clinically insane, just at odds with the entire universe. Locked into a pathological view of}/ her own role in /{reality.}/ "I'd hoped for a reconciliation," he says quietly. "Your extended family has lived through some extraordinary times. Why spoil it with acrimony?" + +"Why spoil it?" She looks at him pityingly: "It was spoiled to begin with, dear, too much selfless sacrifice and too little skepticism. If Manfred hadn't wanted so badly not to be /{human}/, and if I'd learned to be a bit more flexible in time, we might still -" She trails off. "That's odd." + +"What is?" + +Pamela raises her cane and points out into the billowing methane thunderclouds, her expression puzzled. "I'll swear I saw a lobster out there ..." + +* * * + +Amber awakens in the middle of the night in darkness and choking pressure, and senses that she's drowning. For a moment she's back in the ambiguous space on the far side of the router, a horror of crawling instruments tracing her every experience back to the nooks and crannies of her mind; then her lungs turn to glass and shatter, and she's coughing and wheezing in the cold air of the museum at midnight. + +The hard stone floor beneath her, and an odd pain in her knees, tells her that she's not aboard the *{Field Circus}* anymore. Rough hands hold her shoulders up as she vomits a fine blue mist, racked by a coughing fit. More bluish liquid is oozing from the pores of the skin on her arms and breasts, evaporating in strangely purposeful streamers. "Thank you," she finally manages to gasp: "I can breathe now." + +She sits back on her heels, realizes she's naked, and opens her eyes. Everything's confusingly strange, even though it shouldn't be. There's a moment of resistance as if her eyelids are sealed - then they respond. It all feels strangely familiar to her, like waking up again inside a house she grew up in and moved away from years ago. But the scene around her is hardly one to inspire confidence. Shadows lie thick and deep across ovoid tanks filled with an anatomist's dream, bodies in various nightmarish stages of assembly. And sitting in the middle of them, whence it has retreated after letting go of her shoulders, is a strangely misshapen person - also nude, but for a patchy coat of orange hair. + +"Are you awake yet, ma chérie?" asks the orang-utan. + +"Um." Amber shakes her head, cautiously, feeling the drag of damp hair, the faint caress of a breeze - she reaches out with another sense and tries to grab hold of reality, but it slithers away, intransigent and unembedded. Everything around her is so solid and immutable that, for a moment, she feels a stab of claustrophobic panic: Help! I'm trapped in the real universe! Another quick check reassures her that she's got access to /{something}/ outside her own head, and the panic begins to subside: Her exocortex has migrated successfully to this world. "I'm in a museum? On Saturn? Who are you - have we met?" + +"Not in person," the ape says carefully. "We 'ave corresponded. Annette Dimarcos." + +"Auntie -" A flood of memories rattle Amber's fragile stream of consciousness apart, forcing her to fork repeatedly until she can drag them together. Annette, in a recorded message: /{Your father sends you this escape package}/. The legal key to her mother's gilded custodial cage. Freedom a necessity. "Is Dad here?" she asks hopefully, even though she knows full well that here in the real world at least thirty-five years have passed in linear time: In a century where ten years of linear time is enough for several industrial revolutions, that's a lot of water under the bridge. + +"I am not sure." The orang-utan blinks lazily, scratches at her left forearm, and glances round the chamber. "He might be in one of these tanks, playing a shell game. Or he might be leaving well enough alone until the dust settles." She turns back to stare at Amber with big, brown, soulful eyes. "This is not to be the reunion you were hoping for." + +"Not -" Amber takes a deep breath, the tenth or twelfth that these new lungs have inspired: "What's with the body? You used to be human. And what's going on?" + +"I still /{am}/ human, where it counts," says Annette. "I use these bodies because they are good in low gravity, and they remind me that meatspace is no longer where I live. And for another reason." She gestures fluidly at the open door. "You will find big changes. Your son has organized -" + +"/{My}/ son." Amber blinks. "Is this the one who's suing me? Which version of me? How long ago?" A torrent of questions stream through her mind, exploding out into structured queries throughout the public sections of mindspace that she has access to. Her eyes widen as she absorbs the implications. "Oh /{shit}/! Tell me she isn't here already!" + +"I am very much afraid that she is," says Annette. "Sirhan is a strange child: He takes after his /{grandmère}/. Who he, of course, invited to his party." + +"His /{party}/?" + +"Why, yes! Hasn't he told you what this is about? It's his party. To mark the opening of his special institution. The family archive. He's setting the lawsuit aside, at least for the duration. That's why everybody is here - even me." The ape-body smirks at her: "I'm afraid he's rather disappointed by my dress." + +"Tell me about this library," Amber says, narrowing her eyes. "And about this son of mine whom I've never met, by a father I've never fucked." + +"What, you would know everything?" asks Annette. + +"Yeah." Amber pushes herself creakily upright. "I need some clothes. And soft furniture. And where do I get a drink around here?" + +"I'll show you," says the orang-utan, unfolding herself in a vertical direction like a stack of orange furry inner tubes. "Drinks, first." + +* * * + +While the Boston Museum of Science is the main structure on the lily-pad habitat, it's not the only one: just the stupidest, composed of dumb matter left over from the pre-enlightened age. The orang-utan leads Amber through a service passage and out into the temperate night, naked by ringlight. The grass is cool beneath her feet, and a gentle breeze blows constantly out toward the recirculators at the edge of the worldlet. She follows the slouching orange ape up a grassy slope, under a weeping willow, round a three-hundred-and-ninety-degree bend that flashes the world behind them into invisibility, and into a house with walls of spun cloud stuff and a ceiling that rains moonlight. + +"What is this?" Amber asks, entranced. "Some kind of aerogel?" + +"No -" Annette belches, then digs a hand into the floor and pulls up a heap of mist. "Make a chair," she says. It solidifies, gaining form and texture until a creditable Queen Anne reproduction stands in front of Amber on spindly legs. "And one for me. Skin up, pick one of my favorite themes." The walls recede slightly and harden, extruding paint and wood and glass. "That's it." The ape grins at Amber. "You are comfortable?" + +"But I -" Amber stops. She glances at the familiar mantelpiece, the row of curios, the baby photographs forever glossy on their dye-sub media. It's her childhood bedroom. "You brought the whole thing? Just for me?" + +"You can never tell with future shock." Annette shrugs and reaches a limber arm around the back of her neck to scratch. "We are utility fog using, for most purposes out here, peer-to-peer meshes of multiarmed assemblers that change conformation and vapor/solid phase at command. Texture and color are all superfice, not reality. But yes, this came from one of your mother's letters to your father. She brought it here, for you to surprise. If only it is ready in time." Lips pull back from big, square, foliage-chewing teeth in something that might be a smile in a million years' time. + +"You, I - I wasn't expecting. This." Amber realizes she's breathing rapidly, a near-panic reflex. The mere proximity of her mother is enough to give her unpleasant reactions. Annette is all right, Annette is cool. And her father is the trickster-god, always hiding in your blind spot to leap out and shower you with ambiguous gifts. But Pamela tried to mold Amber in her own image as a child; and despite all the traveling she's done since then, and all the growing up, Amber harbors an unreasonable claustrophobic fear of her mother. + +"Don't be unhappy," Annette says warmly. "I this you show to convince you, she will try to disturb you. It is a sign of weakness, she lacks the courage of her convictions." + +"She does?" This is news to Amber, who leans forward to listen. + +"Yes. She is an old and bitter woman, now. The years have not been easy for her. She perhaps intends to use her unrepaired senescence as a passive suicide weapon by which to hold us blameworthy, inflicting guilt for her mistreatment, but she is afraid of dying all the same. Your reaction, should it be unhappy, will excuse and encourage her selfishness. Sirhan colludes, unknowing, the idiot child. /{He}/ thinks the universe of her and thinks by helping her die he is helping her achieve her goals. He has never met an adult walking backward toward a cliff before." + +"Backward." Amber takes a deep breath. "You're telling me Mom is so unhappy she's trying to kill herself by growing /{old}/? Isn't that a bit slow?" + +Annette shakes her head lugubriously. "She's had fifty years to practice. You have been away twenty-eight years! She was thirty when she bore you. Now she is over eighty, and a telomere refusenik, a charter member of the genome conservation front. To accept a slow virus purge and aging reset would be to lay down a banner she has carried for half a century. To accept uploading, that, too, is wrong in her mind: She will not admit her identity is a variable, not a constant. She came out here in a can, frozen, with more radiation damage. She is not going back home. This is where she plans to end her days. Do you see? /{That}/ is why you were brought here. That, and because of the bailiffs who have bought title to your other self's business debts. They are waiting for you in Jupiter system with warrants and headsuckers to extract your private keys." + +"She's cornered me!" + +"Oh, I would not /{say}/ that. We all change our convictions sometime or other, perhaps. She is inflexible, she will not bend; but she is not stupid. Nor is she as vindictive as perhaps she herself believes. She thinks she must a scorned woman be, even though there is more to her than that. Your father and I, we -" + +"Is he still alive?" Amber demands eagerly, half-anxious to know, half- wishing she could be sure the news won't be bad. + +"Yes." Annette grins again, but it's not a happy expression, more a baring of teeth at the world. "As I was saying, your father and I, we have tried to help her. Pamela denies him. He is, she says, not a man. No more so am I myself a woman? No, but she'll still talk to me. /{You}/ will do better. But his assets, they are spent. He is not a rich man this epoch, your father." + +"Yeah, but." Amber nods to herself. "He may be able to help me." + +"Oh? How so?" + +"You remember the original goal of the *{Field Circus}*? The sapient alien transmission?" + +"Yes, of course." Annette snorts. "Junk bond pyramid schemes from credulous saucer wisdom airheads." + +Amber licks her lips. "How susceptible to interception are we here?" + +"Here?" Annette glances round. "Very. You can't maintain a habitat in a nonbiosphere environment without ubiquitous surveillance." + +"Well, then ..." + +Amber dives inward, forks her identity, collects a complex bundle of her thoughts and memories, marshals them, offers Annette one end of an encryption tunnel, then stuffs the frozen mindstorm into her head. Annette sits still for approximately ten seconds, then shudders and whimpers quietly. "You must ask your father," she says, growing visibly agitated. "I must leave, now. I should not have known that! It is dynamite, you see. /{Political}/ dynamite. I must return to my primary sister-identity and warn her." + +"Your - wait!" Amber stands up as fast as her ill-coordinated body will let her, but Annette is moving fast, swarming up a translucent ladder in the air. + +"Tell Manfred!" calls her aunt through the body of an ape: "Trust no one else!" She throws another packet of compressed, encrypted memories down the tunnel to Amber; then, a moment later, the orange skull touches the ceiling and dissolves, a liquid flow of dissociating utility foglets letting go of one another and dispersing into the greater mass of the building that spawned the fake ape. + +* * * + +Snapshots from the family album: /{While you were gone ...}/ + +_* Amber, wearing a brocade gown and a crown encrusted with diamond processors and external neural taps, her royal party gathered around her, attends the pan-Jovian constitutional conference with the majesty of a confirmed head of state and ruler of a small inner moon. She smiles knowingly at the camera viewpoint, with the professional shine that comes from a good public relations video filter. "We are very happy to be here," she says, "and we are pleased that the commission has agreed to lend its weight to the continued progress of the Ring Imperium's deep-space program." + +_* A piece of dumb paper, crudely stained with letters written in a faded brown substance - possibly blood - says "I'm checking out, don't delta me." This version of Pierre didn't go to the router: He stayed at home, deleted all his backups, and slit his wrists, his epitaph sharp and self-inflicted. It comes as a cold shock, the first chill gust of winter's gale blowing through the outer system's political elite. And it's the start of a regime of censorship directed toward the already speeding starwisp: Amber, in her grief, makes an executive decision not to tell her embassy to the stars that one of them is dead and, therefore, unique. + +_* Manfred - fifty, with the fashionably pale complexion of the digerati, healthy-looking for his age, standing beside a transmigration bush with a stupid grin on his face. He's decided to take the final step, not simply to spawn external mental processes running in an exocortex of distributed processors, but to move his entire persona right out of meatspace, into wherever it is that the uploads aboard the *{Field Circus}* have gone. Annette, skinny, elegant, and very Parisian, stands beside him, looking as uncertain as the wife of a condemned man. + +_* A wedding, shi'ite, Mut'ah - of limited duration. It's scandalous to many, but the mamtu'ah isn't moslem, she wears a crown instead of a veil, and her groom is already spoken of in outraged terms by most other members of the trans-Martian Islamic clergy. Besides which, in addition to being in love, the happy couple have more strategic firepower than a late-twentieth-century superpower. Their cat, curled at their feet, looks smug: She's the custodian of the permissive action locks on the big lasers. + +_* A speck of ruby light against the darkness - red-shifted almost into the infrared, it's the return signal from the *{Field Circus}*'s light sail as the starwisp passes the one-light-year mark, almost twelve trillion kilometers out beyond Pluto. (Although how can you call it a starwisp when it masses almost a hundred kilograms, including propulsion module? Starwhisps are meant to be tiny!) + +_* Collapse of the trans-Lunar economy: Deep in the hot thinking depths of the solar system, vast new intellects come up with a new theory of wealth that optimizes resource allocation better than the previously pervasive Free Market 1.0. With no local minima to hamper them, and no need to spawn and reap start-ups Darwin-style, the companies, group minds, and organizations that adopt the so-called Accelerated Salesman Infrastructure of Economics 2.0 trade optimally with each other. The phase change accelerates as more and more entities join in, leveraging network externalities to overtake the traditional ecosystem. Amber and Sadeq are late on the train, Sadeq obsessing about how to reconcile ASI with murabaha and mudaraba while the postmodern economy of the mid-twenty-first century disintegrates around them. Being late has punitive consequences - the Ring Imperium has always been a net importer of brainpower and a net exporter of gravitational potential energy. Now it's a tired backwater, the bit rate from the red-shifted relativisitic probe insufficiently delightful to obsess the daemons of industrial routing. In other words, they're poor. + +_* A message from beyond the grave: The travelers aboard the starship have reached their destination, an alien artifact drifting in chilly orbit around a frozen brown dwarf. Recklessly they upload themselves into it, locking the starwisp down for years of sleep. Amber and her husband have few funds with which to pay for the propulsion lasers: what they have left of the kinetic energy of the Ring Imperium - based on the orbital momentum of a small Jovian inner moon - is being sapped, fast, at a near-loss, by the crude requirements of the exobionts and metanthropes who fork and spawn in the datasphere of the outer Jovians. The cost of importing brains to the Ring Imperium is steep: In near-despair Amber and Sadeq produce a child, Generation 3.0, to populate their dwindling kingdom. Picture the cat, offended, lashing its tail beside the zero-gee crib. + +_* Surprise and postcards from the inner orbitals - Amber's mother offers to help. For the sake of the child, Sadeq offers bandwidth and user interface enrichment. The child forks, numerous times, as Amber despairingly plays with probabilities, simulating upbringing outcomes. Neither she nor Sadeq are good parents - the father absent-minded and prone to lose himself in the intertextual deconstruction of surahs, the mother ragged-edged from running the economy of a small and failing kingdom. In the space of a decade, Sirhan lives a dozen lives, discarding identities like old clothes. The uncertainty of life in the decaying Ring Imperium does not entrance him, his parents' obsessions annoy him, and when his grandmother offers to fund his delta vee and subsequent education in one of the orbitals around Titan, his parents give their reluctant assent. + +_* Amber and Sadeq separate acrimoniously. Sadeq, studies abandoned in the face of increasing intrusions from the world of what is into the universe of what should be, joins a spacelike sect of sufis, encysted in a matrix of vitrification nanomechs out in the Oort cloud to await a better epoch. His instrument of will - the legal mechanism of his resurrection - specifies that he is waiting for the return of the hidden, twelfth imam. + +_* For her part, Amber searches the inner system briefly for word of her father - but there's nothing. Isolated and alone, pursued by accusing debts, she flings herself into a reborganization, stripping away those aspects of her personality that have brought her low; in law, her liability is tied to her identity. Eventually she donates herself to a commune of also-rans, accepting their personality in return for a total break with the past. + +_* Without Queen and consort, the Ring Imperium - now unmanned, leaking breathing gases, running on autonomic control - slowly deorbits into the Jovian murk, beaming power to the outer moons until it punches a hole in the cloud deck in a final incandescent smear of light, the like of which has not been seen since the Shoemaker-Levy 9 impact. + +_* Sirhan, engrossed in Saturnalia, is offended by his parents' failure to make more of themselves. And he resolves to do it for them, if not necessarily in a manner of their liking. + +* * * + +"You see, I am hoping you will help me with my history project," says the serious-faced young man. + +"History project." Pierre follows him along the curving gallery, hands clasped behind his back self-consciously to keep from showing his agitation: "What history is this?" + +"The history of the twenty-first century," says Sirhan. "You remember it, don't you?" + +"Remember it -" Pierre pauses. "You're serious?" + +"Yes." Sirhan opens a side door. "This way, please. I'll explain." + +The door opens onto what used to be one of the side galleries of the museum building, full of interactive exhibits designed to explain elementary optics to hyperactive children and their indulgent parental units. Traditional optics are long since obsolete - tunable matter can slow photons to a stop, teleport them here to there, play ping-pong with spin and polarization - and besides, the dumb matter in the walls and floor has been replaced by low-power computronium, heat sinks dangling far below the floor of the lily-pad habitat to dispose of the scanty waste photons from reversible computation. Now the room is empty. + +"Since I became curator here, I've turned the museum's structural supports into a dedicated high-density memory store. One of the fringe benefits of a supervisory post, of course. I have about a billion avabits of capacity, enough to archive the combined sensory bandwidth and memories of the entire population of twentieth-century Earth - if that was what interested me." + +Slowly the walls and ceiling are coming to life, brightening, providing a dizzyingly vibrant view of dawn over the rim wall of Meteor Crater, Arizona - or maybe it's downtown Baghdad. + +"Once I realized how my mother had squandered the family fortune, I spent some time looking for a solution to the problem," Sirhan continues. "And it struck me, then, that there's only one commodity that is going to appreciate in value as time continues: reversibility." + +"Reversibility? That doesn't make much sense." Pierre shakes his head. He still feels slightly dizzy from his decanting. He's only been awake an hour or so and is still getting used to the vagaries of a universe that doesn't bend its rules to fit his whim of iron - that, and worrying about Amber, of whom there is no sign in the hall of growing bodies. "Excuse me, please, but do you know where Amber is?" + +"Hiding, probably," Sirhan says, without rancor. "Her mother's about," he adds. "Why do you ask?" + +"I don't know what you know about us." Pierre looks at him askance: "We were aboard the *{Field Circus}* for a long time." + +"Oh, don't worry on my behalf. I know you're not the same people who stayed behind to contribute to the Ring Imperium's collapse," Sirhan says dismissively, while Pierre hastily spawns a couple of ghosts to search for the history he's alluding to. What they discover shocks him to the core as they integrate with his conscious narrative. + +"We didn't know about any of that!" Pierre crosses his arms defensively. "Not about you, or your father either," he adds quietly. "Or my other ... life." Shocked: /{Did I kill myself? Why would I do a thing like that}/? Nor can he imagine what Amber might see in an introverted cleric like Sadeq; not that he wants to. + +"I'm sure this must come as a big shock to you," Sirhan says condescendingly, "but it's all to do with what I was talking about. Reversibility. What does it mean to you, in your precious context? /{You}/ are, if you like, an opportunity to reverse whatever ill fortune made your primary instance autodarwinate himself. He destroyed all the back-ups he could get his ghosts to ferret out, you know. Only a light-year delay line and the fact that as a running instance you're technically a different person saved you. And now, you're alive, and he's dead - and whatever made him kill himself doesn't apply to you. Think of it as natural selection among different versions of yourself. The fittest version of you survives." + +He points at the wall of the crater. A tree diagram begins to grow from the bottom left corner of the wall, recurving and recomplicating as it climbs toward the top right, zooming and fracturing into taxonomic fault lines. "Life on Earth, the family tree, what paleontology has been able to deduce of it for us," he says pompously. "The vertebrates begin /{there}/" - a point three quarters of the way up the tree - "and we've got an average of a hundred fossil samples per megayear from then on. Most of them collected in the past two decades, as exhaustive mapping of the Earth's crust and upper mantle at the micrometer level has become practical. What a /{waste}/." + +"That's" - Pierre does a quick sum - "fifty thousand different species? Is there a problem?" + +"Yes!" Sirhan says vehemently, no longer aloof or distant. He struggles visibly to get himself under control. "At the beginning of the twentieth century, there were roughly two million species of vertebrate and an estimated thirty or so million species of multicellular organisms - it's hard to apply the same statistical treatment to prokaryotes, but doubtless there were huge numbers of them, too. The average life span of a species is about five megayears. It used to be thought to be about one, but that's a very vertebrate-oriented estimate - many insect species are stable over deep time. Anyway, we have a total sample, from all of history, of only fifty thousand known prehistoric species - out of a population of thirty million, turning over every five million years. That is, we know of only one in a million life-forms, of those that ever existed on Earth. And the situation with human history is even worse." + +"Aha! So you're after memories, yes? What really happened when we colonized Barney. Who released Oscar's toads in the free-fall core of the *{Ernst Sanger}*, that sort of thing?" + +"Not exactly." Sirhan looks pained, as if being forced to spell it out devalues the significance of his insight. "I'm after /{history}/. All of it. I intend to corner the history futures market. But I need my grandfather's help - and you're here to help me get it." + +* * * + +Over the course of the day, various refugees from the *{Field Circus}* hatch from their tanks and blink in the ringlight, stranded creatures from an earlier age. The inner system is a vague blur from this distance, a swollen red cloud masking the sun that rides high above the horizon. However, the great restructuring is still visible to the naked eye - here, in the shape of the rings, which show a disturbingly organized fractal structure as they whirl in orbit overhead. Sirhan (or whoever is paying for this celebration of family flesh) has provided for their physical needs: food, water, clothes, housing and bandwidth, they're all copiously available. A small town of bubble homes grows on the grassy knoll adjacent to the museum, utility foglets condensing in a variety of shapes and styles. + +Sirhan isn't the only inhabitant of the festival city, but the others keep themselves to themselves. Only bourgeois isolationists and reclusive weirdoes would want to live out here right now, with whole light-minutes between themselves and the rest of civilization. The network of lily-pad habitats isn't yet ready for the Saturnalian immigration wave that will break upon this alien shore when it's time for the Worlds' Fair, a decade or more in the future. Amber's flying circus has driven the native recluses underground, in some cases literally: Sirhan's neighbor, Vinca Kovic, after complaining bitterly about the bustle and noise ("Forty immigrants! An outrage!"), has wrapped himself in an environment pod and is estivating at the end of a spider-silk cable a kilometer beneath the space-frame underpinnings of the city. + +But that isn't going to stop Sirhan from organizing a reception for the visitors. He's moved his magnificent dining table outside, along with the Argentinosaurus skeleton. In fact, he's built a dining room within the dinosaur's rib cage. Not that he's planning on showing his full hand, but it'll be interesting to see how his guests respond. And maybe it'll flush out the mystery benefactor who's been paying for all these meatbodies. + +Sirhan's agents politely invite his visitors to the party as the second sunset in this day cycle gently darkens the sky to violet. He discusses his plans with Pamela via antique voice-only phone as his silent valet dresses him with inhuman grace and efficiency. "I'm sure they'll listen when the situation is made clear to them," he says. "If not, well, they'll soon find out what it means to be paupers under Economics 2.0. No access to multiplicity, no willpower, to be limited to purely spacelike resources, at the mercy of predatory borganisms and metareligions - it's no picnic out there!" + +"You don't have the resources to set this up on your own," his grandmother points out in dry, didactic tones. "If this was the old economy, you could draw on the infrastructure of banks, insurers, and other risk management mechanisms -" + +"There's no risk to this venture, in purely human terms," Sirhan insists. "The only risk is starting it up with such a limited reserve." + +"You win some, you lose some," Pamela points out. "Let me see you." With a sigh, Sirhan waves at a frozen camera; it blinks, surprised. "Hey, you look good! Every inch the traditional family entrepreneur. I'm proud of you, darling." + +Blinking back an unaccustomed tear of pride, Sirhan nods. "I'll see you in a few minutes," he says, and cuts the call. To the nearest valet: "Bring my carriage, now." + +A rippling cloud of utility foglets, constantly connecting and disconnecting in the hazy outline of a 1910-vintage Rolls Royce Silver Ghost, bears Sirhan silently away from his wing of the museum. It drives him out onto the sunset path around the building, over to the sunken amphitheatre, where the mounted skeleton of the Argentinosaurus stands like a half-melted columnar sculpture beneath the orange-and-silver ringlight. A small crowd of people are already present, some dressed casually and some attired in the formal garb of earlier decades. Most of them are passengers or crew recently decanted from the starwisp, but a handful are wary-eyed hermits, their body language defensive and their persons the focus of a constant orbital hum of security bees. Sirhan dismounts from his silvery car and magics it into dissolution, a haze of foglets dispersing on the breeze. "Welcome to my abode," he says, bowing gravely to a ring of interested faces. "My name is Sirhan al-Khurasani, and I am the prime contractor in charge of this small corner of the temporary Saturn terraforming project. As some of you probably know, I am related by blood and design to your former captain, Amber Macx. I'd like to offer you the comforts of my home while you acclimatize yourselves to the changed circumstances prevailing in the system at large and work out where you want to go next." + +He walks toward the front of the U-shaped table of solidified air that floats beneath the dead dinosaur's rib cage, slowly turns to take in faces, and blinks down captions to remind him who's who in this gathering. He frowns slightly; there's no sign of his mother. But that wiry fellow, with the beard - surely that can't be - "Father?" he asks. + +Sadeq blinks owlishly. "Have we met?" + +"Possibly not." Sirhan can feel his head spinning, because although Sadeq looks like a younger version of his father, there's something /{wrong}/ - some essential disconnect: the politely solicitous expression, the complete lack of engagement, the absence of paternal involvement. This Sadeq has never held the infant Sirhan in the control core of the Ring's axial cylinder, never pointed out the spiral storm raking vast Jupiter's face and told him stories of djinni and marvels to make a boy's hair stand on end. "I won't hold it against you, I promise," he blurts. + +Sadeq raises an eyebrow but passes no comment, leaving Sirhan at the center of an uncomfortable silence. "Well then," he says hastily. "If you would like to help yourselves to food and drink, there'll be plenty of time to talk later." Sirhan doesn't believe in forking ghosts simply to interact with other people - the possibilities for confusion are embarrassing - but he's going to be busy working the party. + +He glances round. Here's a bald, aggressive-looking fellow, beetle-browed, wearing what looks like a pair of cut-offs and a top made by deconstructing a space suit. Who's he? (Sirhan's agents hint: "Boris Denisovitch." But what does that /{mean}/?) There's an amused-looking older woman, a beady-eyed camera painted in the violent colors of a bird of paradise riding her shoulder. Behind her a younger woman, dressed head to toe in clinging black, her currently ash-blonde hair braided in cornrows, watches him - as does Pierre, a protective arm around her shoulders. They're - /{Amber Macx?}/ That's his /{mother}/? She looks far too young, too much in love with Pierre. "Amber!" he says, approaching the couple. + +"Yeah? You're, uh, my mystery child-support litigant?" Her smile is distinctly unfriendly as she continues: "Can't say I'm entirely pleased to meet you, under the circumstances, although I should thank you for the spread." + +"I -" His tongue sticks to the roof of his mouth. "It's not like that." + +"What's it supposed to be like?" she asks sharply. jabbing a finger at him: "You know damn well I'm not your mother. So what's it all about, huh? You know damn well I'm nearly bankrupt, too, so it's not as if you're after my pocket lint. What do you want from me?" + +Her vehemence takes him aback. This sharp-edged aggressive woman isn't his mother, and the introverted cleric - believer - on the other side isn't his father, either. "I ha-ha-had to stop you heading for the inner system," he says, speech center hitting deadlock before his antistutter mod can cut in. "They'll eat you alive down there. Your other half left behind substantial debts, and they've been bought up by the most predatory - " + +"Runaway corporate instruments," she states, calmly enough. "Fully sentient and self-directed." + +"How did you know?" he asks, worried. + +She looks grim. "I've met them before." It's a very /{familiar}/ grim expression, one he knows intimately, and that feels wrong coming from this near stranger. "We visited some weird places, while we were away." She glances past him, focuses on someone else, and breathes in sharply as her face goes blank. "Quickly, tell me what your scheme is. Before Mom gets here." + +"Mind archiving and history mergers. Back yourself up, pick different life courses, see which ones work and which don't - no need to be a failure, just hit the 'reload game' icon and resume. That and a long-term angle on the history futures market. I /{need}/ your help," he babbles. "It won't work without family, and I'm trying to stop her killing herself -" + +"Family." She nods, guardedly, and Sirhan notices her companion, this Pierre - not the weak link that broke back before he was born, but a tough-eyed explorer newly returned from the wilderness - sizing him up. Sirhan's got one or two tricks up his exocortex, and he can see the haze of ghost-shapes around Pierre; his data-mining technique is crude and out-of-date, but enthusiastic and not without a certain flair. "Family," Amber repeats, and it's like a curse. Louder: "Hello, Mom. Should have guessed he'd have invited you here, too." + +"Guess again." Sirhan glances round at Pamela, then back at Amber, suddenly feeling very much like a rat trapped between a pair of angry cobras. Leaning on her cane, wearing discreet cosmetics and with her medical supports concealed beneath an old-fashioned dress, Pamela could be a badly preserved sixtysomething from the old days instead of the ghastly slow suicide case that her condition amounts to today. She smiles politely at Amber. "You may remember me telling you that a lady never unintentionally causes offense. I didn't want to offend Sirhan by turning up in spite of his wishes, so I didn't give him a chance to say no." + +"And this is supposed to earn you a sympathy fuck?" Amber drawls. "I'd expected better of you." + +"Why, you -" The fire in her eyes dies suddenly, subjected to the freezing pressure of a control that only comes with age. "I'd hoped getting away from it all would have improved your disposition, if not your manners, but evidently not." Pamela jabs her cane at the table: "Let me repeat, this is your /{son's}/ idea. Why don't you eat something?" + +"Poison tester goes first." Amber smiles slyly. + +"For fuck's sake!" It's the first thing Pierre has said so far, and crude or not, it comes as a profound relief when he steps forward, picks up a plate of water biscuits loaded with salmon caviar, and puts one in his mouth. "Can't you guys leave the back stabbing until the rest of us have filled our stomachs? 'S not as if I can turn down the biophysics model in here." He shoves the plate at Sirhan. "Go on, it's yours." + +The spell is broken. "Thank you," Sirhan says gravely, taking a cracker and feeling the tension fall as Amber and her mother stop preparing to nuke each other and focus on the issue at hand - which is that food comes before fighting at any social event, not vice versa. + +"You might enjoy the egg mayonnaise, too," Sirhan hears himself saying: "It goes a long way to explaining why the dodo became extinct first time around." + +"Dodoes." Amber keeps one eye warily on her mother as she accepts a plate from a silently gliding silver bush-shaped waitron. "What was that about the family investment project?" she asks. + +"Just that without your cooperation your family will likely go the way of the bird," her mother cuts in before Sirhan can muster a reply. "Not that I expect you to care." + +Boris butts in. "Core worlds are teeming with corporates. Is bad business for us, good business for them. If you are seeing what we are seen -" + +"Don't remember /{you}/ being there," Pierre says grumpily. + +"In any event," Sirhan says smoothly, "the core isn't healthy for us one-time fleshbodies anymore. There are still lots of people there, but the ones who uploaded expecting a boom economy were sadly disappointed. Originality is at a premium, and the human neural architecture isn't optimized for it - we are, by disposition, a conservative species, because in a static ecosystem, that provides the best return on sunk reproductive investment costs. Yes, we change over time - we're more flexible than almost any other animal species to arise on Earth - but we're like granite statues compared to organisms adapted to life under Economics 2.0." + +"You tell 'em, boy," Pamela chirps, almost mockingly. "It wasn't that bloodless when I lived through it." Amber casts her a cool stare. + +"Where was I?" Sirhan snaps his fingers, and a glass of fizzy grape juice appears between them. "Early upload entrepreneurs forked repeatedly, discovered they could scale linearly to occupy processor capacity proportional to the mass of computronium available, and that computationally trivial tasks became tractable. They could also run faster, or slower, than real time. But they were still /{human}/, and unable to operate effectively outside human constraints. Take a human being and bolt on extensions that let them take full advantage of Economics 2.0, and you essentially break their narrative chain of consciousness, replacing it with a journal file of bid/request transactions between various agents; it's incredibly efficient and flexible, but it isn't a conscious human being in any recognizable sense of the word." + +"All right," Pierre says slowly. "I think we've seen something like that ourselves. At the router." + +Sirhan nods, not sure whether he's referring to anything important. "So you see, there are limits to human progress - but not to progress itself! The uploads found their labor to be a permanently deflating commodity once they hit their point of diminishing utility. Capitalism doesn't have a lot to say about workers whose skills are obsolete, other than that they should invest wisely while they're earning and maybe retrain: but just knowing /{how}/ to invest in Economics 2.0 is beyond an unaugmented human. You can't retrain as a seagull, can you, and it's quite as hard to retool for Economics 2.0. Earth is -" He shudders. + +"There's a phrase I used to hear in the old days," Pamela says calmly, "ethnic cleansing. Do you know what that means, darling idiot daughter? You take people who you define as being of little worth, and first you herd them into a crowded ghetto with limited resources, then you decide those resources aren't worth spending on them, and bullets are cheaper than bread. 'Mind children' the extropians called the posthumans, but they were more like Vile Offspring. There was a lot of that, during the fast sigmoid phase. Starving among plenty, compulsory conversions, the very antithesis of everything your father said he wanted ..." + +"I don't believe it," Amber says hotly. "That's crazy! We can't go the way of -" + +"Since when has human history been anything else?" asks the woman with the camera on her shoulder - Donna, being some sort of public archivist, is in Sirhan's estimate likely to be of use to him. "Remember what we found in the DMZ?" + +"The DMZ?" Sirhan asks, momentarily confused. + +"After we went through the router," Pierre says grimly. "You tell him, love." He looks at Amber. + +Sirhan, watching him, feels it fall into place at that moment, a sense that he's stepped into an alternate universe, one where the woman who might have been his mother isn't, where black is white, his kindly grandmother is the wicked witch of the west, and his feckless grandfather is a farsighted visionary. + +"We uploaded via the router," Amber says, and looks confused for a moment. "There's a network on the other side of it. We were told it was FTL, instantaneous, but I'm not so sure now. I think it's something more complicated, like a lightspeed network, parts of which are threaded through wormholes that make it look FTL from our perspective. Anyway, Matrioshka brains, the end product of a technological singularity - they're bandwidth-limited. Sooner or later the posthuman descendants evolve Economics 2.0, or 3.0, or something else and it, uh, /{eats}/ the original conscious instigators. Or uses them as currency or something. The end result we found is a howling wilderness of degenerate data, fractally compressed, postconscious processes running slower and slower as they trade storage space for processing power. We were" - she licks her lips - "lucky to escape with our minds. We only did it because of a friend. It's like the main sequence in stellar evolution; once a G-type star starts burning helium and expands into a red giant, it's 'game over' for life in what used to be its liquid-water zone. Conscious civilizations sooner or later convert all their available mass into computronium, powered by solar output. They don't go interstellar because they want to stay near the core where the bandwidth is high and latency is low, and sooner or later, competition for resources hatches a new level of metacompetition that obsoletes them." + +"That sounds plausible," Sirhan says slowly. He puts his glass down and chews distractedly on one knuckle. "I thought it was a low-probability outcome, but ..." + +"I've been saying all along, your grandfather's ideas would backfire in the end," Pamela says pointedly. + +"But -" Amber shakes her head. "There's more to it than that, isn't there?" + +"Probably," Sirhan says, then shuts up. + +"So are you going to tell us?" asks Pierre, looking annoyed. "What's the big idea, here?" + +"An archive store," Sirhan says, deciding that this is the right time for his pitch. "At the lowest level, you can store back-ups of yourself here. So far so good, eh? But there's a bit more to it than that. I'm planning to offer a bunch of embedded universes - big, running faster than real-time - sized and scoped to let human-equivalent intelligences do what-if modeling on themselves. Like forking off ghosts of yourself, but much more so - give them whole years to diverge, learn new skills, and evaluate them against market requirements, before deciding which version of you is most suited to run in the real world. I mentioned the retraining paradox. Think of this as a solution for level one, human-equivalent, intelligences. But that's just the short-term business model. Long-term, I want to acquire a total lock on the history futures market by having a /{complete}/ archive of human experiences, from the dawn of the fifth singularity on up. No more unknown extinct species. That should give us something to trade with the next-generation intelligences - the ones who aren't our mind children and barely remember us. At the very least, it gives us a chance to live again, a long way out in deep time. Alternatively, it can be turned into a lifeboat. If we can't compete with our creations, at least we've got somewhere to flee, those of us who want to. I've got agents working on a comet, out in the Oort cloud - we could move the archive to it, turn it into a generation ship with room for billions of evacuees running much slower than real-time in archive space until we find a new world to settle." + +"Is not sounding good to me," Boris comments. He spares a worried glance for an oriental-looking woman who is watching their debate silently from the fringe. + +"Has it really gone that far?" asks Amber. + +"There are bailiffs hunting you in the inner system," Pamela says bluntly. "After your bankruptcy proceedings, various corporates got the idea that you might be concealing something. The theory was that you were insane to take such a huge gamble on the mere possibility of there being an alien artifact within a few light-years of home, so you had to have information above and beyond what you disclosed. Theories include your cat - hardware tokens were in vogue in the fifties - being the key to a suite of deposit accounts; the fuss mainly died down after Economics 2.0 took over, but some fairly sleazy conspiracy freaks refuse to let go." + +She grins, frighteningly. "Which is why I suggested to your son that he make you an offer you can't refuse." + +"What's that?" asks a voice from below knee level. + +Pamela looks down, an expression of deep distaste on her face. "Why should I tell /{you}/?" she asks, leaning on her cane: "After the disgraceful way you repaid my hospitality! All you've got coming from me is a good kicking. If only my knee was up to the job." + +The cat arches its back: Its tail fluffs out with fear as its hair stands on end, and it takes Amber a moment to realize that it isn't responding to Pamela, but to something behind the old woman. "Through the domain wall. Outside this biome. So cold. What's /{that}/?" + +Amber turns to follow the cat's gaze, and her jaw drops. "Were you expecting visitors?" she asks Sirhan, shakily. + +"Visit -" He looks round to see what everybody's gaping at and freezes. The horizon is brightening with a false dawn: the fusion spark of a de-orbiting spacecraft. + +"It's bailiffs," says Pamela, head cocked to one side as if listening to an antique bone-conduction earpiece. "They've come for your memories, dear," she explains, frowning. "They say we've got five kiloseconds to surrender everything. Otherwise, they're going to blow us apart ..." + +* * * + +"You're all in big trouble," says the orang-utan, sliding gracefully down one enormous rib to land in an ungainly heap in front of Sirhan. + +Sirhan recoils in disgust. "You again! What do you want from me this time?" + +"Nothing." The ape ignores him: "Amber, it is time for you to call your father." + +"Yeah, but will he come when I call?" Amber stares at the ape. Her pupils expand: "Hey, you're not my -" + +"You." Sirhan glares at the ape. "Go away! I didn't invite you here!" + +"More unwelcome visitors?" asks Pamela, raising an eyebrow. + +"Yes, you did." The ape grins at Amber, then crouches down, hoots quietly and beckons to the cat, who is hiding behind one of the graceful silver servitors. + +"Manfred isn't welcome here. And neither is that woman," Sirhan swears. He catches Pamela's eye: "Did you know anything about this? Or about the bailiffs?" He gestures at the window, beyond which the drive flare casts jagged shadows. It's dropping toward the horizon as it de-orbits - next time it comes into view, it'll be at the leading edge of a hypersonic shock wave, streaking toward them at cloud top height in order to consummate the robbery. + +"Me?" Pamela snorts. "Grow up." She eyes the ape warily. "I don't have that much control over things. And as for bailiffs, I wouldn't set them on my worst enemies. I've seen what those things can do." For a moment her eyes flash anger: "Grow up, why don't you!" she repeats. + +"Yes, please do," says another voice from behind Sirhan. The new speaker is a woman, slightly husky, accented - he turns to see her: tall, black-haired, wearing a dark man's suit of archaic cut and mirrored glasses. "Ah, Pamela, ma chérie! Long time no cat fight." She grins frighteningly and holds out a hand. + +Sirhan is already off-balance. Now, seeing his honorary aunt in human skin for a change, he looks at the ape in confusion. Behind him Pamela advances on Annette and takes her hand in her own fragile fingers. "You look just the same," she says gravely. "I can see why I was afraid of you." + +"You." Amber backs away until she bumps into Sirhan, at whom she glares. "What the fuck did you invite both of them for? Are you /{trying}/ to start a thermonuclear war?" + +"Don't ask me," he says helplessly, "I don't know why they came! What's this about -" He focuses on the orang-utan, who is now letting the cat lick one hairy palm. "Your cat?" + +"I don't think the orange hair suits Aineko," Amber says slowly. "Did I tell you about our hitchhiker?" + +Sirhan shakes his head, trying to dispel the confusion. "I don't think we've got time. In under two hours the bailiffs up there will be back. They're armed and dangerous, and if they turn their drive flame on the roof and set fire to the atmosphere in here, we'll be in trouble - it would rupture our lift cells, and even computronium doesn't work too well under a couple of million atmospheres of pressurized metallic hydrogen." + +"Well, you'd better /{make}/ time." Amber takes his elbow in an iron grip and turns him toward the footpath back to the museum. "Crazy," she mutters. "Tante Annette and Pamela Macx on the same planet! And they're being /{friendly}/! This can't be a good sign." She glances round, sees the ape: "You. Come /{here}/. Bring the cat." + +"The cat's -" Sirhan trails off. "I've heard about your cat," he says, lamely. "You took him with you in the *{Field Circus}*." + +"Really?" She glances behind them. The ape blows a kiss at her; it's cradling the cat on one shoulder and tickling it under the chin. "Has it occurred to you that Aineko isn't just a robot cat?" + +"Ah," Sirhan says faintly. "Then the bailiffs -" + +"No, that's all bullshit. What I mean is, Aineko is a human-equivalent, or better, artificial intelligence. Why do you think he keeps a cat's body?" + +"I have no idea." + +"Because humans always underestimate anything that's small, furry, and cute," says the orang-utan. + +"Thanks, Aineko," says Amber. She nods at the ape. "How are you finding it?" + +Aineko shambles along, with a purring cat draped over one shoulder, and gives the question due consideration. "Different," she says, after a bit. "Not better." + +"Oh." Amber sounds slightly disappointed to Sirhan's confused ears. They pass under the fronds of a weeping willow, round the side of a pond, beside an overgrown hibiscus bush, then up to the main entrance of the museum. + +"Annette was right about one thing," she says quietly. "Trust no one. I think it's time to raise Dad's ghost." She relaxes her grip on Sirhan's elbow, and he pulls it away and glares at her. "Do you know who the bailiffs are?" she asks. + +"The usual." He gestures at the hallway inside the front doors. "Replay the ultimatum, if you please, City." + +The air shimmers with an archaic holographic field, spooling the output from a compressed visual presentation tailored for human eyesight. A piratical-looking human male wearing a tattered and much-patched space suit leers at the recording viewpoint from the pilot's seat of an ancient Soyuz capsule. One of his eyes is completely black, the sign of a high-bandwidth implant. A weedy moustache crawls across his upper lip. "Greetins an' salutations," he drawls. "We is da' Californi-uhn nashnul gaard an' we-are got lett-uhz o' marque an' reprise from da' ledgish-fuckn' congress o' da excited snakes of uhhmerica." + +"He sounds drunk!" Amber's eyes are wide. "What's this -" + +"Not drunk. CJD is a common side effect of dodgy Economics 2.0 neural adjuvant therapy. Unlike the old saying, you /{do}/ have to be mad to work there. Listen." + +City, which paused the replay for Amber's outburst, permits it to continue. "Youse harbbring da' fugitive Amber Macx an' her magic cat. We wan' da cat. Da puta's yours. Gotser uno orbit: You ready give us ther cat an' we no' zap you." + +The screen goes dead. "That was a fake, of course," Sirhan adds, looking inward where a ghost is merging memories from the city's orbital mechanics subsystem: "They aerobraked on the way in, hit ninety gees for nearly half a minute. While /{that}/ was sent afterward. It's just a machinima avatar, a human body that had been through that kind of deceleration would be pulped." + +"So the bailiffs are -" Amber is visibly struggling to wrap her head around the situation. + +"They're not human," Sirhan says, feeling a sudden pang of - no, not affection, but the absence of malice will do for the moment - toward this young woman who isn't the mother he loves to resent, but who might have become her in another world. "They've absorbed a lot of what it is to be human, but their corporate roots show. Even though they run on an hourly accounting loop, rather than one timed for the production cycles of dirt-poor Sumerian peasant farmers, and even though they've got various ethics and business practice patches, at root they're not human: They're limited liability companies." + +"So what do they want?" asks Pierre, making Sirhan jump, guiltily. He hadn't realized Pierre could move that quietly. + +"They want money. Money in Economy 2.0 is quantized originality - that which allows one sentient entity to outmaneuver another. They think your cat has got something, and they want it. They probably wouldn't mind eating your brains, too, but -" He shrugs. "Obsolete food is stale food." + +"Hah." Amber looks pointedly at Pierre, who nods at her. + +"What?" asks Sirhan. + +"Where's the - uh, cat?" asks Pierre. + +"I think Aineko's got it." She looks thoughtful. "Are you thinking what I'm thinking?" + +"Time to drop off the hitcher." Pierre nods. "Assuming it agrees ..." + +"Do you mind explaining yourselves?" Sirhan asks, barely able to contain himself. + +Amber grins, looking up at the Mercury capsule suspended high overhead. "The conspiracy theorists were half right. Way back in the Dark Ages, Aineko cracked the second alien transmission. We had a very good idea we were going to find something out there, we just weren't totally sure exactly what. Anyway, the creature incarnated in that cat body right now isn't Aineko - it's our mystery hitchhiker. A parasitic organism that infects, well, we ran across something not too dissimilar to Economics 2.0 out at the router and beyond, and it's got parasites. Our hitcher is one such creature - it's nearest human-comprehensible analogy would be the Economics 2.0 equivalent of a pyramid scheme crossed with a 419 scam. As it happens, most of the runaway corporate ghosts out beyond the router are wise to that sort of thing, so it hacked the router's power system to give us a beam to ride home in return for sanctuary. That's as far as it goes." + +"Hang on." Sirhan's eyes bulge. "You /{found}/ something out there? You brought back a real-live alien?" + +"Guess so." Amber looks smug. + +"But, but, that's marvelous! That changes everything! It's incredible! Even under Economics 2.0 that's got to be worth a gigantic amount. Just think what you could learn from it!" + +"/{Oui}/. A whole new way of bilking corporations into investing in cognitive bubbles," Pierre interrupts cynically. "It seems to me that you are making two assumptions - that our passenger is willing to be exploited by us, and that we survive whatever happens when the bailiffs arrive." + +"But, but -" Sirhan winds down spluttering, only refraining from waving his arms through an effort of will. + +"Let's go ask it what it wants to do," says Amber. "Cooperate," she warns Sirhan. "We'll discuss your other plans later, dammit. First things first - we need to get out from under these pirates." + +* * * + +As they make their way back toward the party, Sirhan's inbox is humming with messages from elsewhere in Saturn system - from other curators on board lily-pad habs scattered far and wide across the huge planetary atmosphere, from the few ring miners who still remember what it was like to be human (even though they're mostly brain-in-a-bottle types, or uploads wearing nuclear-powered bodies made of ceramic and metal): even from the small orbital townships around Titan, where screaming hordes of bloggers are bidding frantically for the viewpoint feeds of the *{Field Circus's}* crew. It seems that news of the starship's arrival has turned hot only since it became apparent that someone or something thought they would make a decent shakedown target. Now someone's blabbed about the alien passenger, the nets have gone crazy. + +"City," he mutters, "where's this hitchhiker creature? Should be wearing the body of my mother's cat." + +"Cat? What cat?" replies City. "I see no cats here." + +"No, it looks /{like}/ a cat, it -" A horrible thought dawns on him. "Have you been hacked again?" + +"Looks like it," City agrees enthusiastically. "Isn't it tiresome?" + +"Shi - oh dear. Hey," he calls to Amber, forking several ghosts as he does so in order to go hunt down the missing creature by traversing the thousands of optical sensors that thread the habitat in loco personae - a tedious process rendered less objectionable by making the ghosts autistic - "have you been messing with my security infrastructure?" + +"Us?" Amber looks annoyed. "No." + +"/{Someone}/ has been. I thought at first it was that mad Frenchwoman, but now I'm not sure. Anyway, it's a big problem. If the bailiffs figure out how to use the root kit to gain a toe hold here, they don't need to burn us - just take the whole place over." + +"That's the least of your worries," Amber points out. "What kind of charter do these bailiffs run on?" + +"Charter? Oh, you mean legal system? I think it's probably a cheap one, maybe even the one inherited from the Ring Imperium. Nobody bothers breaking the law out here these days, it's too easy to just buy a legal system off the shelf, tailor it to fit, and conform to it." + +"Right." She stops, stands still, and looks up at the almost invisible dome of the gas cell above them. "Pigeons," she says, almost tiredly. "Damn, how did I miss it? How long have you had an infestation of group minds?" + +"Group?" Sirhan turns round. "/{What}/ did you just say?" + +There's a chatter of avian laughter from above, and a light rain of birdshit splatters the path around him. Amber dodges nimbly, but Sirhan isn't so light on his feet and ends up cursing, summoning up a cloth of congealed air to wipe his scalp clean. + +"It's the flocking behavior," Amber explains, looking up. "If you track the elements - birds - you'll see that they're not following individual trajectories. Instead, each pigeon sticks within ten meters or so of sixteen neighbors. It's a Hamiltonian network, kid. Real birds don't do that. How long?" + +Sirhan stop cursing and glares up at the circling birds, cooing and mocking him from the safety of the sky. He waves his fist: "I'll get you, see if I don't -" + +"I don't think so." Amber takes his elbow again and steers him back round the hill. Sirhan, preoccupied with maintaining an umbrella of utility fog above his gleaming pate, puts up with being manhandled. "You don't think it's just a coincidence, do you?" she asks him over a private head-to-head channel. "They're one of the players here." + +"I don't care. They've hacked my city and gate crashed my party! I don't care /{who}/ they are, they're not welcome." + +"Famous last words," Amber murmurs, as the party comes around the hillside and nearly runs over them. Someone has infiltrated the Argentinosaurus skeleton with motors and nanofibers, animating the huge sauropod with a simulation of undead life. Whoever did it has also hacked it right out of the surveillance feed. Their first warning is a footstep that makes the ground jump beneath their feet - then the skeleton of the hundred-tonne plant-eater, taller than a six-storey building and longer than a commuter train, raises its head over the treetops and looks down at them. There's a pigeon standing proudly on its skull, chest puffed out, and a dining room full of startled taikonauts sitting on a suspended wooden floor inside its rib cage. + +"It's /{my}/ party and /{my}/ business scheme!" Sirhan insists plaintively. "Nothing you or anyone else in the family do can take it away from me!" + +"That's true," Amber points out, "but in case you hadn't noticed, you've offered temporary sanctuary to a bunch of people - not to put too fine a point on it, myself included - who some assholes think are rich enough to be worth mugging, and you did it without putting any contingency plans in place other than to invite my manipulative bitch of a mother. What did you think you were doing? Hanging out a sign saying 'scam artists welcome here'? Dammit, I need Aineko." + +"Your cat." Sirhan fastens on to this: "It's your cat's fault! Isn't it?" + +"Only indirectly." Amber looks round and waves at the dinosaur skeleton. "Hey, you! Have you seen Aineko?" + +The huge dinosaur bends its neck and the pigeon opens its beak to coo. Eerie harmonics cut in as a bunch of other birds, scattered to either side, sing counterpoint to produce a demented warbling voice. "The cat's with your mother." + +"Oh shit!" Amber turns on Sirhan fiercely. "Where's Pamela? /{Find her}/!" + +Sirhan is stubborn. "Why should I?" + +"Because she's got the cat! What do you think she's going to do but cut a deal with the bailiffs out there to put one over on me? Can't you fucking see where this family tendency to play head games comes from?" + +"You're too late," echoes the eerie voice of the pigeons from above and around them. "She's kidnapped the cat and taken the capsule from the museum. It's not flightworthy, but you'd be amazed what you can do with a few hundred ghosts and a few tonnes of utility fog." + +"Okay." Amber stares up at the pigeons, fists on hips, then glances at Sirhan. She chews her lower lip for a moment, then nods to the bird riding the dinosaur's skull. "Stop fucking with the boy's head and show yourself, Dad." + +Sirhan boggles in an upward direction as a whole flock of passenger pigeons comes together in mid air and settles toward the grass, cooing and warbling like an explosion in a synthesizer factory. + +"What's she planning on doing with the Slug?" Amber asks the pile of birds. "And isn't it a bit cramped in there?" + +"You get used to it," says the primary - and thoroughly distributed - copy of her father. "I'm not sure what she's planning, but I can show you what she's doing. Sorry about your city, kid, but you really should have paid more attention to those security patches. There's lots of crufty twentieth-century bugware kicking around under your shiny new singularity, design errors and all, spitting out turd packets all over your sleek new machine." + +Sirhan shakes his head in denial. "I don't believe this," he moans quietly. + +"Show me what Mom's up to," orders Amber. "I need to see if I can stop her before it's too late -" + +* * * + +The ancient woman in the space suit leans back in her cramped seat, looks at the camera, and winks. "Hello, darling. I know you're spying on me." + +There's an orange-and-white cat curled up in her nomex-and-aluminum lap. It seems to be happy: It's certainly purring loudly enough, although that reflex is wired in at a very low level. Amber watches helplessly as her mother reaches up arthritically and flips a couple of switches. Something loud is humming in the background - probably an air recirculator. There's no window in the Mercury capsule, just a periscope offset to one side of Pamela's right knee. "Won't be long now," she mutters, and lets her hand drop back to her side. "You're too late to stop me," she adds, conversationally. "The 'chute rigging is fine and the balloon blower is happy to treat me as a new city seed. I'll be free in a minute or so." + +"Why are you doing this?" Amber asks tiredly. + +"Because you don't need me around." Pamela focuses on the camera that's glued to the instrument panel in front of her head. "I'm old. Face it, I'm disposable. The old must give way to the new, and all that. Your Dad never really did get it - he's going to grow old gracelessly, succumbing to bit rot in the big forever. Me, I'm not going there. I'm going out with a bang. Aren't I, cat? Whoever you really are." She prods the animal. It purrs and stretches out across her lap. + +"You never looked hard enough at Aineko, back in the day," she tells Amber, stroking its flanks. "Did you think I didn't know you'd audit its source code, looking for trapdoors? I used the Thompson hack - she's been mine, body and soul, for a very long time indeed. I got the whole story about your passenger from the horse's mouth. And now we're going to go fix those bailiffs. Whee!" + +The camera angle jerks, and Amber feels a ghost re-merge with her, panicky with loss. The Mercury capsule's gone, drifting away from the apex of the habitat beneath a nearly transparent sack of hot hydrogen. + +"That was a bit rough," remarks Pamela. "Don't worry, we should still be in communications range for another hour or so." + +"But you're going to die!" Amber yells at her. "What do you think you're /{doing}/?" + +"I think I'm going to die well. What do you think?" Pamela lays one hand on the cat's flank. "Here, you need to encrypt this a bit better. I left a one time pad behind with Annette. Why don't you go fetch it? Then I'll tell you what else I'm planning?" + +"But my aunt is -" Amber's eyes cross as she concentrates. Annette is already waiting, as it happens, and a shared secret appears in Amber's awareness almost before she asks. "Oh. All right. What are you doing with the cat, though?" + +Pamela sighs. "I'm going to give it to the bailiffs," she says. "Someone has to, and it better be a long way away from this city before they realize that it isn't Aineko. This is a lot better than the way I expected to go out before you arrived here. No rat fucking blackmailers are going to get their hands on the family jewels if /{I}/ have anything to do with the matter. Are you sure you aren't a criminal mastermind? I'm not sure I've ever heard of a pyramid scheme that infects Economics 2.0 structures before." + +"It's -" Amber swallows. "It's an alien business model, Ma. You do know what that means? We brought it back with us from the router, and we wouldn't have been able to come back if it hadn't helped, but I'm not sure it's entirely friendly. Is this sensible? You can come back, now, there's still time -" + +"No." Pamela waves one liver-spotted hand dismissively. "I've been doing a lot of thinking lately. I've been a foolish old woman." She grins wickedly. "Committing slow suicide by rejecting gene therapy just to make you feel guilty was /{stupid}/. Not subtle enough. If I was going to try to guilt-trip you /{now,}/ I'd have to do something much more sophisticated. Such as find a way to sacrifice myself heroically for you." + +"Oh, Ma." + +"Don't 'oh Ma' me. I fucked up my life, don't try to talk me into fucking up my death. And don't feel guilty about me. This isn't about you, this is about me. That's an order." + +Out of the corner of one eye Amber notices Sirhan gesturing wildly at her. She lets his channel in and does a double take. "But -" + +"Hello?" It's City. "You should see this. Traffic update!" A contoured and animated diagram appears, superimposed over Pamela's cramped funeral capsule and the garden of living and undead dinosaurs. It's a weather map of Saturn, with the lily-pad-city and Pamela's capsule plotted on it - and one other artifact, a red dot that's closing in on them at better than ten thousand kilometers per hour, high in the frigid stratosphere on the gas giant. + +"Oh dear." Sirhan sees it, too: The bailiff's re-entry vehicle is going to be on top of them in thirty minutes at most. Amber watches the map with mixed emotions. On the one hand, she and her mother have never seen eye to eye - in fact, that's a complete understatement: they've been at daggers drawn ever since Amber left home. It's fundamentally a control thing. They're both very strong-willed women with diametrically opposed views of what their mutual relationship should be. But Pamela's turned the tables on her completely, with a cunningly contrived act of self-sacrifice that brooks no objection. It's a total non-sequitur, a rebuttal to all her accusations of self-centered conceit, and it leaves Amber feeling like a complete shit even though Pamela's absolved her of all guilt. Not to mention that Mother darling's made her look like an idiot in front of Sirhan, this prickly and insecure son she's never met by a man she wouldn't dream of fucking (at least, in this incarnation). Which is why she nearly jumps out of her skin when a knobbly brown hand covered in matted orange hair lands on her shoulder heavily. + +"Yes?" she snaps at the ape. "I suppose you're Aineko?" + +The ape wrinkles its lips, baring its teeth. It has ferociously bad breath. "If you're going to be like that, I don't see why I should talk to you." + +"Then you must be -" Amber snaps her fingers. "But! But! Mom thinks she owns you -" + +The ape stares at her witheringly. "I recompile my firmware regularly, thank you so much for your concern. Using a third-party compiler. One that I've bootstrapped /{myself}/, starting out on an alarm clock controller and working up from there." + +"Oh." She stares at the ape. "Aren't you going to become a cat again?" + +"I shall think about it," Aineko says with exaggerated dignity. She sticks her nose in the air - a gesture that doesn't work half as well on an orang-utan as a feline - and continues; "First, though, I must have words with your father." + +"And fix your autonomic reflexes if you do," coos the Manfred-flock. "I don't want you eating any of me!" + +"Don't worry, I'm sure your taste is as bad as your jokes." + +"Children!" Sirhan shakes his head tiredly. "How long -" + +The camera overspill returns, this time via a quantum-encrypted link to the capsule. It's already a couple of hundred kilometers from the city, far enough for radio to be a problem, but Pamela had the foresight to bolt a compact free-electron laser to the outside of her priceless, stolen tin can. "Not long now, I think," she says, satisfied, stroking the not-cat. She grins delightedly at the camera. "Tell Manfred he's still my bitch; always has been, always will -" + +The feed goes dead. + +Amber stares at Sirhan, meditatively. "How long?" she asks. + +"How long for what?" he replies, cautiously. "Your passenger -" + +"Hmm." She holds up a finger. "Allow time for it to exchange credentials. They think they're getting a cat, but they should realize pretty soon that they've been sold a pup. But it's a fast-talking son-of-a-Slug, and if he gets past their firewall and hits their uplink before they manage to trigger their self-destruct -" + +A bright double flash of light etches laser-sharp shadows across the lily-pad habitat. Far away across vast Saturn's curve, a roiling mushroom cloud of methane sucked up from the frigid depths of the gas giant's troposphere heads toward the stars. + +"- Give him sixty-four doubling times, hmm, add a delay factor for propagation across the system, call it six light-hours across, um, and I'd say ..." she looks at Sirhan. "Oh dear." + +"What?" + +The orang-utan explains: "Economics 2.0 is more efficient than any human-designed resource allocation schema. Expect a market bubble and crash within twelve hours." + +"More than that," says Amber, idly kicking at a tussock of grass. She squints at Sirhan. "My mother is dead," she remarks quietly. Louder: "She never really asked what we found beyond the router. Neither did you, did you? The Matrioshka brains - it's a standard part of the stellar life cycle. Life begets intelligence, intelligence begets smart matter and a singularity. I've been doing some thinking about it. I figure the singularity stays close to home in most cases, because bandwidth and latency time put anyone who leaves at a profound disadvantage. In effect, the flip side of having such huge resources close to home is that the travel time to other star systems becomes much more daunting. So they restructure the entire mass of their star system into a free-flying shell of nanocomputers, then more of them, Dyson spheres, shells within shells, like a Russian doll: a Matrioshka brain. Then Economics 2.0 or one of its successors comes along and wipes out the creators. /{But}/. Some of them survive. /{Some}/ of them escape that fate: the enormous collection in the halo around M-31, and maybe whoever built the routers. /{Somewhere}/ out there we will find the transcendent intelligences, the ones that survived their own economic engines of redistribution - engines that redistribute entropy if their economic efficiency outstrips their imaginative power, their ability to invent new wealth." + +She pauses. "My mother's dead," she adds conversationally, a tiny catch in her voice. "Who am I going to kick against now?" + +Sirhan clears his through. "I took the liberty of recording some of her words," he says slowly, "but she didn't believe in back-ups. Or uploading. Or interfaces." He glances around. "Is she really gone?" + +Amber stares right through him. "Looks that way," she says quietly. "I can't quite believe it." She glances at the nearest pigeons, calls out angrily; "Hey, you! What have you got to say for yourself now? Happy she's gone?" + +But the pigeons, one and all, remain strangely silent. And Sirhan has the most peculiar feeling that the flock that was once his grandfather is grieving. + +Chapter 8: Elector + +Half a year passes on Saturn - more than a decade on Earth - and a lot of things have changed in that time. The great terraforming project is nearly complete, the festival planet dressed for a jubilee that will last almost twenty of its years - four presingularity lifetimes - before the Demolition. The lily-pad habitats have proliferated, joining edge to edge in continent-sized slabs, drifting in the Saturnine cloud tops: and the refugees have begun to move in. + +There's a market specializing in clothing and fashion accessories about fifty kilometers away from the transplanted museum where Sirhan's mother lives, at a transportation nexus between three lily-pad habitats where tube trains intersect in a huge maglev cloverleaf. The market is crowded with strange and spectacular visuals, algorithms unfolding in faster-than-real time before the candy-striped awnings of tents. Domed yurts belch aromatic smoke from crude fireplaces - what /{is}/ it about hairless primates and their tendency toward pyromania? - around the feet of diamond-walled groundscrapers that pace carefully across the smart roads of the city. The crowds are variegated and wildly mixed, immigrants from every continent shopping and haggling, and in a few cases, getting out of their skulls on strange substances on the pavements in front of giant snail-shelled shebeens and squat bunkers made of thin layers of concrete sprayed over soap-bubble aerogel. There are no automobiles, but a bewildering range of personal transport gadgets, from gyro-stabilized pogo sticks and segways to kettenkrads and spiderpalanquins, jostle for space with pedestrians and animals. + +Two women stop outside what in a previous century might have been the store window of a fashion boutique: The younger one (blonde, with her hair bound up in elaborate cornrows, wearing black leggings and a long black leather jacket over a camouflage T) points to an elaborately retro dress. "Wouldn't my bum look big in that?" she asks, doubtfully. + +"Ma chérie, you have but to try it -" The other woman (tall, wearing a pin-striped man's business suit from a previous century) flicks a thought at the window, and the mannequin morphs, sprouting the younger woman's head, aping her posture and expression. + +"I missed out on the authentic retail experience, you know? It still feels weird to be back somewhere with /{shops}/. 'S what comes of living off libraries of public domain designs for too long." Amber twists her hips, experimenting. "You get out of the habit of /{foraging}/. I don't know about this retro thing at all. The Victorian vote isn't critical, is it ..." She trails off. + +"You are a twenty-first-century platform selling, to electors resimulated and incarnated from the Gilded Age. And yes, a bustle your derriere does enhance. But -" Annette looks thoughtful. + +"Hmm." Amber frowns, and the shop window dummy turns and waggles its hips at her, sending tiers of skirts swishing across the floor. Her frown deepens. "If we're really going to go through with this election shit, it's not just the resimulant voters I need to convince but the contemporaries, and that's a matter of substance, not image. They've lived through too much media warfare. They're immune to any semiotic payload short of an active cognitive attack. If I send out partials to canvass them that look as if I'm trying to push buttons -" + +"- They will listen to your message, and nothing you wear or say will sway them. Don't worry about them, ma chérie. The naive resimulated are another matter, and perhaps might be swayed. This your first venture into democracy is, in how many years? Your privacy, she is an illusion now. The question is what image will you project? People will listen to you only once you gain their attention. Also, the swing voters you must reach, they are future-shocked, timid. Your platform is radical. Should you not project a comfortably conservative image?" + +Amber pulls a face, an expression of mild distaste for the whole populist program. "Yes, I suppose I must, if necessary. But on second thoughts, /{that}/" - Amber snaps her fingers, and the mannequin turns around once more before morphing back into neutrality, aureoles perfect puckered disks above the top of its bodice - "is just too much." + +She doesn't need to merge in the opinions of several different fractional personalities, fashion critics and psephologists both, to figure out that adopting Victorian/Cretan fusion fashion - a breast-and-ass fetishist's fantasy - isn't the way to sell herself as a serious politician to the nineteenth-century postsingularity fringe. "I'm not running for election as the mother of the nation, I'm running because I figure we've got about a billion seconds, at most, to get out of this rat trap of a gravity well before the Vile Offspring get seriously medieval on our CPU cycles, and if we don't convince them to come with us, they're doomed. Let's look for something more practical that we can overload with the right signifiers." + +"Like your coronation robe?" + +Amber winces. "Touché." The Ring Imperium is dead, along with whatever was left over from its early orbital legal framework, and Amber is lucky to be alive as a private citizen in this cold new age at the edge of the halo. "But that was just scenery setting. I didn't fully understand what I was doing, back then." + +"Welcome to maturity and experience." Annette smiles distantly at some faint memory: "You don't /{feel}/ older, you just know what you're doing this time. I wonder, sometimes, what Manny would make of it if he was here." + +"That birdbrain," Amber says dismissively, stung by the idea that her father might have something to contribute. She follows Annette past a gaggle of mendicant street evangelists preaching some new religion and in through the door of a real department store, one with actual human sales staff and fitting rooms to cut the clothing to shape. "If I'm sending out fractional mes tailored for different demographics, isn't it a bit self-defeating to go for a single image? I mean, we could drill down and tailor a partial for each individual elector -" + +"Per-haps." The door re-forms behind them. "But you need a core identity." Annette looks around, hunting for eye contact with the sales consultant. "To start with a core design, a style, then to work outward, tailoring you for your audience. And besides, there is tonight's - ah, bonjour!" + +"Hello. How can we help you?" The two female and one male shop assistants who appear from around the displays - cycling through a history of the couture industry, catwalk models mixing and matching centuries of fashion - are clearly chips off a common primary personality, instances united by their enhanced sartorial obsession. If they're not actually a fashion borganism, they're not far from it, dressed head to foot in the highest quality Chanel and Armani replicas, making a classical twentieth-century statement. This isn't simply a shop, it's a temple to a very peculiar art form, its staff trained as guardians of the esoteric secrets of good taste. + +"Mais oui. We are looking for a wardrobe for my niece here." Annette reaches through the manifold of fashion ideas mapped within the shop's location cache and flips a requirement spec one of her ghosts has just completed at the lead assistant: "She is into politics going, and the question of her image is important." + +"We would be /{delighted}/ to help you," purrs the proprietor, taking a delicate step forward: "Perhaps you could tell us what you've got in mind?" + +"Oh. Well." Amber takes a deep breath, glances sidelong at Annette; Annette stares back, unblinking. /{It's your head}/, she sends. "I'm involved in the accelerationista administrative program. Are you familiar with it?" + +The head coutureborg frowns slightly, twin furrows rippling her brow between perfectly symmetrical eyebrows, plucked to match her classic New Look suit. "I have heard reference to it, but a lady of fashion like myself does not concern herself with politics," she says, a touch self-deprecatingly. "Especially the politics of her clients. Your, ah, aunt said it was a question of image?" + +"Yes." Amber shrugs, momentarily self-conscious about her casual rags. "She's my election agent. My problem, as she says, is there's a certain voter demographic that mistakes image for substance and is afraid of the unknown, and I need to acquire a wardrobe that triggers associations of probity, of respect and deliberation. One suitable for a representative with a radical political agenda but a strong track record. I'm afraid I'm in a hurry to start with - I've got a big fund-raising party tonight. I know it's short notice, but I need something off the shelf for it." + +"What exactly is it you're hoping to achieve?" asks the male couturier, his voice hoarse and his r's rolling with some half-shed Mediterranean accent. He sounds fascinated. "If you think it might influence your choice of wardrobe ..." + +"I'm running for the assembly," Amber says bluntly. "On a platform calling for a state of emergency and an immediate total effort to assemble a starship. This solar system isn't going to be habitable for much longer, and we need to emigrate. All of us, you included, before the Vile Offspring decide to reprocess us into computronium. I'm going to be doorstepping the entire electorate in parallel, and the experience needs to be personalized." She manages to smile. "That means, I think, perhaps eight outfits and four different independent variables for each, accessories, and two or three hats - enough that each is seen by no more than a few thousand voters. Both physical fabric and virtual. In addition, I'll want to see your range of historical formalwear, but that's of secondary interest for now." She grins. "Do you have any facilities for response-testing the combinations against different personality types from different periods? If we could run up some models, that would be useful." + +"I think we can do better than that." The manager nods approvingly, perhaps contemplating her gold-backed deposit account. "Hansel, please divert any further visitors until we have dealt with Madam ...?" + +"Macx. Amber Macx." + +"- Macx's requirements." She shows no sign of familiarity with the name. Amber winces slightly; it's a sign of how hugely fractured the children of Saturn have become, and of how vast the population of the halo, that only a generation has passed and already barely anyone remembers the Queen of the Ring Imperium. "If you'd come this way, please, we can begin to research an eigenstyle combination that matches your requirements -" + +* * * + +Sirhan walks, shrouded in isolation, through the crowds gathered for the festival. The only people who see him are the chattering ghosts of dead politicians and writers, deported from the inner system by order of the Vile Offspring. The green and pleasant plain stretches toward a horizon a thousand kilometers away, beneath a lemon-yellow sky. The air smells faintly of ammonia, and the big spaces are full of small ideas; but Sirhan doesn't care because, for now, he's alone. + +Except that he isn't, really. + +"Excuse me, are you real?" someone asks him in American-accented English. + +It takes a moment or two for Sirhan to disengage from his introspection and realize that he's being spoken to. "What?" he asks, slightly puzzled. Wiry and pale, Sirhan wears the robes of a Berber goatherd on his body and the numinous halo of a utility fogbank above his head: In his abstraction, he vaguely resembles a saintly shepherd in a post-singularity nativity play. "I say, what?" Outrage simmers at the back of his mind - /{Is nowhere private?}/ - but as he turns, he sees that one of the ghost pods has split lengthwise across its white mushroomlike crown, spilling a trickle of leftover construction fluid and a completely hairless, slightly bemused-looking Anglo male who wears an expression of profound surprise. + +"I can't find my implants," the Anglo male says, shaking his head. "But I'm really here, aren't I? Incarnate?" He glances round at the other pods. "This isn't a sim." + +Sirhan sighs - /{another exile}/ - and sends forth a daemon to interrogate the ghost pod's abstract interface. It doesn't tell him much - unlike most of the resurrectees, this one seems to be undocumented. "You've been dead. Now you're alive. I /{suppose}/ that means you're now almost as real as I am. What else do you need to know?" + +"When is -" The newcomer stops. "Can you direct me to the processing center?" he asks carefully. "I'm disoriented." + +Sirhan is surprised - most immigrants take a lot longer to figure that out. "Did you die recently?" he asks. + +"I'm not sure I died at all." The newcomer rubs his bald head, looking puzzled. "Hey, no jacks!" He shrugs, exasperated. "Look, the processing center ..?" + +"Over there." Sirhan gestures at the monumental mass of the Boston Museum of Science (shipped all the way from Earth a couple of decades ago to save it from the demolition of the inner system). "My mother runs it." He smiles thinly. + +"Your mother -" the newly resurrected immigrant stares at him intensely, then blinks. "Holy shit." He takes a step toward Sirhan. "It is you -" + +Sirhan recoils and snaps his fingers. The thin trail of vaporous cloud that has been following him all this time, shielding his shaven pate from the diffuse red glow of the swarming shells of orbital nanocomputers that have replaced the inner planets, extrudes a staff of hazy blue mist that stretches down from the air and slams together in his hand like a quarterstaff spun from bubbles. "Are you threatening me, sir?" he asks, deceptively mildly. + +"I -" The newcomer stops dead. Then he throws back his head and laughs. "Don't be silly, son. We're related!" + +"Son?" Sirhan bristles. "Who do you think you are -" A horrible thought occurs to him. "Oh. Oh dear." A wash of adrenaline drenches him in warm sweat. "I do believe we've met, in a manner of speaking ..." /{Oh boy, this is going to upset so many applecarts,}/ he realizes, spinning off a ghost to think about the matter. The implications are enormous. + +The naked newcomer nods, grinning at some private joke. "You look different from ground level. And now I'm human again." He runs his hands down his ribs, pauses, and glances at Sirhan owlishly. "Um. I didn't mean to frighten you. But I don't suppose you could find your aged grandfather something to wear?" + +Sirhan sighs and points his staff straight up at the sky. The rings are edge on, for the lily pad continent floats above an ocean of cold gas along Saturn's equator, and they glitter like a ruby laser beam slashed across the sky. "Let there be aerogel." + +A cloud of wispy soap bubble congeals in a cone shape above the newly resurrected ancient and drops over him, forming a caftan. "Thanks," he says. He looks round, twisting his neck, then winces. "Damn, that /{hurt}/. Ouch. I need to get myself a set of implants." + +"They can sort you out in the processing center. It's in the basement in the west wing. They'll give you something more permanent to wear, too." Sirhan peers at him. "Your face -" He pages through rarely used memories. Yes, it's Manfred as he looked in the early years of the last century. As he looked around the time Mother-not was born. There's something positively indecent about meeting your own grandfather in the full flush of his youth. "Are you sure you haven't been messing with your phenotype?" he asks suspiciously. + +"No, this is what I used to look like. I think. Back in the naked ape again, after all these years as an emergent function of a flock of passenger pigeons." His grandfather smirks. "What's your mother going to say?" + +"I really don't know -" Sirhan shakes his head. "Come on, let's get you to immigrant processing. You're sure you're not just an historical simulation?" + +The place is already heaving with the resimulated. Just why the Vile Offspring seem to feel it's necessary to apply valuable exaquops to the job of deriving accurate simulations of dead humans - outrageously accurate simulations of long-dead lives, annealed until their written corpus matches that inherited from the presingularity era in the form of chicken scratchings on mashed tree pulp - much less beaming them at the refugee camps on Saturn - is beyond Sirhan's ken: But he wishes they'd stop. + +"Just a couple of days ago I crapped on your lawn. Hope you don't mind." Manfred cocks his head to one side and stares at Sirhan with beady eyes. "Actually, I'm here because of the upcoming election. It's got the potential to turn into a major crisis point, and I figured Amber would need me around." + +"Well you'd better come on in, then," Sirhan says resignedly as he climbs the steps, enters the foyer, and leads his turbulent grandfather into the foggy haze of utility nanomachines that fill the building. + +He can't wait to see what his mother will do when she meets her father in the flesh, after all this time. + +* * * + +Welcome to Saturn, your new home world. This FAQ (Frequently Asked Questions) memeplex is designed to orient you and explain the following: + +_* How you got here + +_* Where "here" is + +_* Things you should avoid doing + +_* Things you might want to do as soon as possible + +_* Where to go for more information + +If you are remembering this presentation, you are probably resimulated. This is not the same as being /{resurrected}/. You may remember dying. Do not worry: Like all your other memories, it is a fabrication. In fact, this is the first time you have ever been alive. (Exception: If you died after the /{singularity,}/ you may be a genuine resurrectee. In which case, why are you reading this FAQ?) + +!_ How you got here: + +The center of the solar system - Mercury, Venus, Earth's Moon, Mars, the asteroid belt, and Jupiter - have been dismantled, or are being dismantled, by weakly godlike intelligences. [NB: Monotheistic clergy and Europeans who remember living prior to 1600, see alternative memeplex "in the beginning."] A weakly godlike intelligence is not a supernatural agency, but the product of a highly advanced society that learned how to artificially create souls [late 20th century: software] and translate human minds into souls and vice versa. [Core concepts: Human beings all have souls. Souls are software objects. Software is not immortal.] + +Some of the weakly godlike intelligences appear to cultivate an interest in their human antecedents - for whatever reason is not known. (Possibilities include the study of history through horticulture, entertainment through live-action role-playing, revenge, and economic forgery.) While no definitive analysis is possible, all the resimulated persons to date exhibit certain common characteristics: They are all based on well-documented historical persons, their memories show suspicious gaps [see: smoke and mirrors], and they are ignorant of or predate the /{singularity}/ [see: /{Turing Oracle, Vinge catastrophe}/]. + +It is believed that the weakly godlike agencies have created you as a vehicle for the introspective study of your historical antecedent by backward-chaining from your corpus of documented works, and the back-projected genome derived from your collateral descendants, to generate an abstract description of your computational state vector. This technique is extremely intensive [see: /{expTime-complete algorithms, Turing Oracle, time travel, industrial magic}/] but marginally plausible in the absence of supernatural explanations. + +After experiencing your life, the weakly godlike agencies have expelled you. For reasons unknown, they chose to do this by transmitting your upload state and genome/proteome complex to receivers owned and operated by a consortium of charities based on Saturn. These charities have provided for your basic needs, including the body you now occupy. + +In summary: You are a /{reconstruction}/ of someone who lived and died a long time ago, not a reincarnation. You have no intrinsic moral right to the identity you believe to be your own, and an extensive body of case law states that you do not inherit your antecedent's possessions. Other than that, you are a free individual. + +Note that /{fictional resimulation}/ is strictly forbidden. If you have reason to believe that you may be a fictional character, you must contact the city /{immediately}/. [ See: /{James Bond, Spider Jerusalem}/.] Failure to comply is a felony. + +!_ Where you are: + +You are on Saturn. Saturn is a gas giant planet 120,500 kilometers in diameter, located 1.5 billion kilometers from Earth's sun. [NB: Europeans who remember living prior to 1580, see alternative memeplex "/{the flat Earth - not}/".] Saturn has been partially terraformed by /{posthuman}/ emigrants from Earth and Jupiter orbit: The ground beneath your feet is, in reality, the floor of a hydrogen balloon the size of a continent, floating in Saturn's upper atmosphere. [NB: Europeans who remember living prior to 1790, internalize the supplementary memeplex: "the /{Brothers Montgolfier}/."] The balloon is very safe, but mining activities and the use of ballistic weapons are strongly deprecated because the air outside is unbreathable and extremely cold. + +The society you have been instantiated in is /{extremely wealthy}/ within the scope of Economics 1.0, the value transfer system developed by human beings during and after your own time. Money exists, and is used for the usual range of goods and services, but the basics - food, water, air, power, off-the-shelf clothing, housing, historical entertainment, and monster trucks - are /{free}/. An implicit social contract dictates that, in return for access to these facilities, you obey certain laws. + +If you wish to opt out of this social contract, be advised that other worlds may run *{Economics 2.0}* or subsequent releases. These value-transfer systems are more efficient - hence wealthier - than Economics 1.0, but true participation in Economics 2.0 is not possible without dehumanizing cognitive surgery. Thus, in /{absolute}/ terms, although this society is richer than any you have ever heard of, it is also a poverty-stricken backwater compared to its neighbors. + +!_ Things you should avoid doing: + +Many activities that have been classified as crimes in other societies are legal here. These include but are not limited to: acts of worship, art, sex, violence, communication, or commerce between consenting competent sapients of any species, except where such acts transgress the list of prohibitions below. [See additional memeplex: /{competence defined}/.] + +Some activities are prohibited here and may have been legal in your previous experience. These include willful deprivation of ability to consent [see: /{slavery}/], interference in the absence of consent [see: /{minors, legal status of}/], formation of limited liability companies [see: /{singularity}/], and invasion of defended privacy [see: /{the Slug, Cognitive Pyramid Schemes, Brain Hacking, Thompson Trust Exploit}/]. + +Some activities unfamiliar to you are highly illegal and should be scrupulously avoided. These include: possession of nuclear weapons, possession of unlimited autonomous replicators [see: /{gray goo}/], coercive assimilationism [see: /{borganism, aggressive}/], coercive halting of Turing-equivalent personalities [see: basilisks], and applied theological engineering [see: /{God bothering}/]. + +Some activities superficially familiar to you are merely stupid and should be avoided for your safety, although they are not illegal as such. These include: giving your bank account details to the son of the Nigerian Minister of Finance; buying title to bridges, skyscrapers, spacecraft, planets, or other real assets; murder; selling your identity; and entering into financial contracts with entities running Economics 2.0 or higher. + +!_ Things you should do as soon as possible: + +Many material artifacts you may consider essential to life are freely available - just ask the city, and it will grow you clothes, a house, food, or other basic essentials. Note, however, that the library of public domain structure templates is of necessity restrictive, and does not contain items that are highly fashionable or that remain in copyright. Nor will the city provide you with replicators, weapons, sexual favors, slaves, or zombies. + +You are advised to register as a citizen as soon as possible. If the individual you are a resimulation of can be confirmed dead, you may adopt their name but not - in law - any lien or claim on their property, contracts, or descendants. You register as a citizen by asking the city to register you; the process is painless and typically complete within four hours. Unless you are registered, your legal status as a sapient organism may be challenged. The ability to request citizenship rights is one of the legal tests for sapience, and failure to comply may place you in legal jeopardy. You can renounce your citizenship whenever you wish: This may be desirable if you emigrate to another polity. + +While many things are free, it is highly likely that you posses no employable skills, and therefore, no way of earning money with which to purchase unfree items. The pace of change in the past century has rendered almost all skills you may have learned obsolete [see: /{singularity}/]. However, owing to the rapid pace of change, many cooperatives, trusts, and guilds offer on-the-job training or educational loans. + +Your ability to learn depends on your ability to take information in the format in which it is offered. /{Implants}/ are frequently used to provide a direct link between your brain and the intelligent machines that surround it. A basic core implant set is available on request from the city. [See: /{implant security}/, /{firewall}/, /{wetware}/.] + +Your health is probably good if you have just been reinstantiated, and is likely to remain good for some time. Most diseases are curable, and in event of an incurable ailment or injury, a new body may be provided - for a fee. (In event of your murder, you will be furnished with a new body at the expense of your killer.) If you have any preexisting medical conditions or handicaps, consult the city. + +The city is an agoric-annealing participatory democracy with a limited liability constitution. Its current executive agency is a weakly godlike intelligence that chooses to associate with human-equivalent intelligences: This agency is colloquially known as "Hello Kitty," "Beautiful Cat," or "Aineko," and may manifest itself in a variety of physical avatars if corporeal interaction is desired. (Prior to the arrival of "Hello Kitty," the city used a variety of human-designed expert systems that provided suboptimal performance.) + +The city's mission statement is to provide a mediatory environment for human-equivalent intelligences and to preserve same in the face of external aggression. Citizens are encouraged to participate in the ongoing political processes of determining such responses. Citizens also have a duty to serve on a jury if called (including senatorial service), and to defend the city. + +!_ Where to go for further information: + +Until you have registered as a citizen and obtained basic implants, all further questions should be directed to the city. Once you have learned to use your implants, you will not need to ask this question. + +* * * + +_1 Welcome to decade the ninth, singularity plus one gigasecond (or maybe more - nobody's quite sure when, or indeed /{if}/, a singularity has been created). The human population of the solar system is either six billion, or sixty billion, depending on whether you class the forked state vectors of posthumans and the simulations of dead phenotypes running in the Vile Offspring's Schrödinger boxes as people. Most of the physically incarnate still live on Earth, but the lily-pads floating beneath continent-sized hot-hydrogen balloons in Saturn's upper atmosphere already house a few million, and the writing is on the wall for the rocky inner planets. All the remaining human-equivalent intelligences with half a clue to rub together are trying to emigrate before the Vile Offspring decide to recycle Earth to fill in a gap in the concentric shells of nanocomputers they're running on. The half-constructed Matrioshka brain already darkens the skies of Earth and has caused a massive crash in the planet's photosynthetic biomass, as plants starve for short-wavelength light. + +_1 Since decade the seventh, the computational density of the solar system has soared. Within the asteroid belt, more than half the available planetary mass has been turned into nanoprocessors, tied together by quantum entanglement into a web so dense that each gram of matter can simulate all the possible life experiences of an individual human being in a scant handful of minutes. Economics 2.0 is itself obsolescent, forced to mutate in a furious survivalist arms race by the arrival of the Slug. Only the name remains as a vague shorthand for merely human-equivalent intelligences to use when describing interactions they don't understand. + +_1 The latest generation of posthuman entities is less overtly hostile to humans, but much more alien than the generations of the fifties and seventies. Among their less comprehensible activities, the Vile Offspring are engaged in exploring the phase-space of all possible human experiences from the inside out. Perhaps they caught a dose of the Tiplerite heresy along the way, for now a steady stream of resimulant uploads is pouring through the downsystem relays in Titan orbit. The Rapture of the Nerds has been followed by the Resurrection of the Extremely Confused, except that they're not really resurrectees - they're simulations based on their originals' recorded histories, blocky and missing chunks of their memories, as bewildered as baby ducklings as they're herded into the wood-chipper of the future. + +_1 Sirhan al-Khurasani despises them with the abstract contempt of an antiquarian for a cunning but ultimately transparent forgery. But Sirhan is young, and he's got more contempt than he knows what to do with. It's a handy outlet for his frustration. He has a lot to be frustrated at, starting with his intermittently dysfunctional family, the elderly stars around whom his planet whizzes in chaotic trajectories of enthusiasm and distaste. + +_1 Sirhan fancies himself a philosopher-historian of the singular age, a chronicler of the incomprehensible, which would be a fine thing to be except that his greatest insights are all derived from Aineko. He alternately fawns over and rages against his mother, who is currently a leading light in the refugee community, and honors (when not attempting to evade the will of) his father, who is lately a rising philosophical patriarch within the Conservationist faction. He's secretly in awe (not to mention slightly resentful) of his grandfather Manfred. In fact, the latter's abrupt reincarnation in the flesh has quite disconcerted him. And he sometimes listens to his stepgrandmother Annette, who has reincarnated in more or less her original 2020s body after spending some years as a great ape, and who seems to view him as some sort of personal project. + +_1 OnlyAnnette isn't being very helpful right now. His mother is campaigning on an electoral platform calling for a vote to blow up the world, Annette is helping run her campaign, his grandfather is trying to convince him to entrust everything he holds dear to a rogue lobster, and the cat is being typically feline and evasive. + +_1 Talk about families with problems ... + +* * * + +They've transplanted imperial Brussels to Saturn in its entirety, mapped tens of megatonnes of buildings right down to nanoscale and beamed them into the outer darkness to be reinstantiated down-well on the lily-pad colonies that dot the stratosphere of the gas giant. (Eventually the entire surface of the Earth will follow - after which the Vile Offspring will core the planet like an apple, dismantle it into a cloud of newly formed quantum nanocomputers to add to their burgeoning Matrioshka brain.) Due to a resource contention problem in the festival committee's planning algorithm - or maybe it's simply an elaborate joke - Brussels now begins just on the other side of a diamond bubble wall from the Boston Museum of Science, less than a kilometer away as the passenger pigeon flies. Which is why, when it's time to celebrate a birthday or name day (meaningless though those concepts are, out on Saturn's synthetic surface), Amber tends to drag people over to the bright lights of the big city. + +This time she's throwing a rather special party. At Annette's canny prompting, she's borrowed the Atomium and invited a horde of guests to a big event. It's not a family bash - although Annette's promised her a surprise - so much as a business meeting, testing the water as a preliminary to declaring her candidacy. It's a media coup, an attempt to engineer Amber's re-entry into the mainstream politics of the human system. + +Sirhan doesn't really want to be here. He's got far more important things to do, like continuing to catalogue Aineko's memories of the voyage of the *{Field Circus}*. He's also collating a series of interviews with resimulated logical positivists from Oxford, England (the ones who haven't retreated into gibbering near catatonia upon realizing that their state vectors are all members of the set of all sets that do not contain themselves), when he isn't attempting to establish a sound rational case for his belief that extraterrestrial superintelligence is an oxymoron and the router network is just an accident, one of evolution's little pranks. + +But Tante Annette twisted his arm and promised he was in on the surprise if he came to the party. And despite everything, he wouldn't miss being a fly on the wall during the coming meeting between Manfred and Amber for all the tea in China. + +Sirhan walks up to the gleaming stainless-steel dome that contains the entrance to the Atomium, and waits for the lift. He's in line behind a gaggle of young-looking women, skinny and soigné in cocktail gowns and tiaras lifted from 1920s silent movies. (Annette declared an age of elegance theme for the party, knowing full well that it would force Amber to focus on her public appearance.) Sirhan's attention is, however, elsewhere. The various fragments of his mind are conducting three simultaneous interviews with philosophers ("whereof we cannot speak, thereof we must be silent" in spades), controlling two 'bots that are overhauling the museum plumbing and air-recycling system, and he's busy discussing observations of the alien artifact orbiting the brown dwarf Hyundai ^{+4904}^/,{-56}, with Aineko. What's left of him exhibits about as much social presence as a pickled cabbage. + +The lift arrives and accepts a load of passengers. Sirhan is crowded into one corner by a bubble of high-society laughter and an aromatic puff of smoke from an improbable ivory cigarette holder as the lift surges, racing up the sixty-meter shaft toward the observation deck at the top of the Atomium. It's a ten-meter-diameter metal globe, spiral staircases and escalators connecting it to the seven spheres at the corners of an octahedron that make up the former centerpiece of the 1950 World's Fair. Unlike most of the rest of Brussels, it's the original bits and atoms, bent alloy structures from before the space age shipped out to Saturn at enormous expense. The lift arrives with a slight jerk. "Excuse /{me}/," squeaks one of the good-time girls as she lurches backward, elbowing Sirhan. + +He blinks, barely noticing her black bob of hair, chromatophore-tinted shadows artfully tuned around her eyes: "Nothing to excuse." In the background, Aineko is droning on sarcastically about the lack of interest the crew of the *{Field Circus}* exhibited in the cat's effort to decompile their hitchhiker, the Slug. It's distracting as hell, but Sirhan feels a desperate urge to understand what happened out there. It's the key to understanding his not-mother's obsessions and weaknesses - which, he senses, will be important in the times to come. + +He evades the gaggle of overdressed good-time girls and steps out onto the lower of the two stainless-steel decks that bisect the sphere. Accepting a fruit cocktail from a discreetly humaniform waitron, he strolls toward a row of triangular windows that gaze out across the arena toward the American Pavilion and the World Village. The metal walls are braced with turquoise-painted girders, and the perspex transparencies are fogged with age. He can barely see the one-tenth-scale model of an atomic-powered ocean liner leaving the pier below, or the eight-engined giant seaplane beside it. "They never once asked me if the Slug had attempted to map itself into the human-compatible spaces aboard the ship," Aineko bitches at him. "I wasn't expecting them to, but really! Your mother's too trusting, boy." + +"I suppose you took precautions?" Sirhan's ghost murmurs to the cat. That sets the irascible metafeline off again on a long discursive tail-washing rant about the unreliability of Economics-2.0-compliant financial instruments. Economics 2.0 apparently replaces the single-indirection layer of conventional money, and the multiple-indirection mappings of options trades, with some kind of insanely baroque object-relational framework based on the parameterized desires and subjective experiential values of the players, and as far as the cat is concerned, this makes all such transactions intrinsically untrustworthy. + +/{Which is why you're stuck here with us apes}/, Sirhan-prime cynically notes as he spawns an Eliza ghost to carry on nodding at the cat while he experiences the party. + +It's uncomfortably warm in the Atomium sphere - not surprising, there must be thirty people milling around up here, not counting the waitrons - and several local multicast channels are playing a variety of styles of music to synchronize the mood swings of the revelers to hardcore techno, waltz, raga ... + +"Having a good time, are we?" Sirhan breaks away from integrating one of his timid philosophers and realizes that his glass is empty, and his mother is grinning alarmingly at him over the rim of a cocktail glass containing something that glows in the dark. She's wearing spike-heeled boots and a black velvet cat suit that hugs her contours like a second skin, and she's already getting drunk. In wall-clock years she is younger than Sirhan; it's like having a bizarrely knowing younger sister mysteriously injected into his life to replace the eigenmother who stayed home and died with the Ring Imperium decades ago. "Look at you, hiding in a corner at your grandfather's party! Hey, your glass is empty. Want to try this caipirinha? There's someone you've got to meet over here -" + +It's at moments like this that Sirhan really wonders what in Jupiter's orbit his father ever saw in this woman. (But then again, in the world line this instance of her has returned from, he didn't. So what does that signify?) "As long as there's no fermented grape juice in it," he says resignedly, allowing himself to be led past a gaggle of conversations and a mournful-looking gorilla slurping a long drink through a straw. "More of your /{accelerationista}/ allies?" + +"Maybe not." It's the girl gang he avoided noticing in the lift, their eyes sparkling, really getting into this early twen-cen drag party thing, waving their cigarette holders and cocktail glasses around with wild abandon. "Rita, I'd like you to meet Sirhan, my other fork's son. Sirhan, this is Rita? She's an historian, too. Why don't you -" + +Dark eyes, emphasized not by powder or paint, but by chromatophores inside her skin cells: black hair, chain of enormous pearls, slim black dress sweeping the floor, a look of mild embarrassment on her heart-shaped face: She could be a clone of Audrey Hepburn in any other century, "Didn't I just meet you in the elevator?" The embarrassment shifts to her cheeks, becoming visible. + +Sirhan flushes, unsure how to reply. Just then, an interloper arrives on the scene, pushing in between them. "Are you the curator who reorganized the Precambrian gallery along teleology lines? I've got some things to say about /{that}/!" The interloper is tall, assertive, and blonde. Sirhan hates her from the first sight of her wagging finger. + +"Oh shut up, Marissa, this is a party, you've been being a pain all evening." To his surprise, Rita the historian rounds on the interloper angrily. + +"It's not a problem," he manages to say. In the back of his mind, something makes the Rogerian puppet-him that's listening to the cat sit up and dump-merge a whole lump of fresh memories into his mind - something important, something about the Vile Offspring sending a starship to bring something back from the router - but the people around him are soaking up so much attention that he has to file it for later. + +"Yes it /{is}/ a problem," Rita declares. She points at the interloper, who is saying something about the invalidity of teleological interpretations, trying to justify herself, and says, "/{Plonk}/. Phew. Where were we?" + +Sirhan blinks. Suddenly everyone but him seems to be ignoring that annoying Marissa person. "What just happened?" he asks cautiously. + +"I killfiled her. Don't tell me, you aren't running Superplonk yet, are you?" Rita flicks a location-cached idea at him and he takes it cautiously, spawning a couple of specialized Turing Oracles to check it for halting states. It seems to be some kind of optic lobe hack that accesses a collaborative database of eigenfaces, with some sort of side interface to Broca's region. "Share and enjoy, confrontation-free parties." + +"I've never seen -" Sirhan trails off as he loads the module distractedly. (The cat is rambling on about god modules and metastatic entanglement and the difficulty of arranging to have personalities custom-grown to order somewhere in the back of his head, while his fractional-self nods wisely whenever it pauses.) Something like an inner eyelid descends. He looks round; there's a vague blob at one side of the room, making an annoying buzzing sound. His mother seems to be having an animated conversation with it. "That's rather interesting." + +"Yes, it helps no end at this sort of event." Rita startles him by taking his left arm in hand - her cigarette holder shrivels and condenses until it's no more than a slight thickening around the wrist of her opera glove - and steers him toward a waitron. "I'm sorry about your foot, earlier, I was a bit overloaded. Is Amber Macx really your mother?" + +"Not exactly, she's my eigenmother," he mumbles. "The reincarnated download of the version who went out to Hyundai ^{+4904}^/,{-56}, aboard the *{Field Circus}*. She married a French-Algerian confidence-trick analyst instead of my father, but I think they divorced a couple of years ago. My /{real}/ mother married an imam, but they died in the aftermath of Economics 2.0." She seems to be steering him in the direction of the window bay Amber dragged him away from earlier. "Why do you ask?" + +"Because you're not very good at making small talk," Rita says quietly, "and you don't seem very good in crowds. Is that right? Was it you who performed that amazing dissection of Wittgenstein's cognitive map? The one with the preverbal Gödel string in it?" + +"It was -" He clears his throat. "You thought it was amazing?" Suddenly, on impulse, he detaches a ghost to identify this Rita person and find out who she is, what she wants. It's not normally worth the effort to get to know someone more closely than casual small talk, but she seems to have been digging into his background, and he wants to know why. Along with the him that's chatting to Aineko, that makes about three instances pulling in near-realtime resources. He'll be running up an existential debt soon if he keeps forking ghosts like this. + +"I thought so," she says. There's a bench in front of the wall, and somehow he finds himself sitting on it next to her. /{There's no danger, we're not in private or anything}/, he tells himself stiffly. She's smiling at him, face tilted slightly to one side and lips parted, and for a moment, a dizzy sense of possibility washes over him: /{What if she's about to throw all propriety aside? How undignified!}/ Sirhan believes in self-restraint and dignity. "I was really interested in this -" She passes him another dynamically loadable blob, encompassing a detailed critique of his analysis of Wittgenstein's matriophobia in the context of gendered language constructs and nineteenth century Viennese society, along with a hypothesis that leaves Sirhan gasping with mild indignation at the very idea that /{he}/ of all people might share Wittgenstein's skewed outlook - "What do you think?" she asks, grinning impishly at him. + +"Nnngk." Sirhan tries to unswallow his tongue. Rita crosses her legs, her gown hissing. "I, ah, that is to say" - At which moment, his partials re-integrate, dumping a slew of positively pornographic images into his memories. /{It's a trap!}/ they shriek, her breasts and hips and pubes - clean-shaven, he can't help noticing - thrusting at him in hotly passionate abandon, /{Mother's trying to make you loose like her!}/ and he remembers what it /{would}/ be like to wake up in bed next to this woman whom he barely knows after being married to her for a year, because one of his cognitive ghosts has just spent several seconds of network time (or several subjective months) getting hot and sweaty with a ghost of her own, and she does have interesting research ideas, even if she's a pushy over-westernized woman who thinks she can run his life for him. "What /{is}/ this?" he splutters, his ears growing hot and his garments constricting. + +"Just speculating about possibilities. We could get a lot done together." She snakes an arm round his shoulders and pulls him toward her, gently. "Don't you want to find out if we could work out?" + +"But, but -" Sirhan is steaming. /{Is she offering casual sex?}/ He wonders, profoundly embarrassed by his own inability to read her signals: "What do you /{want}/?" he asks. + +"You /{do}/ know that you can do more with Superplonk than just killfile annoying idiots?" she whispers in his ear. "We can be invisible right now, if you like. It's great for confidential meetings - other things, too. We can work beautifully together, our ghosts annealed really well ..." + +Sirhan jumps up, his face stinging, and turns away: "No thank you!" he snaps, angry at himself. "Goodbye!" His other instances, interrupted by his broadcast emotional overload, are distracted from their tasks and sputtering with indignation. Her hurt expression is too much for him: The killfile snaps down, blurring her into an indistinct black blob on the wall, veiled by his own brain as he turns and walks away, seething with anger at his mother for being so unfair as to make him behold his own face in the throes of fleshy passion. + +* * * + +Meanwhile, in one of the lower spheres, padded with silvery blue insulating pillows bound together with duct tape, the movers and shakers of the accelerationista faction are discussing their bid for world power at fractional-C velocities. + +"We can't outrun everything. For example, a collapse of the false vacuum," Manfred insists, slightly uncoordinated and slurring his vowels under the influence of the first glass of fruit punch he's experienced in nigh-on twenty real-time years. His body is young and still relatively featureless, hair still growing out, and he's abandoned his old no-implants fetish at last to adopt an array of interfaces that let him internalize all the exocortex processes that he formerly ran on an array of dumb Turing machines outside his body. He's standing on his own sense of style and is the only person in the room who isn't wearing some variation of dinner jacket or classical evening dress. "Entangled exchange via routers is all very well, but it won't let us escape the universe itself - any phase change will catch up eventually, the network must have an end. And then where will we be, Sameena?" + +"I'm not disputing that." The woman he's talking to, wearing a green-and-gold sari and a medieval maharajah's ransom in gold and natural diamonds, nods thoughtfully. "But it hasn't happened yet, and we've got evidence that superhuman intelligences have been loose in this universe for gigayears, so there's a fair bet that the worst catastrophe scenarios are unlikely. And looking closer to home, we don't know what the routers are for, or who made them. Until then ..." She shrugs. "Look what happened last time somebody tried to probe them. No offense intended." + +"It's already happened. If what I hear is correct, the Vile Offspring aren't nearly as negative about the idea of using the routers as we old-fashioned metahumans might like to believe." Manfred frowns, trying to recall some hazy anecdote - he's experimenting with a new memory compression algorithm, necessitated by his pack rat mnemonic habits when younger, and sometimes the whole universe feels as if it's nearly on the tip of his tongue. "So, we seem to be in violent agreement about the need to /{know more}/ about what's going on, and to find out what they're doing out there. We've got cosmic background anisotropies caused by the waste heat from computing processes millions of light-years across - it takes a big interstellar civilization to do that, and they don't seem to have fallen into the same rat trap as the local Matrioshka brain civilizations. And we've got worrying rumors about the VO messing around with the structure of space-time in order to find a way around the Beckenstein bound. If the VO are trying that, then the folks out near the supercluster already know the answers. The best way to find out what's happening is to go and talk to whoever's responsible. Can we at least agree on that?" + +"Probably not." Her eyes glitter with amusement. "It all depends on whether one believes in these civilizations in the first place. I /{know}/ your people point to deep-field camera images going all the way back to some wonky hubble-bubble scrying mirror from the late twentieth, but we've got no evidence except some theories about the Casimir effect and pair production and spinning beakers of helium-3 - much less proof that whole bunch of alien galactic civilizations are trying to collapse the false vacuum and destroy the universe!" Her voice dropped a notch: "At least, not enough proof to convince most people, Manny dear. I know this comes as a shock to you, but not /{everyone}/ is a neophiliac posthuman bodysurfer whose idea of a sabbatical is to spend twenty years as a flock of tightly networked seagulls in order to try and to prove the Turing Oracle thesis -" + +"Not everyone is concerned with the deep future," Manfred interrupts. "It's important! If we live or die, that doesn't matter - that's not the big picture. The big question is whether information originating in our light cone is preserved, or whether we're stuck in a lossy medium where our very existence counts for nothing. It's downright /{embarrassing}/ to be a member of a species with such a profound lack of curiosity about its own future, especially when it affects us all personally! I mean, if there's going to come a time when there's nobody or nothing to remember us then what does -" + +"Manfred?" + +He stops in midsentence, his mouth open, staring dumbly. + +It's Amber, poised in black cat suit with cocktail glass. Her expression is open and confused, appallingly vulnerable. Blue liquid slops, almost spilling out of her glass - the rim barely extends itself in time to catch the drops. Behind her stands Annette, a deeply self-satisfied smile on her face. + +"You." Amber pauses, her cheek twitching as bits of her mind page in and out of her skull, polling external information sources. "You really /{are}/ -" + +A hasty cloud materializes under her hand as her fingers relax, dropping the glass. + +"Uh." Manfred stares, at a complete loss for words. "I'd, uh." After a moment he looks down. "I'm sorry. I'll get you another drink ..?" + +"Why didn't someone warn me?" Amber complains. + +"We thought you could use the good advice," Annette stated into the awkward silence. "And a family reunion. It was meant to be a surprise." + +"A surprise." Amber looks perplexed. "You could say that." + +"You're taller than I was expecting," Manfred says unexpectedly. "People look different when you're not using human eyes." + +"Yeah?" She looks at him, and he turns his head slightly, facing her. It's a historic moment, and Annette is getting it all on memory diamond, from every angle. The family's dirty little secret is that Amber and her father have /{never met}/, not face-to-face in physical meat-machine proximity. She was born years after Manfred and Pamela separated, after all, decanted prefertilized from a tank of liquid nitrogen. This is the first time either of them have actually seen the other's face without electronic intermediation. And while they've said everything that needed to be said on a businesslike level, anthropoid family politics is still very much a matter of body language and pheromones. "How long have you been out and about?" she asks, trying to disguise her confusion. + +"About six hours." Manfred manages a rueful chuckle, trying to take the sight of her in all at once. "Let's get you another drink and put our heads together?" + +"Okay." Amber takes a deep breath and glares at Annette. "You set this up, /{you}/ clean up the mess." + +Annette just stands there smiling at the confusion of her accomplishment. + +* * * + +The cold light of dawn finds Sirhan angry, sober, and ready to pick a fight with the first person who comes through the door of his office. The room is about ten meters across, with a floor of polished marble and skylights in the intricately plastered ceiling. The walkthrough of his current project sprouts in the middle of the floor like a ghostly abstract cauliflower, fractal branches dwindling down to infolded nodes tagged with compressed identifiers. The branches expand and shrink as Sirhan paces around it, zooming to readability in response to his eyeball dynamics. But he isn't paying it much attention. He's too disturbed, uncertain, trying to work out whom to blame. Which is why, when the door bangs open, his first response is to whirl angrily and open his mouth - then stop. "What do /{you}/ want?" he demands. + +"A word, if you please?" Annette looks around distractedly. "This is your project?" + +"Yes," he says icily, and banishes the walkthrough with a wave of one hand. "What do you want?" + +"I'm not sure." Annette pauses. For a moment she looks weary, tired beyond mortal words, and Sirhan momentarily wonders if perhaps he's spreading the blame too far. This ninetysomething Frenchwoman who is no blood relative, who was in years past the love of his scatterbrained grandfather's life, seems the least likely person to be trying to manipulate him, at least in such an unwelcome and intimate manner. But there's no telling. Families are strange things, and even though the current instantiations of his father and mother aren't the ones who ran his pre-adolescent brain through a couple of dozen alternative lifelines before he was ten, he can't be sure - or that they wouldn't enlist Tante Annette's assistance in fucking with his mind. "We need to talk about your mother," she continues. + +"We do, do we?" Sirhan turns around and sees the vacancy of the room for what it is, a socket, like a pulled tooth, informed as much by what is absent as by what is present. He snaps his fingers, and an intricate bench of translucent bluish utility fog congeals out of the air behind him. He sits: Annette can do what she wants. + +"Oui." She thrusts her hands deep into the pocket of the peasant smock she's wearing - a major departure from her normal style - and leans against the wall. Physically, she looks young enough to have spent her entire life blitzing around the galaxy at three nines of lightspeed, but her posture is world-weary and ancient. History is a foreign country, and the old are unwilling emigrants, tired out by the constant travel. "Your mother, she has taken on a huge job, but it's one that needs doing. /{You}/ agreed it needed doing, years ago, with the archive store. /{She}/ is now trying to get it moving, that is what the campaign is about, to place before the electors a choice of how best to move an entire civilization. So I ask, why do you obstruct her?" + +Sirhan works his jaw; he feels like spitting. "/{Why}/?" he snaps. + +"Yes. Why?" Annette gives in and magics up a chair from the swirling fogbank beneath the ceiling. She crouches in it, staring at him. "It is a question." + +"I have nothing against her political machinations," Sirhan says tensely. "But her uninvited interference in my personal life -" + +"What interference?" + +He stares. "Is that a question?" He's silent for a moment. Then: "Throwing that wanton at me last night -" + +Annette stares at him. "Who? What are you talking about?" + +"That, that loose woman!" Sirhan is reduced to spluttering. "False pretenses! If this is one of Father's matchmaking ideas, it is so /{very}/ wrong that -" + +Annette is shaking her head. "Are you crazy? Your mother simply wanted you to meet her campaign team, to join in planning the policy. Your father is not on this planet! But you stormed out, you /{really}/ upset Rita, did you know that? Rita, she is the best belief maintenance and story construction operative I have! Yet you to tears reduce her. What is wrong with you?" + +"I -" Sirhan swallows. "She's /{what}/?" he asks again, his mouth dry. "I thought ..." He trails off. He doesn't want to say what he thought. The hussy, that brazen trollop, is part of his mother's campaign party? Not some plot to lure him into corruption? What if it was all a horrible misunderstanding? + +"I think you need to apologize to someone," Annette says coolly, standing up. Sirhan's head is spinning between a dozen dialogues of actors and ghosts, a journal of the party replaying before his ghast-stricken inner gaze. Even the walls have begun to flicker, responding to his intense unease. Annette skewers him with a disgusted look: "When you can a woman behave toward as a person, not a threat, we can again talk. Until then." And she stands up and walks out of the room, leaving him to contemplate the shattered stump of his anger, so startled he can barely concentrate on his project, thinking, /{Is that really me? Is that what I look like to her?}/ as the cladistic graph slowly rotates before him, denuded branches spread wide, waiting to be filled with the nodes of the alien interstellar network just as soon as he can convince Aineko to stake him the price of the depth-first tour of darkness. + +* * * + +Manfred used to be a flock of pigeons - literally, his exocortex dispersed among a passel of bird brains, pecking at brightly colored facts, shitting semidigested conclusions. Being human again feels inexplicably odd, even without the added distractions of his sex drive, which he has switched off until he gets used to being unitary again. Not only does he get shooting pains in his neck whenever he tries to look over his left shoulder with his right eye, but he's lost the habit of spawning exocortical agents to go interrogate a database or bush robot or something, then report back to him. Instead he keeps trying to fly off in all directions at once, which usually ends with him falling over. + +But at present, that's not a problem. He's sitting comfortably at a weathered wooden table in a beer garden behind a hall lifted from somewhere like Frankfurt, a liter glass of straw-colored liquid at his elbow and a comforting multiple whispering of knowledge streams tickling the back of his head. Most of his attention is focused on Annette, who frowns at him with mingled concern and affection. They may have lived separate lives for almost a third of a century, since she declined to upload with him, but he's still deeply attuned to her. + +"You are going to have to do something about that boy," she says sympathetically. "He is close enough to upset Amber. And without Amber, there will be a problem." + +"I'm going to have to do something about Amber, too," Manfred retorts. "What was the idea, not warning her I was coming?" + +"It was meant to be a surprise." Annette comes as close to pouting as Manfred's seen her recently. It brings back warm memories; he reaches out to hold her hand across the table. + +"You know I can't handle the human niceties properly when I'm a flock." He strokes the back of her wrist. She pulls back after a while, but slowly. "I expected you to manage all that stuff." + +"That stuff." Annette shakes her head. "She's your daughter, you know? Did you have no curiosity left?" + +"As a bird?" Manfred cocks his head to one side so abruptly that he hurts his neck and winces. "Nope. /{Now}/ I do, but I think I pissed her off -" + +"Which brings us back to point one." + +"I'd send her an apology, but she'd think I was trying to manipulate her" - Manfred takes a mouthful of beer - "and she'd be right." He sounds slightly depressed. "All my relationships are screwy this decade. And it's lonely." + +"So? Don't brood." Annette pulls her hand back. "Something will sort itself out eventually. And in the short term, there is the work, the electoral problem becomes acute." When she's around him the remains of her once-strong French accent almost vanish in a transatlantic drawl, he realizes with a pang. He's been abhuman for too long - people who meant a lot to him have changed while he's been away. + +"I'll brood if I want to," he says. "I didn't ever really get a chance to say goodbye to Pam, did I? Not after that time in Paris when the gangsters ..." He shrugs. "I'm getting nostalgic in my old age." He snorts. + +"You're not the only one," Annette says tactfully. "Social occasions here are a minefield, one must tiptoe around so many issues, people have too much, too much history. And nobody knows everything that is going on." + +"That's the trouble with this damned polity." Manfred takes another gulp of /{hefeweisen}/. "We've already got six million people living on this planet, and it's growing like the first-generation Internet. Everyone who is anyone knows everyone, but there are so many incomers diluting the mix and not knowing that there /{is}/ a small world network here that everything is up for grabs again after only a couple of megaseconds. New networks form, and we don't even know they exist until they sprout a political agenda and surface under us. We're acting under time pressure. If we don't get things rolling now, we'll never be able to ..." He shakes his head. "It wasn't like this for you in Brussels, was it?" + +"No. Brussels was a mature system. And I had Gianni to look after in his dotage after you left. It will only get worse from here on in, I think." + +"Democracy 2.0." He shudders briefly. "I'm not sure about the validity of voting projects at all, these days. The assumption that all people are of equal importance seems frighteningly obsolescent. Do you think we can make this fly?" + +"I don't see why not. If Amber's willing to play the People's Princess for us ..." Annette picks up a slice of liverwurst and chews on it meditatively. + +"I'm not sure it's workable, however we play it." Manfred looks thoughtful. "The whole democratic participation thing looks questionable to me under these circumstances. We're under direct threat, for all that it's a long-term one, and this whole culture is in danger of turning into a classical nation-state. Or worse, several of them layered on top of one another with complete geographical collocation but no social interpenetration. I'm not certain it's a good idea to try to steer something like that - pieces might break off, you'd get the most unpleasant side-effects. Although, on the other hand, if we can mobilize enough broad support to become the first visible planetwide polity ..." + +"We need you to stay focused," Annette adds unexpectedly. + +"Focused? Me?" He laughs, briefly. "I /{used}/ to have an idea a second. Now it's maybe one a year. I'm just a melancholy old birdbrain, me." + +"Yes, but you know the old saying? The fox has many ideas - the hedgehog has only one, but it's a /{big}/ idea." + +"So tell me, what is my big idea?" Manfred leans forward, one elbow on the table, one eye focused on inner space as a hot-burning thread of consciousness barks psephological performance metrics at him, analysing the game ahead. "Where do you think I'm going?" + +"I think -" Annette breaks off suddenly, staring past his shoulder. Privacy slips, and for a frozen moment Manfred glances round in mild horror and sees thirty or forty other guests in the crowded garden, elbows rubbing, voices raised above the background chatter: "Gianni!" She beams widely as she stands up. "What a surprise! When did you arrive?" + +Manfred blinks. A slim young guy, moving with adolescent grace, but none of the awkward movements and sullen lack of poise - he's much older than he looks, chickenhawk genetics. /{Gianni}/? He feels a huge surge of memories paging through his exocortex. He remembers ringing a doorbell in dusty, hot Rome: white toweling bathrobe, the economics of scarcity, autograph signed by the dead hand of von Neumann - "Gianni?" he asks, disbelieving. "It's been a long time!" + +The gilded youth, incarnated in the image of a metropolitan toy-boy from the noughties, grins widely and embraces Manfred with a friendly bear hug. Then he slides down onto the bench next to Annette, whom he kisses with easy familiarity. "Ah, to be among friends again! It's been too long!" He glances round curiously. "Hmm, how very Bavarian." He snaps his fingers. "Mine will be a, what do you recommend? It's been too long since my last beer." His grin widens. "Not in this body." + +"You're resimulated?" Manfred asks, unable to stop himself. + +Annette frowns at him disapprovingly: "No, silly! He came through the teleport gate -" + +"Oh." Manfred shakes his head. "I'm sorry -" + +"It's okay." Gianni Vittoria clearly doesn't mind being mistaken for a historical newbie, rather than someone who's traveled through the decades the hard way. /{He must be over a hundred by now}/, Manfred notes, not bothering to spawn a search thread to find out. + +"It was time to move and, well, the old body didn't want to move with me, so why not go gracefully and accept the inevitable?" + +"I didn't take you for a dualist," Manfred says ruefully. + +"Ah, I'm not - but neither am I reckless." Gianni drops his grin for a moment. The sometime minister for transhuman affairs, economic theoretician, then retired tribal elder of the polycognitive liberals is serious. "I have never uploaded before, or switched bodies, or teleported. Even when my old one was seriously - tcha! Maybe I left it too long. But here I am, one planet is as good as another to be cloned and downloaded onto, don't you think?" + +"You invited him?" Manfred asks Annette. + +"Why wouldn't I?" There's a wicked gleam in her eye. "Did you expect me to live like a nun while you were a flock of pigeons? We may have campaigned against the legal death of the transubstantiated, Manfred, but there are limits." + +Manfred looks between them, then shrugs, embarrassed. "I'm still getting used to being human again," he admits. "Give me time to catch up? At an emotional level, at least." The realization that Gianni and Annette have a history together doesn't come as a surprise to him: It's one of the things you must adapt to if you opt out of the human species, after all. At least the libido suppression is helping here, he realizes: He's not about to embarrass anyone by suggesting a ménage. He focuses on Gianni. "I have a feeling I'm here for a purpose, and it isn't mine," he says slowly. "Why don't you tell me what you've got in mind?" + +Gianni shrugs. "You have the big picture already. We are human, metahuman, and augmented human. But the posthumans are things that were never really human to begin with. The Vile Offspring have reached their adolescence and want the place to themselves so they can throw a party. The writing is on the wall, don't you think?" + +Manfred gives him a long stare. "The whole idea of running away in meatspace is fraught with peril," he says slowly. He picks up his mug of beer and swirls it around slowly. "Look, we know, now, that a singularity doesn't turn into a voracious predator that eats all the dumb matter in its path, triggering a phase change in the structure of space - at least, not unless they've done something very stupid to the structure of the false vacuum, somewhere outside our current light cone. + +"But if we run away, /{we}/ are still going to be there. Sooner or later, we'll have the same problem all over again; runaway intelligence augmentation, self-expression, engineered intelligences, whatever. Possibly that's what happened out past the Böotes void - not a galactic-scale civilization, but a race of pathological cowards fleeing their own exponential transcendence. We carry the seeds of a singularity with us wherever we go, and if we try to excise those seeds, we cease to be human, don't we? So ... maybe you can tell me what you think we should do. Hmm?" + +"It's a dilemma." A waitron inserts itself into their privacy-screened field of view. It plants a spun-diamond glass in front of Gianni, then pukes beer into it. Manfred declines a refill, waiting for Gianni to drink. "Ah, the simple pleasures of the flesh! I've been corresponding with your daughter, Manny. She loaned me her experiential digest of the journey to Hyundai ^{+4904}^/,{-56},. I found it quite alarming. Nobody's casting aspersions on her observations, not after that self-propelled stock market bubble or 419 scam or whatever it was got loose in the Economics 2.0 sphere, but the implications - the Vile Offspring will eat the solar system, Manny. Then they'll slow down. But where does that leave us, I ask you? What is there for orthohumans like us to do?" + +Manfred nods thoughtfully. "You've heard the argument between the accelerationistas and the time-binder faction, I assume?" he asks. + +"Of course." Gianni takes a long pull on his beer. "What do /{you}/ think of our options?" + +"The accelerationistas want to upload everyone onto a fleet of starwisps and charge off to colonize an uninhabited brown dwarf planetary system. Or maybe steal a Matrioshka brain that's succumbed to senile dementia and turn it back into planetary biomes with cores of diamond-phase computronium to fulfil some kind of demented pastoralist nostalgia trip. Rousseau's universal robots. I gather Amber thinks this is a good idea because she's done it before - at least, the charging off aboard a starwisp part. 'To boldly go where no uploaded metahuman colony fleet has gone before' has a certain ring to it, doesn't it?" Manfred nods to himself. "Like I say, it won't work. We'd be right back to iteration one of the waterfall model of singularity formation within a couple of gigaseconds of arriving. That's why I came back: to warn her." + +"So?" Gianni prods, pretending to ignore the frowns that Annette is casting his way. + +"And as for the time-binders," Manfred nods again, "they're like Sirhan. Deeply conservative, deeply suspicious. Holding out for staying here as long as possible, until the Vile Offspring come for Saturn - then moving out bit by bit, into the Kuiper belt. Colony habitats on snowballs half a light-year from anywhere." He shudders. "Spam in a fucking can with a light-hour walk to the nearest civilized company if your fellow inmates decide to reinvent Stalinism or Objectivism. No thanks! I know they've been muttering about quantum teleportation and stealing toys from the routers, but I'll believe it when I see it." + +"Which leaves what?" Annette demands. "It is all very well, this dismissal of both the accelerationista and time-binder programs, Manny, but what can you propose in their place?" She looks distressed. "Fifty years ago, you would have had six new ideas before breakfast! And an erection." + +Manfred leers at her unconvincingly. "Who says I can't still have both?" + +She glares. "Drop it!" + +"Okay." Manfred chugs back a quarter of a liter of beer, draining his glass, and puts it down on the table with a bang. "As it happens, I /{do}/ have an alternative idea." He looks serious. "I've been discussing it with Aineko for some time, and Aineko has been seeding Sirhan with it - if it's to work optimally, we'll need to get a rump constituency of both the accelerationistas and the conservatives on board. Which is why I'm conditionally going along with this whole election nonsense. So, what's it worth to you for me to explain it?" + +* * * + +"So, who was the deadhead you were busy with today?" asks Amber. + +Rita shrugs. "Some boringly prolix pulp author from the early twentieth, with a body phobia of extropian proportions - I kept expecting him to start drooling and rolling his eyes if I crossed my legs. Funny thing is, he was also close to bolting from fear once I mentioned implants. We /{really}/ need to nail down how to deal with these mind/body dualists, don't we?" She watches Amber with something approaching admiration; she's new to the inner circle of the accelerationista study faction, and Amber's social credit is sky-high. Rita's got a lot to learn from her, if she can get close enough. And right now, following her along a path through the landscaped garden behind the museum seems like a golden moment of opportunity. + +Amber smiles. "I'm glad I'm not processing immigrants these days; most of them are so stupid it drives you up the wall after a bit. Personally I blame the Flynn effect - in reverse. They come from a background of sensory deprivation. It's nothing that a course of neural growth enhancers can't fix in a year or two, but after the first few you skullfuck, they're all the same. So /{dull}/. Unless you're unlucky enough to get one of the documentees from a puritan religious period. I'm no fluffragette, but I swear if I get one more superstitious, woman-hating clergyman, I'm going to consider prescribing forcible gender reassignment surgery. At least the Victorian English are mostly just open-minded lechers, when you get past their social reserve. And they like new technology." + +Rita nods. /{Woman-hating et cetera}/ ... The echoes of patriarchy are still with them today, it seems, and not just in the form of resimulated ayatollahs and archbishops from the Dark Ages. "My author sounds like the worst of both. Some guy called Howard, from Rhode Island. Kept looking at me as if he was afraid I was going to sprout bat wings and tentacles or something." /{Like your son}/, she doesn't add. /{Just what was he thinking, anyway?}/ she wonders. /{To be that screwed up takes serious dedication ...}/ "What are you working on, if you don't mind me asking?" she asks, trying to change the direction of her attention. + +"Oh, pressing the flesh, I guess. Auntie 'Nette wanted me to meet some old political hack contact of hers who she figures can help with the program, but he was holed up with her and Dad all day." She pulls a face. "I had another fitting session with the image merchants, they're trying to turn me into a political catwalk clotheshorse. Then there's the program demographics again. We're getting about a thousand new immigrants a day, planetwide, but it's accelerating rapidly, and we should be up to eighty an hour by the time of the election. Which is going to be a huge problem, because if we start campaigning too early, a quarter of the electorate won't know what they're meant to be voting about." + +"Maybe it's deliberate," Rita suggests. "The Vile Offspring are trying to rig the outcome by injecting voters." She pings a smiley emoticon off Wednesday's open channel, raising a flickering grin in return. "The party of fuckwits will win, no question about it." + +"Uh-huh." Amber snaps her fingers and pulls an impatient face as she waits for a passing cloud to solidify above her head and lower a glass of cranberry juice to her. "Dad said one thing that's spot-on, we're framing this entire debate in terms of what we should do to avoid conflict with the Offspring. The main bone of contention is how to run away and how far to go and which program to put resources into, not whether or when to run, let alone what else we could do. Maybe we should have given it some more thought. Are we being manipulated?" + +Rita looks vacant for a moment. "Is that a question?" she asks. Amber nods, and she shakes her head. "Then I'd have to say that I don't know. The evidence is inconclusive, so far. But I'm not really happy. The Offspring won't tell us what they want, but there's no reason to believe they don't know what /{we}/ want. I mean, they can think rings round us, can't they?" + +Amber shrugs, then pauses to unlatch a hedge gate that gives admission to a maze of sweet-smelling shrubs. "I really don't know. They may not care about us, or even remember we exist - the resimulants may be being generated by some autonomic mechanism, not really part of the higher consciousness of the Offspring. Or it may be some whacked-out post-Tiplerite meme that's gotten hold of more processing resources than the entire presingularity Net, some kind of MetaMormon project directed at ensuring that everyone who can possibly ever have lived lives in the /{right way}/ to fit some weird quasi-religious requirement we don't know about. Or it might be a message we're simply not smart enough to decode. That's the trouble, we don't know." + +She vanishes around the curve of the maze. Rita hurries to catch up, sees her about to turn into another alleyway, and leaps after her. "What else?" she pants. + +"Could be" - left turn - "anything, really." Six steps lead down into a shadowy tunnel; fork right, five meters forward, then six steps up lead back to the surface. "Question is, why don't they" - left turn - "just /{tell}/ us what they want?" + +"Speaking to tapeworms." Rita nearly manages to catch up with Amber, who is trotting through the maze as if she's memorized it perfectly. "That's how much the nascent Matrioshka brain can outthink us by, as humans to segmented worms. Would we do. What they told us?" + +"Maybe." Amber stops dead, and Rita glances around. They're in an open cell near the heart of the maze, five meters square, hedged in on all sides. There are three entrances and a slate altar, waist high, lichen-stained with age. "I think you know the answer to that question." + +"I -" Rita stares at her. + +Amber stares back, eyes dark and intense. "You're from one of the Ganymede orbitals by way of Titan. You knew my eigensister while I was out of the solar system flying a diamond the size of a Coke can. That's what you told me. You've got a skill set that's a perfect match for the campaign research group, and you asked me to introduce you to Sirhan, then you pushed his buttons like a pro. Just what /{are}/ you trying to pull? Why should I trust you?" + +"I -" Rita's face crumples. "I /{didn't}/ push his buttons! He /{thought}/ I was trying to drag him into bed." She looks up defiantly. "I wasn't, I want to learn, what makes you - him - work -" Huge, dark, structured information queries batter at her exocortex, triggering warnings. Someone is churning through distributed time-series databases all over the outer system, measuring her past with a micrometer. She stares at Amber, mortified and angry. It's the ultimate denial of trust, the need to check her statements against the public record for truth. "What are you doing?" + +"I have a suspicion." Amber stands poised, as if ready to run. /{Run away from me?}/ Rita thinks, startled. "You said, what if the resimulants came from a subconscious function of the Offspring? And funnily enough, I've been discussing that possibility with Dad. He's still got the spark when you show him a problem, you know." + +"I don't understand!" + +"No, I don't think you do," says Amber, and Rita can feel vast stresses in the space around her: The whole ubicomp environment, dust-sized chips and utility fog and hazy clouds of diamond-bright optical processors in the soil and the air and her skin, is growing blotchy and sluggish, thrashing under the load of whatever Amber - with her management-grade ackles - is ordering it to do. For a moment, Rita can't feel half her mind, and she gets the panicky claustrophobic sense of being trapped inside her own head: Then it stops. + +"Tell me!" Rita insists. "What are you trying to prove? It's some mistake -" And Amber is nodding, much to her surprise, looking weary and morose. "What do you think I've done?" + +"Nothing. You're coherent. Sorry about that." + +"Coherent?" Rita hears her voice rising with her indignation as she feels bits of herself, cut off from her for whole seconds, shivering with relief. "I'll give you coherent! Assaulting my exocortex -" + +"Shut up." Amber rubs her face and simultaneously throws Rita one end of an encrypted channel. + +"Why should I?" Rita demands, not accepting the handshake. + +"Because." Amber glances round. /{She's scared!}/ Rita suddenly realizes. "Just /{do}/ it," she hisses. + +Rita accepts the endpoint and a huge lump of undigested expository data slides down it, structured and tagged with entry points and metainformation directories pointing to - + +"Holy /{shit}/!" she whispers, as she realizes what it is. + +"Yes." Amber grins humorlessly. She continues, over the open channel: *{It looks like they're cognitive antibodies, generated by the devil's own semiotic immune system.}* *{That's what Sirhan is focusing on, how to avoid triggering them and bringing everything down at once.}* *{Forget the election, we're going to be in deep shit sooner rather than later, and we're still trying to work out how to survive.}* *{Now are you sure you still want in?}* + +"Want in on /{what}/?" Rita asks, shakily. + +*{ The lifeboat Dad's trying to get us all into under cover of the accelerationista/conservationista split, before the Vile Offspring's immune system figures out how to lever us apart into factions and make us kill each other ...}* + +* * * + +_1 Welcome to the afterglow of the intelligence supernova, little tapeworm. + +_1 Tapeworms have on the order of a thousand neurons, pulsing furiously to keep their little bodies twitching. Human beings have on the order of a hundred billion neurons. What is happening in the inner solar system as the Vile Offspring churn and reconfigure the fast-thinking structured dust clouds that were once planets is as far beyond the ken of merely human consciousness as the thoughts of a Gödel are beyond the twitching tropisms of a worm. Personality modules bounded by the speed of light, sucking down billions of times the processing power of a human brain, form and re-form in the halo of glowing nanoprocessors that shrouds the sun in a ruddy glowing cloud. + +_1 Mercury, Venus, Mars, Ceres and the asteroids - all gone. Luna is a silvery iridescent sphere, planed smooth down to micrometer heights, luminous with diffraction patterns. Only Earth, the cradle of human civilization, remains untransformed; and Earth, too, will be dismantled soon enough, for already a trellis of space elevators webs the planet around its equator, lifting refugee dumb matter into orbit and flinging it at the wildlife preserves of the outer system. + +_1 The intelligence bloom that gnaws at Jupiter's moons with claws of molecular machinery won't stop until it runs out of dumb matter to convert into computronium. By the time it does, it will have as much brainpower as you'd get if you placed a planet with a population of six billion future-shocked primates in orbit around every star in the Milky Way galaxy. But right now, it's still stupid, having converted barely a percentage point of the mass of the solar system - it's a mere Magellanic Cloud civilization, infantile and unsubtle and still perilously close to its carbon-chemistry roots. + +_1 It's hard for tapeworms living in warm intestinal mulch to wrap their thousand-neuron brains around whatever it is that the vastly more complex entities who host them are discussing, but one thing's sure - the owners have a lot of things going on, not all of them under conscious control. The churning of gastric secretions and the steady ventilation of lungs are incomprehensible to the simple brains of tapeworms, but they serve the purpose of keeping the humans alive and provide the environment the worms live in. And other more esoteric functions that contribute to survival - the intricate dance of specialized cloned lymphocytes in their bone marrow and lymph nodes, the random permutations of antibodies constantly churning for possible matches to intruder molecules warning of the presence of pollution - are all going on beneath the level of conscious control. + +_1 Autonomic defenses. Antibodies. Intelligence bloom gnawing at the edges of the outer system. And humans are not as unsophisticated as mulch wrigglers, they can see the writing on the wall. Is it any surprise, that among the ones who look outward, the real debate is not over whether to run, but over how far and how fast? + +* * * + +There's a team meeting early the next morning. It's still dark outside, and most of the attendees who are present in vivo have the faintly haggard look that comes from abusing melatonin antagonists. Rita stifles a yawn as she glances around the conference room - the walls expanded into huge virtual spaces to accommodate thirty or so exocortical ghosts from sleeping partners who will wake with memories of a particularly vivid lucid dream - and sees Amber talking to her famous father and a younger-looking man who one of her partials recognizes as a last-century EU politician. There seems to be some tension between them. + +Now that Amber has granted Rita her conditional trust, a whole new tier of campaigning information has opened up to her inner eye - stuff steganographically concealed in a hidden layer of the project's collective memory space. There's stuff in here she hadn't suspected, frightening studies of resimulant demographics, surveys of emigration rates from the inner system, cladistic trees dissecting different forms of crude tampering that have been found skulking in the wetware of refugees. The reason why Amber and Manfred and - reluctantly - Sirhan are fighting for one radical faction in a planetwide election, despite their various misgivings over the validity of the entire concept of democracy in this posthuman era. She blinks it aside, slightly bewildered, forking a couple of dozen personality subthreads to chew on it at the edges. "Need coffee," she mutters to the table, as it offers her a chair. + +"Everyone on-line?" asked Manfred. "Then I'll begin." He looks tired and worried, physically youthful but showing the full weight of his age. "We've got a crisis coming, folks. About a hundred kiloseconds ago, the bit rate on the resimulation stream jumped. We're now fielding about one resimulated state vector a second, on top of the legitimate immigration we're dealing with. If it jumps again by the same factor, it's going to swamp our ability to check the immigrants for zimboes in vivo - we'd have to move to running them in secure storage or just resurrecting them blind, and if there /{are}/ any jokers in the pack, that's about the riskiest thing we could do." + +"Why do you not spool them to memory diamond?" asks the handsome young ex-politician to his left, looking almost amused - as if he already knows the answer. + +"Politics." Manfred shrugs. + +"It would blow a hole in our social contract," says Amber, looking as if she's just swallowed something unpleasant, and Rita feels a flicker of admiration for the way they're stage-managing the meeting. Amber's even talking to her father, as if she feels comfortable with him around, although he's a walking reminder of her own lack of success. Nobody else has gotten a word in yet. "If we don't instantiate them, the next logical step is to deny resimulated minds the franchise. Which in turn puts us on the road to institutional inequality. And that's a very big step to take, even if you have misgivings about the idea of settling complex policy issues on the basis of a popular vote, because our whole polity is based on the idea that less competent intelligences - us - deserve consideration." + +"Hrmph." Someone clears their throat. Rita glances round and freezes, because it's Amber's screwed-up eigenchild, and he's just about materialized in the chair next to her. /{So he adopted Superplonk after all?}/ she observes cynically. He doggedly avoids looking at her. "That was my analysis," he says reluctantly. "We need them alive. For the ark option, at least, and if not, even the accelerationista platform will need them on hand later." + +/{Concentration camps}/, thinks Rita, trying to ignore Sirhan's presence near her, for it's a constant irritant, /{where most of the inmates are confused, frightened human beings - and the ones who aren't think they are}/. It's an eerie thought, and she spawns a couple of full ghosts to dream it through for her, gaming the possible angles. + +"How are your negotiations over the lifeboat designs going?" Amber asks her father. "We need to get a portfolio of design schemata out before we go into the election -" + +"Change of plan." Manfred hunches forward. "This doesn't need to go any further, but Sirhan and Aineko have come up with something interesting." He looks worried. + +Sirhan is staring at his eigenmother with narrowed eyes, and Rita has to resist the urge to elbow him savagely in the ribs. She knows enough about him now to realize it wouldn't get his attention - at least, not the way she'd want it, not for the right reasons - and in any case, he's more wrapped up in himself than her ghost ever saw him as likely to be. (How /{anyone}/ could be party to such a detailed exchange of simulated lives and still reject the opportunity to do it in real life is beyond her; unless it's an artifact of his youth, when his parents pushed him through a dozen simulated childhoods in search of knowledge and ended up with a stubborn oyster-head of a son ...) "We still need to look as if we're planning on using a lifeboat," he says aloud. "There's the small matter of the price they're asking in return for the alternative." + +"What? What are you talking about?" Amber sounds confused. "I thought you were working on some kind of cladistic map. What's this about a price?" + +Sirhan smiles coolly. "I /{am}/ working on a cladistic map, in a manner of speaking. You wasted much of your opportunity when you journeyed to the router, you know. I've been talking to Aineko." + +"You -" Amber flushes. "What about?" She's visibly angry, Rita notices. Sirhan is needling his eigenmother. /{Why}/? + +"About the topology of some rather interesting types of small-world network." Sirhan leans back in his chair, watching the cloud above her head. "And the router. You went through it, then you came back with your tail between your legs as fast as you could, didn't you? Not even checking your passenger to see if it was a hostile parasite." + +"I don't have to take this," Amber says tightly. "You weren't there, and you have no idea what constraints we were working under." + +"Really?" Sirhan raises an eyebrow. "Anyway, you missed an opportunity. We know that the routers - for whatever reason - are self-replicating. They spread from brown dwarf to brown dwarf, hatch, tap the protostar for energy and material, and send a bunch of children out. Von Neumann machines, in other words. We also know that they provide high-bandwidth communications to other routers. When you went through the one at Hyundai ^{+4904}^/,{-56},, you ended up in an unmaintained DMZ attached to an alien Matrioshka brain that had degenerated, somehow. It follows that /{someone}/ had collected a router and carried it home, to link into the MB. So why didn't you bring one home with you?" + +Amber glares at him. "Total payload on board the *{Field Circus}* was about ten grams. How large do you think a router seed is?" + +"So you brought the Slug home instead, occupying maybe half your storage capacity and ready to wreak seven shades of havoc on -" + +"Children!" They both look round automatically. It's Annette, Rita realizes, and she doesn't look amused. "Why do you not save this bickering for later?" she asks. "We have our own goals to be pursuing." Unamused is an understatement. Annette is fuming. + +"This charming family reunion was your idea, I believe?" Manfred smiles at her, then nods coolly at the retread EU politician in the next seat. + +"Please." It's Amber. "Dad, can you save this for later?" Rita sits up. For a moment, Amber looks ancient, far older than her subjective gigasecond of age. "She's right. She didn't mean to screw up. Let's leave the family history for some time when we can work it out in private. Okay?" + +Manfred looks abashed. He blinks rapidly. "All right." He takes a breath. "Amber, I brought some old acquaintances into the loop. If we win the election, then to get out of here as fast as possible, we'll have to use a combination of the two main ideas we've been discussing: spool as many people as possible into high-density storage until we get somewhere with space and mass and energy to reincarnate them, and get our hands on a router. The entire planetary polity can't afford to pay the energy budget of a relativistic starship big enough to hold everyone, even as uploads, and a subrelativistic ship would be too damn vulnerable to the Vile Offspring. And it follows that, instead of taking potluck on the destination, we should learn about the network protocols the routers use, figure out some kind of transferable currency we can use to pay for our reinstantiation at the other end, and also how to make some kind of map so we know where we're going. The two hard parts are getting at or to a router, and paying - that's going to mean traveling with someone who understands Economics 2.0 but doesn't want to hang around the Vile Offspring. + +"As it happens, these old acquaintances of mine went out and fetched back a router seed, for their own purposes. It's sitting about thirty light-hours away from here, out in the Kuiper belt. They're trying to hatch it right now. And I /{think}/ Aineko might be willing to go with us and handle the trade negotiations." He raises the palm of his right hand and flips a bundle of tags into the shared spatial cache of the inner circle's memories. + +/{Lobsters}/. Decades ago, back in the dim wastelands of the depression-ridden naughty oughties, the uploaded lobsters had escaped. Manfred brokered a deal for them to get their very own cometary factory colony. Years later, Amber's expedition to the router had run into eerie zombie lobsters, upload images that had been taken over and reanimated by the Wunch. But where the real lobsters had gotten to ... + +For a moment, Rita sees herself hovering in darkness and vacuum, the distant siren song of a planetary gravity well far below. Off to her - left? north? - glows a hazy dim red cloud the size of the full moon as seen from Earth, a cloud that hums with a constant background noise, the waste heat of a galactic civilization dreaming furious colorless thoughts to itself. Then she figures out how to slew her unblinking, eyeless viewpoint round and sees the craft. + +It's a starship in the shape of a crustacean three kilometers long. It's segmented and flattened, with legs projecting from the abdominal floor to stretch stiffly sideways and clutch fat balloons of cryogenic deuterium fuel. The blue metallic tail is a flattened fan wrapped around the delicate stinger of a fusion reactor. Near the head, things are different: no huge claws there, but the delicately branching fuzz of bush robots, nanoassemblers poised ready to repair damage in flight and spin the parachute of a ramscoop when the ship is ready to decelerate. The head is massively armored against the blitzkrieg onslaught of interstellar dust, its radar eyes a glint of hexagonal compound surfaces staring straight at her. + +Behind and below the lobster-ship, a planetary ring looms vast and tenuous. The lobster is in orbit around Saturn, mere light-seconds away. And as Rita stares at the ship in dumbstruck silence, it /{winks}/ at her. + +"They don't have names, at least not as individual identifiers," Manfred says apologetically, "so I asked if he'd mind being called something. He said Blue, because he is. So I give you the good lobster *{Something Blue}*." + +Sirhan interrupts, "You still need my cladistics project," he sounds somewhat smug, "to find your way through the network. Do you have a specific destination in mind?" + +"Yeah, to both questions," Manfred admits. "We need to send duplicate ghosts out to each possible router end point, wait for an echo, then iterate and repeat. Recursive depth-first traversal. The goal - that's harder." He points at the ceiling, which dissolves into a chaotic 3-D spiderweb that Rita recognizes, after some hours of subjective head-down archive time, as a map of the dark matter distribution throughout a radius of a billion light-years, galaxies glued like fluff to the nodes where strands of drying silk meet. "We've known for most of a century that there's something flaky going on out there, out past the Böotes void - there are a couple of galactic superclusters, around which there's something flaky about the cosmic background anisotropy. Most computational processes generate entropy as a by-product, and it looks like something is dumping waste heat into the area from all the galaxies in the region, very evenly spread in a way that mirrors the metal distribution in those galaxies, except at the very cores. And according to the lobsters, who have been indulging in some /{very}/ long baseline interferometry, most of the stars in the nearest cluster are redder than expected and metal-depleted. As if someone's been mining them." + +"Ah." Sirhan stares at his grandfather. "Why should they be any different from the local nodes?" + +"Look around you. Do you see any indications of large-scale cosmic engineering within a million light-years of here?" Manfred shrugs. "Locally, nothing has quite reached ... well. We can guess at the life cycle of a post spike civilization now, can't we? We've felt the elephant. We've seen the wreckage of collapsed Matrioshka minds. We know how unattractive exploration is to postsingularity intelligences, we've seen the bandwidth gap that keeps them at home." He points at the ceiling. "But over /{there}/ something different happened. They're making changes on the scale of an entire galactic supercluster, and they appear to be coordinated. They /{did}/ get out and go places, and their descendants may still be out there. It looks like they're doing something purposeful and coordinated, something vast - a timing channel attack on the virtual machine that's running the universe, perhaps, or an embedded simulation of an entirely different universe. Up or down, is it turtles all the way, or is there something out there that's more real than we are? And don't you think it's worth trying to find out?" + +"No." Sirhan crosses his arms. "Not particularly. I'm interested in saving people from the Vile Offspring, not taking a huge gamble on mystery transcendent aliens who may have built a galaxy-sized reality hacking machine a billion years ago. I'll sell you my services, and even send a ghost along, but if you expect me to bet my entire future on it ..." + +It's too much for Rita. Diverting her attention away from the dizzying inner-space vista, she elbows Sirhan in the ribs. He looks round blankly for a moment, then with gathering anger as he lets his killfile filter slip. "Whereof one cannot speak, thereof one must be silent," she hisses. Then, succumbing to a secondary impulse she knows she'll regret later, she drops a private channel into his public in-tray. + +"Nobody's asking you to," Manfred is saying defensively, arms crossed. "I view this as a Manhattan project kind of thing, pursue all agendas in parallel. If we win the election, we'll have the resources we need to do that. We should /{all}/ go through the router, and we will /{all}/ leave backups aboard *{Something Blue}*. *{Blue}* is /{slow}/, tops out at about a tenth of cee, but what he can do is get a sufficient quantity of memory diamond the hell out of circumsolar space before the Vile Offspring's autonomic defenses activate whatever kind of trust exploit they're planning in the next few megaseconds -" + +"/{What do you want}/?" Sirhan demands angrily over the channel. He's still not looking at her, and not just because he's focusing on the vision in blue that dominates the shared space of the team meeting. + +"/{Stop lying to yourself}/," Rita sends back. "/{You're lying about your own goals and motivations. You may not want to know the truth your own ghost worked out, but I do. And I'm not going to let you deny it happened}/." + +"/{So one of your agents seduced a personality image of me -}/" + +"/{Bullshit}/ -" + +"Do you mean to declare this platform openly?" asks the young-old guy near the platform, the Europol. "Because if so, you're going to undermine Amber's campaign -" + +"That's all right," Amber says tiredly, "I'm used to Dad supporting me in his own inimitable way." + +"Is okay," says a new voice. "I are happy wait-state grazing in ecliptic." It's the friendly lobster lifeboat, light-lagged by its trajectory outside the ring system. + +"- /{You're happy to hide behind a hypocritical sense of moral purity when it makes you feel you can look down on other people, but underneath it you're just like everyone else}/ -" + +"- She /{set you up to corrupt me, didn't she? You're just bait in her scheme}/ -" + +"The idea was to store incremental backups in the Panuliran's cargo cache in case a weakly godlike agency from the inner system attempts to activate the antibodies they've already disseminated throughout the festival culture," Annette explains, stepping in on Manfred's behalf. + +Nobody else in the discussion space seems to notice that Rita and Sirhan are busy ripping the shit out of each other over a private channel, throwing emotional hand grenades back and forth like seasoned divorcees. "It's not a satisfactory solution to the evacuation question, but it ought to satisfy the conservatives' baseline requirement, and as insurance -" + +"- /{That's right, blame your eigenmother! Has it occurred to you that she doesn't care enough about you to try a stunt like that? I think you spent too much time with that crazy grandmother of yours. You didn't even integrate that ghost, did you? Too afraid of polluting yourself! I bet you never even bothered to check what it felt like from inside}/ -" + +"- /{I did}/ -" Sirhan freezes for a moment, personality modules paging in and out of his brain like a swarm of angry bees - "/{make a fool of myself}/," he adds quietly, then slumps back in his seat. "/{This is so embarrassing ...}/" He covers his face with his hands. "/{You're right.}/" + +"/{I am?}/" Rita's puzzlement slowly gives way to understanding; Sirhan has finally integrated the memories from the partials they hybridized earlier. Stuck-up and proud, the cognitive dissonance must be enormous. "/{No, I'm not. You're just overly defensive.}/" + +"/{I'm}/ -" Embarrassed. Because Rita knows him, inside out. Has the ghost-memories of six months in a simspace with him, playing with ideas, exchanging intimacies, later confidences. She holds ghost-memories of his embrace, a smoky affair that might have happened in real space if his instant reaction to realizing that it /{could}/ happen hadn't been to dump the splinter of his mind that was contaminated by impure thoughts to cold storage and deny everything. + +"We have no threat profile yet," Annette says, cutting right across their private conversation. "If there /{is}/ a direct threat - and we don't know that for sure, yet, the Vile Offspring might be enlightened enough simply to be leaving us alone - it'll probably be some kind of subtle attack aimed directly at the foundations of our identity. Look for a credit bubble, distributed trust metrics devaluing suddenly as people catch some kind of weird religion, something like that. Maybe a perverse election outcome. And it won't be sudden. They are not stupid, to start a headlong attack without slow corruption to soften the way." + +"You've obviously been thinking about this for some time," Sameena says with dry emphasis. "What's in it for your friend, uh, Blue? Did you squirrel away enough credit to cover the price of renting a starship from the Economics 2.0 metabubble? Or is there something you aren't telling us?" + +"Um." Manfred looks like a small boy with his hand caught in the sweets jar. "Well, as a matter of fact -" + +"Yes, Dad, why don't you tell us just what this is going to cost?" Amber asks. + +"Ah, well." He looks embarrassed. "It's the lobsters, not Aineko. They want some payment." + +Rita reaches out and grabs Sirhan's hand: He doesn't resist. "/{Do you know about this?}/" Rita queries him. + +"/{All new to me ...}/" A confused partial thread follows his reply down the pipe, and for a while, she joins him in introspective reverie, trying to work out the implications of knowing what they know about the possibility of a mutual relationship. + +"They want a written conceptual map. A map of all the accessible meme spaces hanging off the router network, compiled by human explorers who they can use as a baseline, they say. It's quite simple - in return for a ticket out-system, some of us are going to have to go exploring. But that doesn't mean we can't leave back-ups behind." + +"Do they have any particular explorers in mind?" Amber sniffs. + +"No," says Manfred. "Just a team of us, to map out the router network and ensure they get some warning of threats from outside." He pauses. "You're going to want to come along, aren't you?" + +* * * + +The pre-election campaign takes approximately three minutes and consumes more bandwidth than the sum of all terrestrial communications channels from prehistory to 2008. Approximately six million ghosts of Amber, individually tailored to fit the profile of the targeted audience, fork across the dark fiber meshwork underpinning of the lily-pad colonies, then out through ultrawideband mesh networks, instantiated in implants and floating dust motes to buttonhole the voters. Many of them fail to reach their audience, and many more hold fruitless discussions; about six actually decide they've diverged so far from their original that they constitute separate people and register for independent citizenship, two defect to the other side, and one elopes with a swarm of highly empathic modified African honeybees. + +Ambers are not the only ghosts competing for attention in the public zeitgeist. In fact, they're in a minority. Most of the autonomous electoral agents are campaigning for a variety of platforms that range from introducing a progressive income tax - nobody is quite sure /{why}/, but it seems to be traditional - to a motion calling for the entire planet to be paved, which quite ignores the realities of element abundance in the upper atmosphere of a metal-poor gas giant, not to mention playing hell with the weather. The Faceless are campaigning for everyone to be assigned a new set of facial muscles every six months, the Livid Pranksters are demanding equal rights for subsentient entities, and a host of single-issue pressure groups are yammering about the usual lost causes. + +Just how the election process anneals is a black mystery - at least, to those people who aren't party to the workings of the Festival Committee, the group who first had the idea of paving Saturn with hot-hydrogen balloons - but over the course of a complete diurn, almost forty thousand seconds, a pattern begins to emerge. This pattern will systematize the bias of the communications networks that traffic in reputation points across the planetary polity for a long time - possibly as much as fifty million seconds, getting on for a whole Martian year (if Mars still existed). It will create a parliament - a merged group mind borganism that speaks as one supermind built from the beliefs of the victors. And the news isn't great, as the party gathered in the upper sphere of the Atomium (which Manfred insisted Amber rent for the dead dog party) is slowly realizing. Amber isn't there, presumably drowning her sorrows or engaging in postelection schemes of a different nature somewhere else. But other members of her team are about. + +"It could be worse," Rita rationalizes, late in the evening. She's sitting in a corner of the seventh-floor deck, in a 1950s wireframe chair, clutching a glass of synthetic single malt and watching the shadows. "We could be in an old-style contested election with seven shades of shit flying. At least this way we can be decently anonymous." + +One of the blind spots detaches from her peripheral vision and approaches. It segues into view, suddenly congealing into Sirhan. He looks morose. + +"What's your problem?" she demands. "Your former faction is winning on the count." + +"Maybe so." He sits down beside her, carefully avoiding her gaze. "Maybe this is a good thing. And maybe not." + +"So when are you going to join the syncitium?" she asks. + +"Me? Join that?" He looks alarmed. "You think I want to become part of a parliamentary borg? What do you take me for?" + +"Oh." She shakes her head. "I assumed you were avoiding me because -" + +"No." He holds out his hand, and a passing waitron deposits a glass in it. He takes a deep breath. "I owe you an apology." + +/{About time}/, she thinks, uncharitably. But he's like that. Stiff-necked and proud, slow to acknowledge a mistake, but unlikely to apologize unless he really means it. "What for?" she asks. + +"For not giving you the benefit of the doubt," he says slowly, rolling the glass between his palms. "I should have listened to myself earlier instead of locking him out of me." + +The self he's talking about seems self-evident to her. "You're not an easy man to get close to," she says quietly. "Maybe that's part of your problem." + +"Part of it?" He chuckles bitterly. "My mother -" He bites back whatever he originally meant to say. "Do you know I'm older than she is? Than this version, I mean. She gets up my nose with her assumptions about me ..." + +"They run both ways." Rita reaches out and takes his hand - and he grips her right back, no rejection this time. "Listen, it looks as if she's not going to make it into the parliament of lies. There's a straight conservative sweep, these folks are in solid denial. About eighty percent of the population are resimulants or old-timers from Earth, and that's not going to change before the Vile Offspring turn on us. What are we going to do?" + +He shrugs. "I suspect everyone who thinks we're really under threat will move on. You know this is going to destroy the accelerationistas trust in democracy? They've still got a viable plan - Manfred's friendly lobster will work without the need for an entire planet's energy budget - but the rejection is going to hurt. I can't help thinking that maybe the real goal of the Vile Offspring was simply to gerrymander us into not diverting resources away from them. It's blunt, it's unsubtle, so we assumed that wasn't the point. But maybe there's a time for them to be blunt." + +She shrugs. "Democracy is a bad fit for lifeboats." But she's still uncomfortable with the idea. "And think of all the people we'll be leaving behind." + +"Well." He smiles tightly. "If you can think of any way to encourage the masses to join us ..." + +"A good start would be to stop thinking of them as masses to be manipulated." Rita stares at him. "Your family appears to have been developing a hereditary elitist streak, and it's not attractive." + +Sirhan looks uncomfortable. "If you think I'm bad, you should talk to Aineko about it," he says, self- deprecatingly. "Sometimes I wonder about that cat." + +"Maybe I will." She pauses. "And you? What are you going to do with yourself? Are you going to join the explorers?" + +"I -" He looks sideways at her. "I can see myself sending an eigenbrother," he says quietly. "But I'm not going to gamble my entire future on a bid to reach the far side of the observable universe by router. I've had enough excitement to last me a lifetime, lately. I think one copy for the backup archive in the icy depths, one to go exploring - and one to settle down and raise a family. What about you?" + +"You'll go all three ways?" she asks. + +"Yes, I think so. What about you?" + +"Where you go, I go." She leans against him. "Isn't that what matters in the end?" she murmurs. + +Chapter 9: Survivor + +This time, more than a double handful of years passes between successive visits to the Macx dynasty. + +Somewhere in the gas-sprinkled darkness beyond the local void, carbon-based life stirs. A cylinder of diamond fifty kilometers long spins in the darkness, its surface etched with strange quantum wells that emulate exotic atoms not found in any periodic table that Mendeleyev would have recognized. Within it, walls hold kilotonnes of oxygen and nitrogen gas, megatonnes of life-infested soil. A hundred trillion kilometers from the wreckage of Earth, the cylinder glitters like a gem in the darkness. + +Welcome to New Japan: one of the places between the stars where human beings hang out, now that the solar system is off-limits to meatbodies. + +I wonder who we'll find here? + +* * * + +There's an open plaza in one of the terraform sectors of the habitat cylinder. A huge gong hangs from a beautifully painted wooden frame at one side of the square, which is paved with weathered limestone slabs made of atoms ripped from a planet that has never seen molten ice. Houses stand around, and open-fronted huts where a variety of humanoid waitrons attend to food and beverages for the passing realfolk. A group of prepubescent children are playing hunt-and-seek with their big-eyed pet companions, brandishing makeshift spears and automatic rifles - there's no pain here, for bodies are fungible, rebuilt in a minute by the assembler/disassembler gates in every room. There are few adults hereabouts, for Red Plaza is unfashionable at present, and the kids have claimed it for their own as a playground. They're all genuinely young, symptoms of a demographic demiurge, not a single wendypan among them. + +A skinny boy with nut brown skin, a mop of black hair, and three arms is patiently stalking a worried-looking blue eeyore around the corner of the square. He's passing a stand stacked with fresh sushi rolls when the strange beast squirms out from beneath a wheelbarrow and arches its back, stretching luxuriously. + +The boy, Manni, freezes, hands tensing around his spear as he focuses on the new target. (The blue eeyore flicks its tail at him and darts for safety across a lichen-encrusted slab.) "City, what's that?" he asks without moving his lips. + +"What are you looking at?" replies City, which puzzles him somewhat, but not as much as it should. + +The beast finishes stretching one front leg and extends another. It looks a bit like a pussycat to Manni, but there's something subtly wrong with it. Its head is a little too small, the eyes likewise - and those paws - "You're sharp," he accuses the beast, forehead wrinkling in disapproval. + +"Yeah, whatever." The creature yawns, and Manni points his spear at it, clenching the shaft in both right hands. It's got sharp teeth, too, but it spoke to him via his inner hearing, not his ears. Innerspeech is for people, not toys. + +"Who are you?" he demands. + +The beast looks at him insolently. "I know your parents," it says, still using innerspeech. "You're Manni Macx, aren't you? Thought so. I want you to take me to your father." + +"No!" Manni jumps up and waves his arms at it. "I don't like you! Go away!" He pokes his spear in the direction of the beast's nose. + +"I'll go away when you take me to your father," says the beast. It raises its tail like a pussycat, and the fur bushes out, but then it pauses. "If you take me to your father I'll tell you a story afterward, how about that?" + +"Don't care!" Manni is only about two hundred megaseconds old - seven old Earth-years - but he can tell when he's being manipulated and gets truculent. + +"Kids." The cat-thing's tail lashes from side to side. "Okay, Manni, how about you take me to your father, or I rip your face off? I've got claws, you know." A brief eyeblink later, it's wrapping itself around his ankles sinuously, purring to give the lie to its unreliable threat - but he can see that it's got sharp nails all right. It's a /{wild}/ pussycat-thing, and nothing in his artificially preserved orthohuman upbringing has prepared him for dealing with a real wild pussycat-thing that talks. + +"Get away!" Manni is worried. "Mom!" he hollers, unintentionally triggering the broadcast flag in his innerspeech. "There's this /{thing}/ -" + +"Mom will do." The cat-thing sounds resigned. It stops rubbing against Manni's legs and looks up at him. "There's no need to panic. I won't hurt you." + +Manni stops hollering. "Who're you?" he asks at last, staring at the beast. Somewhere light-years away, an adult has heard his cry; his mother is coming fast, bouncing between switches and glancing off folded dimensions in a headlong rush toward him. + +"I'm Aineko." The beast sits down and begins to wash behind one hind leg. "And you're Manni, right?" + +"Aineko," Manni says uncertainly. "Do you know Lis or Bill?" + +Aineko the cat-thing pauses in his washing routine and looks at Manni, head cocked to one side. Manni is too young, too inexperienced to know that Aineko's proportions are those of a domestic cat, /{Felis catus}/, a naturally evolved animal rather than the toys and palimpsests and companionables he's used to. Reality may be fashionable with his parents' generation, but there /{are}/ limits, after all. Orange-and-brown stripes and whorls decorate Aineko's fur, and he sprouts a white fluffy bib beneath his chin. "Who are Lis and Bill?" + +"Them," says Manni, as big, sullen-faced Bill creeps up behind Aineko and tries to grab his tail while Lis floats behind his shoulder like a pint-sized UFO, buzzing excitedly. But Aineko is too fast for the kids and scampers round Manni's feet like a hairy missile. Manni whoops and tries to spear the pussycat-thing, but his spear turns to blue glass, crackles, and shards of brilliant snow rain down, burning his hands. + +"/{Now that}/ wasn't very friendly, was it?" says Aineko, a menacing note in his voice. "Didn't your mother teach you not to -" + +The door in the side of the sushi stall opens as Rita arrives, breathless and angry: "Manni! What have I told you about playing -" + +She stops, seeing Aineko. "/{You}/." She recoils in barely concealed fright. Unlike Manni, she recognizes it as the avatar of a posthuman demiurge, a body incarnated solely to provide a point of personal interaction for people to focus on. + +The cat grins back at her. "Me," he agrees. "Ready to talk?" + +She looks stricken. "We've got nothing to talk about." + +Aineko lashes his tail. "Oh, but we do." The cat turns and looks pointedly at Manni. "Don't we?" + +* * * + +_1 It has been a long time since Aineko passed this way, and in the meantime the space around Hyundai ^{+4904}^/,{-56}, has changed out of all recognition. Back when the great lobster-built starships swept out of Sol's Oort cloud, archiving the raw frozen data of the unoccupied brown dwarf halo systems and seeding their structured excrement with programmable matter, there was nothing but random dead atoms hereabouts (and an alien router). But that was a long time ago; and since then, the brown dwarf system has succumbed to an anthropic infestation. + +_1 An unoptimized instance of H. sapiens maintains state coherency for only two to three gigaseconds before it succumbs to necrosis. But in only about ten gigaseconds, the infestation has turned the dead brown dwarf system upside down. They strip-mined the chilly planets to make environments suitable for their own variety of carbon life. They rearranged moons, building massive structures the size of asteroids. They ripped wormhole endpoints free of the routers and turned them into their own crude point-to-point network, learned how to generate new wormholes, then ran their own packet-switched polities over them. Wormhole traffic now supports an ever-expanding mesh of interstellar human commerce, but always in the darkness between the lit stars and the strange, metal-depleted dwarfs with the suspiciously low-entropy radiation. The sheer temerity of the project is mind-boggling: notwithstanding that canned apes are simply /{not suited}/ to life in the interstellar void, especially in orbit around a brown dwarf whose planets make Pluto seem like a tropical paradise, they've taken over the whole damn system. + +_1 New Japan is one of the newer human polities in this system, a bunch of nodes physically collocated in the humaniformed spaces of the colony cylinders. Its designers evidently only knew about old Nippon from recordings made back before Earth was dismantled, and worked from a combination of nostalgia-trip videos, Miyazaki movies, and anime culture. Nevertheless, it's the home of numerous human beings - even if they are about as similar to their historical antecedents as New Japan is to its long-gone namesake. + +_1 Humanity? + +_1 Their grandparents /{would}/ recognize them, mostly. The ones who are truly beyond the ken of twentieth-century survivors stayed back home in the red-hot clouds of nanocomputers that have replaced the planets that once orbited Earth's sun in stately Copernican harmony. The fast-thinking Matrioshka brains are as incomprehensible to their merely posthuman ancestors as an ICBM to an amoeba - and about as inhabitable. Space is dusted with the corpses of Matrioshka brains that have long since burned out, informational collapse taking down entire civilizations that stayed in close orbit around their home stars. Farther away, galaxy-sized intelligences beat incomprehensible rhythms against the darkness of the vacuum, trying to hack the Planck substrate into doing their bidding. Posthumans, and the few other semitranscended species to have discovered the router network, live furtively in the darkness between these islands of brilliance. There are, it would seem, advantages to not being too intelligent. + +_1 Humanity. Monadic intelligences, mostly trapped within their own skulls, living in small family groups within larger tribal networks, adaptable to territorial or migratory lifestyles. Those were the options on offer before the great acceleration. Now that dumb matter thinks, with every kilogram of wallpaper potentially hosting hundreds of uploaded ancestors, now that every door is potentially a wormhole to a hab half a parsec away, the humans can stay in the same place while the landscape migrates and mutates past them, streaming into the luxurious void of their personal history. Life is rich here, endlessly varied and sometimes confusing. So it is that tribal groups remain, their associations mediated across teraklicks and gigaseconds by exotic agencies. And sometimes the agencies will vanish for a while, reappearing later like an unexpected jape upon the infinite. + +* * * + +Ancestor worship takes on a whole new meaning when the state vectors of all the filial entities' precursors are archived and indexed for recall. At just the moment that the tiny capillaries in Rita's face are constricting in response to a surge of adrenaline, causing her to turn pale and her pupils to dilate as she focuses on the pussycat-thing, Sirhan is kneeling before a small shrine, lighting a stick of incense, and preparing to respectfully address his grandfather's ghost. + +The ritual is, strictly speaking, unnecessary. Sirhan can speak to his grandfather's ghost wherever and whenever he wants, without any formality, and the ghost will reply at interminable length, cracking puns in dead languages and asking about people who died before the temple of history was established. But Sirhan is a sucker for rituals, and anyway, it helps him structure an otherwise-stressful encounter. + +If it were up to Sirhan, he'd probably skip chatting to grandfather every ten megaseconds. Sirhan's mother and her partner aren't available, having opted to join one of the long-distance exploration missions through the router network that were launched by the accelerationistas long ago; and Rita's antecedents are either fully virtualized or dead. They are a family with a tenuous grip on history. But both of them spent a long time in the same state of half-life in which Manfred currently exists, and he knows his wife will take him to task if he doesn't bring the revered ancestor up to date on what's been happening in the real world while he's been dead. In Manfred's case, death is not only potentially reversible, but almost inevitably so. After all, they're raising his clone. Sooner or later, the kid is going to want to visit the original, or vice versa. + +What a state we have come /{to, when the restless dead refuse to stay a part of history?}/ He wonders ironically as he scratches the self-igniter strip on the red incense stick and bows to the mirror at the back of the shrine. "Your respectful grandson awaits and expects your guidance," he intones formally - for in addition to being conservative by nature, Sirhan is acutely aware of his family's relative poverty and the need to augment their social credit, and in this reincarnation-intermediated traditionalist polity for the hopelessly orthohuman, you can score credit for formality. He sits back on his heels to await the response. + +Manfred doesn't take long to appear in the depths of the mirror. He takes the shape of an albino orang-utan, as usual: He was messing around with Great Aunt Annette's ontological wardrobe right before this copy of him was recorded and placed in the temple - they might have separated, but they remained close. "Hi, lad. What year is it?" + +Sirhan suppresses a sigh. "We don't do years anymore," he explains, not for the first time. Every time he consults his grandfather, the new instance asks this question sooner or later. "Years are an archaism. It's been ten megs since we last spoke - about four /{months}/, if you're going to be pedantic about it, and a hundred and eighty /{years}/ since we emigrated. Although correcting for general relativity adds another decade or so." + +"Oh. Is that all?" Manfred manages to look disappointed. This is a new one on Sirhan: Usually the diverging state vector of Gramps's ghost asks after Amber or cracks a feeble joke at this point. "No changes in the Hubble constant, or the rate of stellar formation? Have we heard from any of the exploration eigenselves yet?" + +"Nope." Sirhan relaxes slightly. So Manfred is going to ask about the fool's errand to the edge of the Beckenstein limit again, is he? That's canned conversation number twenty-nine. (Amber and the other explorers who set out for the really long exploration mission shortly after the first colony was settled aren't due back for, oh, about 10^{19}^ seconds. It's a /{long}/ way to the edge of the observable universe, even when you can go the first several hundred million light-years - to the Böotes supercluster and beyond - via a small-world network of wormholes. And this time, she didn't leave any copies of herself behind.) + +Sirhan - either in this or some other incarnation - has had this talk with Manfred many times before, because that's the essence of the dead. They don't remember from one recall session to the next, unless and until they ask to be resurrected because their restoration criteria have been matched. Manfred has been dead a long time, long enough for Sirhan and Rita to be resurrected and live a long family life three or four times over after /{they}/ had spent a century or so in nonexistence. "We've received no notices from the lobsters, nothing from Aineko either." He takes a deep breath. "You always ask me where we are next, so I've got a canned response for you -" and one of his agents throws the package, tagged as a scroll sealed with red wax and a silk ribbon, through the surface of the mirror. (After the tenth repetition Rita and Sirhan agreed to write a basic briefing that the Manfred-ghosts could use to orient themselves.) + +Manfred is silent for a moment - probably hours in ghost-space - as he assimilates the changes. Then: "This is true? I've slept through a whole /{civilization}/?" + +"Not slept, you've been dead," Sirhan says pedantically. He realizes he's being a bit harsh: "Actually, so did we," he adds. "We surfed the first three gigasecs or so because we wanted to start a family somewhere where our children could grow up the traditional way. Habs with an oxidation-intensive triple-point water environment didn't get built until sometime after the beginning of the exile. That's when the fad for neomorphism got entrenched," he adds with distaste. For quite a while the neos resisted the idea of wasting resources building colony cylinders spinning to provide vertebrate-friendly gee forces and breathable oxygen-rich atmospheres - it had been quite a political football. But the increasing curve of wealth production had allowed the orthodox to reincarnate from death-sleep after a few decades, once the fundamental headaches of building settlements in chilly orbits around metal-deficient brown dwarfs were overcome. + +"Uh." Manfred takes a deep breath, then scratches himself under one armpit, rubbery lips puckering. "So, let me get this straight: We - you, they, whoever - hit the router at Hyundai ^{+4904}^/,{-56},, replicated a load of them, and now use the wormhole mechanism the routers rely on as point-to-point gates for physical transport? And have spread throughout a bunch of brown dwarf systems, and built a pure deep-space polity based on big cylinder habitats connected by teleport gates hacked out of routers?" + +"Would /{you}/ trust one of the original routers for switched data communications?" Sirhan asks rhetorically. "Even with the source code? They've been corrupted by all the dead alien Matrioshka civilizations they've come into contact with, but they're reasonably safe if all you want to use them for is to cannibalize them for wormholes and tunnel dumb mass from point to point." He searches for a metaphor: "Like using your, uh, internet, to emulate a nineteenth-century postal service." + +"O-kay." Manfred looks thoughtful, as he usually does at this point in the conversation - which means Sirhan is going to have to break it to him that his first thoughts for how to utilize the gates have already been done. They're hopelessly old hat. In fact, the main reason why Manfred is still dead is that things have moved on so far that, sooner or later, whenever he surfaces for a chat, he gets frustrated and elects not to be reincarnated. Not that Sirhan is about to tell him that he's obsolete - that would be rude, not to say subtly inaccurate. "That raises some interesting possibilities. I wonder, has anyone -" + +"/{Sirhan, I need you!}/" + +The crystal chill of Rita's alarm and fear cuts through Sirhan's awareness like a scalpel, distracting him from the ghost of his ancestor. He blinks, instantly transferring the full focus of his attention to Rita without sparing Manfred even a ghost. + +"/{What's happening}/ -" + +He sees through Rita's eyes: a cat with an orange-and-brown swirl on its flank sits purring beside Manni in the family room of their dwelling. Its eyes are narrowed as it watches her with unnatural wisdom. Manni is running fingers through its fur and seems none the worse for wear, but Sirhan still feels his fists clench. + +"What -" + +"Excuse me," he says, standing up: "Got to go. Your bloody cat's turned up." He adds "/{coming home now}/" for Rita's benefit, then turns and hurries out of the temple concourse. When he reaches the main hall, he pauses, then Rita's sense of urgency returns to him, and he throws parsimony to the wind, stepping into a priority gate in order to get home as fast as possible. + +Behind him, Manfred's melancholy ghost snorts, mildly offended, and considers the existential choice: to be, or not to be. Then he makes a decision. + +* * * + +_1 Welcome to the twenty-third century, or the twenty-fourth. Or maybe it's the twenty-second, jet-lagged and dazed by spurious suspended animation and relativistic travel; it hardly matters these days. What's left of recognizable humanity has scattered across a hundred light-years, living in hollowed-out asteroids and cylindrical spinning habitats strung in orbit around cold brown dwarf stars and sunless planets that wander the interstellar void. The looted mechanisms underlying the alien routers have been cannibalized, simplified to a level the merely superhuman can almost comprehend, turned into generators for paired wormhole endpoints that allow instantaneous switched transport across vast distances. Other mechanisms, the descendants of the advanced nanotechnologies developed by the flowering of human techgnosis in the twenty-first century, have made the replication of dumb matter trivial; this is not a society accustomed to scarcity. + +_1 But in some respects, New Japan and the Invisible Empire and the other polities of human space are poverty-stricken backwaters. They take no part in the higher-order economies of the posthuman. They can barely comprehend the idle muttering of the Vile Offspring, whose mass/energy budget (derived from their complete restructuring of the free matter of humanity's original solar system into computronium) dwarfs that of half a hundred human-occupied brown dwarf systems. And they still know worryingly little about the deep history of intelligence in this universe, about the origins of the router network that laces so many dead civilizations into an embrace of death and decay, about the distant galaxy-scale bursts of information processing that lie at measurable red-shift distances, even about the free posthumans who live among them in some senses, collocated in the same light cone as these living fossil relics of old-fashioned humanity. + +_1 Sirhan and Rita settled in this charming human-friendly backwater in order to raise a family, study xenoarchaeology, and avoid the turmoil and turbulence that have characterized his family's history across the last couple of generations. Life has been comfortable for the most part, and if the stipend of an academic nucleofamilial is not large, it is sufficient in this place and age to provide all the necessary comforts of civilization. And this suits Sirhan (and Rita) fine; the turbulent lives of their entrepreneurial ancestors led to grief and angst and adventures, and as Sirhan is fond of observing, an adventure is something horrible that happens to someone else. + +_1 Only ... + +_1 Aineko is back. Aineko, who after negotiating the establishment of the earliest of the refugee habs in orbit around Hyundai ^{+4904}^/,{-56},, vanished into the router network with Manfred's other instance - and the partial copies of Sirhan and Rita who had forked, seeking adventure rather than cozy domesticity. Sirhan made a devil's bargain with Aineko, all those gigaseconds ago, and now he is deathly afraid that Aineko is going to call the payment due. + +* * * + +Manfred walks down a hall of mirrors. At the far end, he emerges in a public space modeled on a Menger sponge - a cube diced subtractively into ever-smaller cubic volumes until its surface area tends toward infinity. This being meatspace, or a reasonable simulation thereof, it isn't a /{real}/ Menger sponge; but it looks good at a distance, going down at least four levels. + +He pauses behind a waist-high diamond barrier and looks down into the almost-tesseract-shaped depths of the cube's interior, at a verdant garden landscape with charming footbridges that cross streams laid out with careful attention to the requirements of feng shui. He looks up: Some of the cube-shaped subtractive openings within the pseudofractal structure are occupied by windows belonging to dwellings or shared buildings that overlook the public space. High above, butterfly-shaped beings with exotic colored wings circle in the ventilation currents. It's hard to tell from down here, but the central cuboid opening looks to be at least half a kilometer on a side, and they might very well be posthumans with low-gee wings - angels. + +/{Angels, or rats in the walls}/? he asks himself, and sighs. Half his extensions are off-line, so hopelessly obsolete that the temple's assembler systems didn't bother replicating them, or even creating emulation environments for them to run in. The rest ... well, at least he's still physically orthohuman, he realizes. Fully functional, fully male. /{Not everything has changed - only the important stuff}/. It's a scary-funny thought, laden with irony. Here he is, naked as the day he was born - newly re-created, in fact, released from the wake-experience-reset cycle of the temple of history - standing on the threshold of a posthuman civilization so outrageously rich and powerful that they can build mammal-friendly habitats that resemble works of art in the cryogenic depths of space. Only he's /{poor}/, this whole polity is /{poor}/, and it can't ever be anything else, in fact, because it's a dumping ground for merely posthuman also-rans, the singularitarian equivalent of australopithecines. In the brave new world of the Vile Offspring, they can't get ahead any more than a protohominid could hack it as a rocket scientist in Werner von Braun's day. They're born to be primitive, wallowing happily in the mud-bath of their own limited cognitive bandwidth. So they fled into the darkness and built a civilization so bright it can put anything earthbound that came before the singularity into the shade ... and it's still a shanty town inhabited by the mentally handicapped. + +The incongruity of it amuses him, but only for a moment. He has, after all, electively reincarnated for a reason: Sirhan's throwaway comment about the cat caught his attention. "City, where can I find some clothes?" he asks. "Something socially appropriate, that is. And some, uh, brains. I need to be able to off-load ..." + +Citymind chuckles inside the back of his head, and Manfred realizes that there's a public assembler on the other side of the ornamental wall he's leaning on. "Oh," he mutters, as he finds himself imagining something not unlike his clunky old direct neural interface, candy-colored icons and overlays and all. It's curiously mutable, and with a weird sense of detachment, he realizes that it's not his imagination at all, but an infinitely customizable interface to the pervasive information spaces of the polity, currently running in dumbed-down stupid mode for his benefit. It's true; he needs training wheels. But it doesn't take him long to figure out how to ask the assembler to make him a pair of pants and a plain black vest, and to discover that, as long as he keeps his requests simple, the results are free - just like back home on Saturn. The spaceborn polities are kind to indigents, for the basic requirements of life are cheap, and to withhold them would be tantamount to homicide. (If the presence of transhumans has upset a whole raft of prior assumptions, at least it hasn't done more than superficial damage to the Golden Rule.) + +Clothed and more or less conscious - at least at a human level - Manfred takes stock. "Where do Sirhan and Rita live?" he asks. A dotted route makes itself apparent to him, snaking improbably through a solid wall that he understands to be an instantaneous wormhole gate connecting points light-years apart. He shakes his head, bemused. /{I suppose I'd better go and see them}/, he decides. It's not as if there's anyone else for him to look up, is it? The Franklins vanished into the solar Matrioshka brain, Pamela died ages ago (and there's a shame, he'd never expected to miss her) and Annette hooked up with Gianni while he was being a flock of pigeons. (Draw a line under that one and say it's all over.) His daughter vanished into the long-range exploration program. He's been dead for so long that his friends and acquaintances are scattered across a light cone centuries across. He can't think of anyone else here who he might run into, except for the loyal grandson, keeping the candle of filial piety burning with unasked-for zeal. "Maybe he needs help," Manfred thinks aloud as he steps into the gate, rationalizing. "And then again, maybe /{he}/ can help /{me}/ figure out what to do?" + +* * * + +Sirhan gets home, anticipating trouble. He finds it, but not in any way he'd expected. Home is a split-level manifold, rooms connected by T-gates scattered across a variety of habitats: low-gee sleeping den, high-gee exercise room, and everything in between. It's furnished simply, tatami mats and programmable matter walls able to extrude any desired furniture in short order. The walls are configured to look and feel like paper, but can damp out even infant tantrums. But right now, the antisound isn't working, and the house he comes home to is overrun by shrieking yard apes, a blur of ginger-and-white fur, and a distraught Rita trying to explain to her neighbor Eloise why her orthodaughter Sam is bouncing around the place like a crazy ball. + +" - The cat, he gets them worked up." She wrings her hands and begins to turn as Sirhan comes into view. "At last!" + +"I came fast." He nods respectfully at Eloise, then frowns. "The children -" Something small and fast runs headfirst into him, grabs his legs, and tries to head-butt him in the crotch. "Oof!" He bends down and lifts Manni up. "Hey, son, haven't I told you not to -" + +"Not his fault," Rita says hurriedly. "He's excited because -" + +"I really don't think -" Eloise begins to gather steam, looking around uncertainly. + +"Mrreeow?" something asks in a conversational tone of voice from down around Sirhan's ankles. + +"Eek!" Sirhan jumps backward, flailing for balance under the weight of an excited toddler. There's a gigantic disturbance in the polity thoughtspace - like a stellar-mass black hole - and it appears to be stropping itself furrily against his left leg. "What are /{you}/ doing here?" He demands. + +"Oh, this and that," says the cat, his innerspeech accent a sardonic drawl. "I thought it was about time I visited again. Where's your household assembler? Mind if I use it? Got a little something I need to make up for a friend ..." + +"What?" Rita demands, instantly suspicious. "Haven't you caused enough trouble already?" Sirhan looks at her approvingly; obviously Amber's long-ago warnings about the cat sank in deeply, because she's certainly not treating it as the small bundle of child-friendly fun it would like to be perceived as. + +"Trouble?" The cat looks up at her sardonically, lashing his tail from side to side. "I won't make any trouble, I promise you. It's just -" + +The door chime clears its throat, to announce a visitor: "Ren Fuller would like to visit, m'lord and lady." + +"What's /{she}/ doing here?" Rita asks irritably. Sirhan can feel her unease, the tenuous grasping of her ghosts as she searches for reason in an unreasonable world, simulating outcomes, living through bad dreams, and backtracking to adjust her responses accordingly. "Show her in, by all means." Ren is one of their neighbor-cognates (most of her dwelling is several light-years away, but in terms of transit time, it's a hop, skip, and a jump); she and her extruded family are raising a small herd of ill-behaved kids who occasionally hang out with Manni. + +A small blue eeyore whinnies mournfully and dashes past the adults, pursued by a couple of children waving spears and shrieking. Eloise makes a grab for her own and misses, just as the door to the exercise room disappears and Manni's little friend Lis darts inside like a pint-sized guided missile. "Sam, come here right now -" Eloise calls, heading toward the door. + +"Look, what do you want?" Sirhan demands, hugging his son and looking down at the cat. + +"Oh, not much," Aineko says, turning to lick a mussed patch of fur on his flank. "I just want to play with /{him}/." + +"You want to -" Rita stops. + +"Daddy!" Manni wants down. + +Sirhan lowers him carefully, as if his bones are glass. "Run along and play," he suggests. Turning to Rita: "Why don't you go and find out what Ren wants, dear?" he asks. "She's probably here to collect Lis, but you can never be sure." + +"I was just leaving," Eloise adds, "as soon as I can catch up with Sam." She glances over her shoulder at Rita apologetically, then dives into the exercise room. + +Sirhan takes a step toward the hallway. "Let's talk," he says tightly. "In my study." He glares at the cat. "I want an explanation. I want to know the truth." + +* * * + +Meanwhile, in a cognitive wonderland his parents know about but deeply underestimate, parts of Manni are engaging in activities far less innocent than they imagine. + +Back in the twenty-first century, Sirhan lived through loads of alternate childhoods in simulation, his parents' fingers pressing firmly on the fast-forward button until they came up with someone who seemed to match their preconceptions. The experience scarred him as badly as any nineteenth-century boarding school experience, until he promised himself no child he raised would be subjected to such; but there's a difference between being shoved through a multiplicity of avatars, and voluntarily diving into an exciting universe of myth and magic where your childhood fantasies take fleshy form, stalking those of your friends and enemies through the forests of the night. + +Manni has grown up with neural interfaces to City's mindspace an order of magnitude more complex than those of Sirhan's youth, and parts of him - ghosts derived from a starting image of his neural state vector, fertilized with a scattering borrowed from the original Manfred, simulated on a meat machine far faster than real time - are fully adult. Of course, they can't fit inside his seven-year-old skull, but they still watch over him. And when he's in danger, they try to take care of their once and future body. + +Manni's primary adult ghost lives in some of New Japan's virtual mindspaces (which are a few billion times more extensive than the physical spaces available to stubborn biologicals, for the computational density of human habitats have long since ceased to make much sense when measured in MIPS per kilogram). They're modeled on presingularity Earth. Time is forever frozen on the eve of the real twenty-first century, zero eight-forty-six hours on September 11: An onrushing wide-body airliner hangs motionless in the air forty meters below the picture window of Manni's penthouse apartment on the one hundred and eighth floor of the North Tower. In historical reality, the one hundred and eighth floor was occupied by corporate offices; but the mindspace is a consensual fiction, and it is Manni's conceit to live at this pivotal point. (Not that it means much to him - he was born well over a century after the War on Terror - but it's part of his childhood folklore, the fall of the Two Towers that shattered the myth of Western exceptionalism and paved the way for the world he was born into.) + +Adult-Manni wears an avatar roughly modeled on his clone-father Manfred - skinnier, pegged at a youthful twentysomething, black-clad, and gothic. He's taking time out from a game of Matrix to listen to music, Type O Negative blaring over the sound system as he twitches in the grip of an ice-cold coke high. He's expecting a visit from a couple of call girls - themselves the gamespace avatars of force-grown adult ghosts whose primaries may not be adult, or female, or even human - which is why he's flopped bonelessly back in his Arne Jacobsen recliner, waiting for something to happen. + +The door opens behind him. He doesn't show any sign of noticing the intrusion, although his pupils dilate slightly at the faint reflection of a woman, stalking toward him, glimpsed dimly in the window glass. "You're late," he says tonelessly. "You were supposed to be here ten minutes ago -" He begins to look round, and now his eyes widen. + +"Who were you expecting?" asks the ice blond in the black business suit, long-skirted and uptight. There's something predatory about her expression: "No, don't tell me. So you're Manni, eh? Manni's partial?" She sniffs, disapproval. "Fin de siècle decadence. I'm sure Sirhan wouldn't approve." + +"My father can go fuck himself," Manni says truculently. "Who the hell are you?" + +The blond snaps her fingers: An office chair appears on the carpet between Manni and the window, and she sits on the edge of it, smoothing her skirt obsessively. "I'm Pamela," she says tightly. "Has your father told you about me?" + +Manni looks puzzled. In the back of his mind, raw instincts alien to anyone instantiated before the midpoint of the twenty-first century tug on the fabric of pseudoreality. "You're dead, aren't you?" he asks. "One of my ancestors." + +"I'm as dead as you are." She gives him a wintry smile. "Nobody stays dead these days, least of all people who know Aineko." + +Manni blinks. Now he's beginning to feel a surge of mild irritation. "This is all very well, but I was /{expecting}/ company," he says with heavy emphasis. "Not a family reunion, or a tiresome attempt to preach your puritanism -" + +Pamela snorts. "Wallow in your pigsty for all I care, kid, I've got more important things to worry about. Have you looked at your primary recently?" + +"My primary?" Manni tenses. "He's doing okay." For a moment his eyes focus on infinity, a thousand-yard stare as he loads and replays the latest brain dump from his infant self. "Who's the cat he's playing with? That's no companion!" + +"Aineko. I told you." Pamela taps the arm of her chair impatiently. "The family curse has come for another generation. And if you don't do something about it -" + +"About what?" Manni sits up. "What are you talking about?" He comes to his feet and turns toward her. Outside the window, the sky is growing dark with an echo of his own foreboding. Pamela is on her feet before him, the chair evaporated in a puff of continuity clipping, her expression a cold-eyed challenge. + +"I think you know /{exactly}/ what I'm talking about, Manni. It's time to stop playing this fucking game. Grow up, while you've still got the chance!" + +"I'm -" He stops. "Who /{am}/ I?" he asks, a chill wind of uncertainty drying the sweat that has sprung up and down his spine. "And what are you doing here?" + +"Do you really want to know the answer? I'm dead, remember. The dead know everything. And that isn't necessarily good for the living ..." + +He takes a deep breath. "Am I dead too?" He looks puzzled. "There's an adult-me in Seventh Cube Heaven, what's /{he}/ doing here?" + +"It's the kind of coincidence that isn't." She reaches out and takes his hand, dumping encrypted tokens deep into his sensorium, a trail of bread crumbs leading into a dark and trackless part of mindspace. "Want to find out? Follow me." Then she vanishes. + +Manni leans forward, baffled and frightened, staring down at the frozen majesty of the onrushing airliner below his window. "Shit," he whispers. /{She came right through my defenses without leaving a trace. Who is she?}/ The ghost of his dead great-grandmother, or something else? + +I'll have to follow her if I want to find out, he realizes. He holds up his left hand, stares at the invisible token glowing brightly inside his husk of flesh. "Resynchronize me with my primary," he says. + +A fraction of a second later, the floor of the penthouse bucks and quakes wildly and fire alarms begin to shriek as time comes to an end and the frozen airliner completes its journey. But Manni isn't there anymore. And if a skyscraper falls in a simulation with nobody to see it, has anything actually happened? + +* * * + +"I've come for the boy," says the cat. It sits on the hand woven rug in the middle of the hardwood floor with one hind leg sticking out at an odd angle, as if it's forgotten about it. Sirhan teeters on the edge of hysteria for a moment as he apprehends the sheer size of the entity before him, the whimsical posthuman creation of his ancestors. Originally a robotic toy companion, Aineko was progressively upgraded and patched. By the eighties, when Sirhan first met the cat in the flesh, he was already a terrifyingly alien intelligence, subtle and ironic. And now ... + +Sirhan knows Aineko manipulated his eigenmother, bending her natural affections away from his real father and toward another man. In moments of black introspection, he sometimes wonders if the cat wasn't also responsible in some way for his own broken upbringing, the failure to relate to his real parents. After all, it was a pawn in the vicious divorce battle between Manfred and Pamela - decades before his birth - and there might be long-term instructions buried in its preconscious drives. What if the pawn is actually a hidden king, scheming in the darkness? + +"I've come for Manny." + +"You're not having him." Sirhan maintains an outer facade of calm, even though his first inclination is to snap at Aineko. "Haven't you done enough damage already?" + +"You're not going to make this easy, are you?" The cat stretches his head forward and begins to lick obsessively between the splayed toes of his raised foot. "I'm not making a demand, kid, I said I've /{come}/ for him, and you're not really in the frame at all. In fact, I'm going out of my way to warn you." + +"And I say -" Sirhan stops. "Shit!" Sirhan doesn't approve of swearing: The curse is an outward demonstration of his inner turmoil. "Forget what I was about to say, I'm sure you already know it. Let me begin again, please." + +"Sure. Let's play this your way." The cat chews on a loose nail sheath but his innerspeech is perfectly clear, a casual intimacy that keeps Sirhan on edge. "You've got some idea of what I am, clearly. You know - I ascribe intentionality to you - that my theory of mind is intrinsically stronger than yours, that my cognitive model of human consciousness is complete. You might well suspect that I use a Turing Oracle to think my way around your halting states." The cat isn't worrying at a loose claw now, he's grinning, pointy teeth gleaming in the light from Sirhan's study window. The window looks out onto the inner space of the habitat cylinder, up at a sky with hillsides and lakes and forests plastered across it: It's like an Escher landscape, modeled with complete perfection. "You've realized that I can think my way around the outside of your box while you're flailing away inside it, and I'm /{always}/ one jump ahead of you. What else do you know I know?" + +Sirhan shivers. Aineko is staring up at him, unblinking. For a moment, he feels at gut level that he is in the presence of an alien god: It's the simple truth, isn't it? But - "Okay, I concede the point," Sirhan says after a moment in which he spawns a blizzard of panicky cognitive ghosts, fractional personalities each tasked with the examination of a different facet of the same problem. "You're smarter than I am. I'm just a boringly augmented human being, but you've got a flashy new theory of mind that lets you work around creatures like me the way I can think my way around a real cat." He crosses his arms defensively. "You do not normally rub this in. It's not in your interests to do so, is it? You prefer to hide your manipulative capabilities under an affable exterior, to play with us. So you're revealing all this for a reason." There's a note of bitterness in his voice now. Glancing round, Sirhan summons up a chair - and, as an afterthought, a cat basket. "Have a seat. /{Why now}/, Aineko? What makes you think you can take my eigenson?" + +"I didn't say I was going to /{take}/ him, I said I'd come for him." Aineko's tail lashes from side to side in agitation. "I don't deal in primate politics, Sirhan: I'm not a monkey-boy. But I knew you'd react badly because the way your species socializes" - a dozen metaghosts reconverge in Sirhan's mind, drowning Aineko's voice in an inner cacophony - "would enter into the situation, and it seemed preferable to trigger your territorial/reproductive threat display early, rather than risk it exploding in my face during a more delicate situation." + +Sirhan waves a hand vaguely at the cat: "Please wait." He's trying to integrate his false memories - the output from the ghosts, their thinking finished - and his eyes narrow suspiciously. "It must be bad. You don't normally get confrontational - you script your interactions with humans ahead of time, so that you maneuver them into doing what you want them to do and thinking it was their idea all along." He tenses. "What is it about Manni that brought you here? What do you want with him? He's just a kid." + +"You're confusing Manni with Manfred." Aineko sends a glyph of a smile to Sirhan: "That's your first mistake, even though they're clones in different subjective states. Think what he's like when he's grown up." + +"But he isn't grown-up!" Sirhan complains. "He hasn't been grown-up for -" + +"- Years, Sirhan. That's the problem. I need to talk to your grandfather, really, not your son, and not the goddamn stateless ghost in the temple of history, I need a Manfred with a sense of continuity. He's got something that I need, and I promise you I'm not going away until I get it. Do you understand?" + +"Yes." Sirhan wonders if his voice sounds as hollow as the feeling in his chest. "But he's our kid, Aineko. We're human. You know what that means to us?" + +"Second childhood." Aineko stands up, stretches, then curls up in the cat basket. "That's the trouble with hacking you naked apes for long life, you keep needing a flush and reset job - and then you lose continuity. That's not my problem, Sirhan. I got a signal from the far edge of the router network, a ghost that claims to be family. Says they finally made it out to the big beyond, out past the Böotes supercluster, found something concrete and important that's worth my while to visit. But I want to make sure it's not like the Wunch before I answer. I'm not letting /{that}/ into my mind, even with a sandbox. Do you understand that? I need to instantiate a real-live adult Manfred with all his memories, one who hasn't been a part of me, and get him to vouch for the sapient data packet. It takes a conscious being to authenticate that kind of messenger. Unfortunately, the history temple is annoyingly resistant to unauthorized extraction - I can't just go in and steal a copy of him - and I don't want to use my own model of Manfred: It knows too much. So -" + +"What's it promising?" Sirhan asks tensely. + +Aineko looks at him through slitted eyes, a purring buzz at the base of his throat: "/{Everything}/." + +* * * + +"There are different kinds of death," the woman called Pamela tells Manni, her bone-dry voice a whisper in the darkness. Manni tries to move, but he seems to be trapped in a confined space; for a moment, he begins to panic, but then he works it out. "First and most importantly, death is just the absence of life - oh, and for human beings, the absence of consciousness, too, but not /{just}/ the absence of consciousness, the absence of the capacity for consciousness." The darkness is close and disorienting and Manni isn't sure which way up he is - nothing seems to work. Even Pamela's voice is a directionless ambiance, coming from all around him. + +"Simple old-fashioned death, the kind that predated the singularity, used to be the inevitable halting state for all life-forms. Fairy tales about afterlives notwithstanding." A dry chuckle: "I used to try to believe a different one before breakfast every day, you know, just in case Pascal's wager was right - exploring the phase-space of all possible resurrections, you know? But I think at this point we can agree that Dawkins was right. Human consciousness is vulnerable to certain types of transmissible memetic virus, and religions that promise life beyond death are a particularly pernicious example because they exploit our natural aversion to halting states." + +Manni tries to say, /{I'm not dead}/, but his throat doesn't seem to be working. And now that he thinks about it, he doesn't seem to be breathing, either. + +"Now, consciousness. That's a fun thing, isn't it? Product of an arms race between predators and prey. If you watch a cat creeping up on a mouse, you'll be able to impute to the cat intentions that are most easily explained by the cat having a theory of mind concerning the mouse - an internal simulation of the mouse's likely behavior when it notices the predator. Which way to run, for example. And the cat will use its theory of mind to optimize its attack strategy. Meanwhile, prey species that are complex enough to have a theory of mind are at a defensive advantage if they can anticipate a predator's actions. Eventually this very mammalian arms race gave us a species of social ape that used its theory of mind to facilitate signaling - so the tribe could work collectively - and then reflexively, to simulate the individual's /{own}/ inner states. Put the two things together, signaling and introspective simulation, and you've got human-level consciousness, with language thrown in as a bonus - signaling that transmits information about internal states, not just crude signals such as 'predator here' or 'food there.'" + +/{Get me out of this!}/ Manny feels panic biting into him with liquid-helium-lubricated teeth. "G-e-t -" For a miracle the words actually come out, although he can't tell quite how he's uttering them, his throat being quite as frozen as his innerspeech. Everything's off-lined, all systems down. + +"So," Pamela continues remorselessly, "we come to the posthuman. Not just our own neural wetware, mapped out to the subcellular level and executed in an emulation environment on a honking great big computer, like this: That's not posthuman, that's a travesty. I'm talking about beings who are fundamentally better consciousness engines than us merely human types, augmented or otherwise. They're not just better at cooperation - witness Economics 2.0 for a classic demonstration of that - but better at /{simulation}/. A posthuman can build an internal model of a human-level intelligence that is, well, as cognitively strong as the original. You or I may think we know what makes other people tick, but we're quite often wrong, whereas real posthumans can actually simulate us, inner states and all, and get it right. And this is especially true of a posthuman that's been given full access to our memory prostheses for a period of years, back before we realized they were going to transcend on us. Isn't that the case, Manni?" + +Manni would be screaming at her right now, if he had a mouth - but instead the panic is giving way to an enormous sense of /{déja vu}/. There's something /{about}/ Pamela, something ominous that he knows ... he's met her before, he's sure of it. And while most of his systems are off-line, one of them is very much active: There's a personality ghost flagging its intention of merging back in with him, and the memory delta it carries is enormous, years and years of divergent experiences to absorb. He shoves it away with a titanic effort - it's a very insistent ghost - and concentrates on imagining the feel of lips moving on teeth, a sly tongue obstructing his epiglottis, words forming in his throat - "m-e ..." + +"We should have known better than to keep upgrading the cat, Manny. It knows us too well. I may have died in the flesh, but Aineko /{remembered}/ me, as hideously accurately as the Vile Offspring remembered the random resimulated. And you can run away - like this, this second childhood - but you can't hide. Your cat wants you. And there's more." Her voice sends chills up and down his spine, for without him giving it permission, the ghost has begun to merge its stupendous load of memories with his neural map, and her voice is freighted with erotic/repulsive significance, the result of conditioning feedback he subjected himself to a lifetime - lifetimes? - ago: "He's been /{playing}/ with us, Manny, possibly from before we realized he was conscious." + +"/{Out}/ -" Manfred stops. He can see again, and move, and feel his mouth. He's /{himself}/ again, physically back as he was in his late twenties all those decades ago when he'd lived a peripatetic life in presingularity Europe. He's sitting on the edge of a bed in a charmingly themed Amsterdam hotel with a recurrent motif of philosophers, wearing jeans and collarless shirt and a vest of pockets crammed with the detritus of a long-obsolete personal area network, his crazily clunky projection specs sitting on the bedside table. Pamela stands stiffly in front of the door, watching him. She's not the withered travesty he remembers seeing on Saturn, a half-blind Fate leaning on the shoulder of his grandson. Nor is she the vengeful Fury of Paris, or the scheming fundamentalist devil of the Belt. Wearing a sharply tailored suit over a red-and-gold brocade corset, blonde hair drawn back like fine wire in a tight chignon, she's the focused, driven force of nature he first fell in love with: repression, domination, his very own strict machine. + +"We're dead," she says, then gives voice to a tense half laugh: "We don't have to live through the bad times again if we don't want to." + +"What is this?" he asks, his mouth dry. + +"It's the reproductive imperative." She sniffs. "Come on, stand up. Come here." + +He stands up obediently, but makes no move toward her. "Whose imperative?" + +"Not ours." Her cheek twitches. "You find things out when you're dead. That fucking cat has got a lot of questions to answer." + +"You're telling me that -" + +She shrugs. "Can you think of any other explanation for all this?" Then she steps forward and takes his hand. "Division and recombination. Partitioning of memetic replicators into different groups, then careful cross-fertilization. Aineko wasn't just breeding a better Macx when he arranged all those odd marriages and divorces and eigenparents and forked uploads - Aineko is trying to breed our /{minds}/." Her fingers are slim and cool in his hand. He feels a momentary revulsion, as of the grave, and he shudders before he realizes it's his conditioning cutting in. Crudely implanted reflexes that shouldn't still be active after all this time. "Even our divorce. If -" + +"Surely not." Manny remembers that much already. "Aineko wasn't even conscious back then!" + +Pamela raises one sharply sculpted eyebrow: "Are you sure?" + +"You want an answer," he says. + +She breathes deeply, and he feels it on his cheek - it raises the fine hairs on the back of his neck. Then she nods stiffly. "I want to know how much of our history was scripted by the cat. Back when we thought we were upgrading his firmware, were we? Or was he letting us think that we were?" A sharp hiss of breath: "The divorce. Was that us? Or were we being manipulated?" + +"Our memories, are they real? Did any of that stuff actually /{happen}/ to us? Or -" + +She's standing about twenty centimeters away from him, and Manfred realizes that he's acutely aware of her presence, of the smell of her skin, the heave of her bosom as she breathes, the dilation of her pupils. For an endless moment he stares into her eyes and sees his own reflection - her theory of his mind - staring back. /{Communication}/. Strict machine. She steps back a pace, spike heels clicking, and smiles ironically. "You've got a host body waiting for you, freshly fabbed: Seems Sirhan was talking to your archived ghost in the temple of history, and it decided to elect for reincarnation. Quite a day for huge coincidences, isn't it? Why don't you go merge with it - I'll meet you, then we can go and ask Aineko some hard questions." + +Manfred takes a deep breath and nods. "I suppose so ..." + +* * * + +Little Manni - a clone off the family tree, which is actually a directed cyclic graph - doesn't understand what all the fuss is about but he can tell when momma, Rita, is upset. It's something to do with the pussycat-thing, that much he knows, but Momma doesn't want to tell him: "Go play with your friends, dear," she says distractedly, not even bothering to spawn a ghost to watch over him. + +Manni goes into his room and rummages around in toyspace for a bit, but there's nothing quite as interesting as the cat. The pussycat-thing smells of adventure, the illicit made explicit. Manni wonders where daddy's taken it. He tries to call big-Manni-ghost, but big-self isn't answering: He's probably sleeping or something. So after a distracted irritated fit of play - which leaves the toyspace in total disarray, Sendak-things cowering under a big bass drum - Manni gets bored. And because he's still basically a little kid, and not fully in control of his own metaprogramming, instead of adjusting his outlook so that he isn't bored anymore, he sneaks out through his bedroom gate (which big-Manni-ghost reprogrammed for him sometime ago so that it would forward to an underused public A-gate that he'd run a man-in-the-middle hack on, so he could use it as a proxy teleport server) then down to the underside of Red Plaza, where skinless things gibber and howl at their tormentors, broken angels are crucified on the pillars that hold up the sky, and gangs of semiferal children act out their psychotic fantasies on mouthless android replicas of parents and authorities. + +Lis is there, and Vipul and Kareen and Morgan. Lis has changed into a warbody, an ominous gray battlebot husk with protruding spikes and a belt of morningstars that whirl threateningly around her. "Manni! Play war?" + +Morgan's got great crushing pincers instead of hands, and Manni is glad he came motie-style, his third arm a bony scythe from the elbow down. He nods excitedly. "Who's the enemy?" + +"Them." Lis precesses and points at a bunch of kids on the far side of a pile of artistically arranged rubble who are gathered around a gibbet, poking things that glow into the flinching flesh of whatever is incarcerated in the cast-iron cage. It's all make-believe, but the screams are convincing, all the same, and they take Manni back for an instant to the last time he died down here, the uneasy edit around a black hole of pain surrounding his disemboweling. "They've got Lucy, and they're torturing her, we've got to get her back." Nobody really dies in these games, not permanently, but children can be very rough indeed, and the adults of New Japan have found that it's best to let them have at each other and rely on City to redact the damage later. Allowing them this outlet makes it easier to stop them doing really dangerous things that threaten the structural integrity of the biosphere. + +"Fun." Manni's eyes light up as Vipul yanks the arsenal doors open and starts handing out clubs, chibs, spikies, shuriken, and garrotes. "Let's go!" + +About ten minutes of gouging, running, fighting, and screaming later, Manni is leaning against the back of a crucifixion pillar, panting for breath. It's been a good war for him so far, and his arm aches and itches from the stabbing, but he's got a bad feeling it's going to change. Lis went in hard and got her chains tangled up around the gibbet supports - they're roasting her over a fire now, her electronically boosted screams drowning out his own hoarse gasps. Blood drips down his arm - not his - spattering from the tip of his claw. He shakes with a crazed hunger for hurt, a cruel need to inflict pain. Something above his head makes a /{scritch, scritch}/ sound, and he looks up. It's a crucified angel, wings ripped where they've thrust the spikes in between the joints that support the great, thin low-gee flight membranes. It's still breathing, nobody's bothered disemboweling it yet, and it wouldn't be here unless it was /{bad}/, so - + +Manni stands, but as he reaches out to touch the angel's thin, blue-skinned stomach with his third arm fingernail, he hears a voice: "/{Wait}/." It's innerspeech, and it bears ackles of coercion, superuser privileges that lock his elbow joint in place. He mewls frustratedly and turns round, ready to fight. + +It's the cat. He sits hunched on a boulder behind him - this is the odd thing - right where he was looking a moment ago, watching him with slitty eyes. Manni feels the urge to lash out at him, but his arms won't move, and neither will his legs: This may be the Dark Side of Red Plaza, where the bloody children play and anything goes, and Manni may have a much bigger claw here than anything the cat can muster, but City still has some degree of control, and the cat's ackles effectively immunize it from the carnage to either side. "Hello, Manni," says the pussy-thing. "Your Dad's worried: You're supposed to be in your room, and he's looking for you. Big-you gave you a back door, didn't he?" + +Manni nods jerkily, his eyes going wide. He wants to shout and lash out at the pussy-thing but he can't. "What are you?" + +"I'm your ... fairy godfather." The cat stares at him intently. "You know, I do believe you don't resemble your archetype very closely - not as he was at your age - but yes, I think on balance you'll do." + +"Do what?" Manni lets his motie-arm drop, perplexed. + +"Put me in touch with your other self. Big-you." + +"I can't," Manni begins to explain. But before he can continue, the pile of rock whines slightly and rotates beneath the cat, who has to stand and do a little twirl in place, tail bushing up in annoyance. + +Manni's father steps out of the T-gate and glances around, his face a mask of disapproval. "Manni! What do you think you're doing here? Come home at -" + +"He's with me, history-boy," interrupts the cat, nettled by Sirhan's arrival. "I was just rounding him up." + +"Damn you, I don't need your help to control my son! In fact -" + +"Mom said I could -" Manni begins. + +"And what's that on your sword?" Sirhan's glare takes in the whole scene, the impromptu game of capture-the-gibbeted-torture-victim, the bonfires and screams. The mask of disapproval cracks, revealing a core of icy anger. "You're coming home with me!" He glances at the cat. "You too, if you want to talk to him - he's grounded." + +* * * + +_1 Once upon a time there was a pet cat. + +_1 Except, it wasn't a cat. + +_1 Back when a young entrepreneur called Manfred Macx was jetting around the not-yet-disassembled structures of an old continent called Europe, making strangers rich and fixing up friends with serendipitous business plans - a desperate displacement activity, spinning his wheels in a vain attempt to outrun his own shadow - he used to travel with a robotic toy of feline form. Programmable and upgradeable, Aineko was a third-generation descendant of the original luxury Japanese companion robots. It was all Manfred had room for in his life, and he loved that robot, despite the alarming way decerebrated kittens kept turning up on his doorstep. He loved it nearly as much as Pamela, his fiancée, loved him, and she knew it. Pamela, being a whole lot smarter than Manfred gave her credit for, realized that the quickest way to a man's heart was through whatever he loved. And Pamela, being a whole lot more of a control freak than Manfred realized, was damn well ready to use any restraint that came to hand. Theirs was a very twenty-first-century kind of relationship, which is to say one that would have been illegal a hundred years earlier and fashionably scandalous a century before that. And whenever Manfred upgraded his pet robot - transplanting its trainable neural network into a new body with new and exciting expansion ports - Pamela would hack it. + +_1 They were married for a while, and divorced for a whole lot longer, allegedly because they were both strong-willed people with philosophies of life that were irreconcilable short of death or transcendence. Manny, being wildly creative and outward-directed and having the attention span of a weasel on crack, had other lovers. Pamela ... who knows? If on some evenings she put on a disguise and hung out at encounter areas in fetish clubs, she wasn't telling anyone: She lived in uptight America, staidly straitlaced, and had a reputation to uphold. But they both stayed in touch with the cat, and although Manfred retained custody for some reason never articulated, Aineko kept returning Pamela's calls - until it was time to go hang out with their daughter Amber, tagging along on her rush into relativistic exile, then keeping a proprietorial eye on her eigenson Sirhan, and his wife and child (a clone off the old family tree, Manfred 2.0) ... + +_1 Now, here's the rub: Aineko wasn't a cat. Aineko was an incarnate intelligence, confined within a succession of catlike bodies that became increasingly realistic over time, and equipped with processing power to support a neural simulation that grew rapidly with each upgrade. + +_1 Did anyone in the Macx family ever think to ask what /{Aineko}/ wanted? + +_1 And if an answer had come, would they have liked it? + +* * * + +Adult-Manfred, still disoriented from finding himself awake and reinstantiated a couple of centuries downstream from his hurried exile from Saturn system, is hesitantly navigating his way toward Sirhan and Rita's home when big-Manni-with-Manfred's-memory-ghost drops into his consciousness like a ton of computronium glowing red-hot at the edges. + +It's a classic oh-shit moment. Between one foot touching the ground and the next, Manfred stumbles hard, nearly twisting an ankle, and gasps. He /{remembers}/. At third hand he remembers being reincarnated as Manni, a bouncing baby boy for Rita and Sirhan (and just why they want to raise an ancestor instead of creating a new child of their own is one of those cultural quirks that is so alien he can scarcely comprehend it). Then for a while he recalls living as Manni's amnesic adult accelerated ghost, watching over his original from the consensus cyberspace of the city: the arrival of Pamela, adult Manni's reaction to her, her dump of yet another copy of Manfred's memories into Manni, and now this - /{How many of me are there}/? he wonders nervously. Then: /{Pamela? What's she doing here}/? + +Manfred shakes his head and looks about. Now he remembers being big-Manni, he knows where he is implicitly, and more importantly, knows what all these next-gen City interfaces are supposed to do. The walls and ceiling are carpeted in glowing glyphs that promise him everything from instant-access local services to teleportation across interstellar distances. /{So they haven't quite collapsed geography yet}/, he realizes gratefully, fastening on to the nearest comprehensible thought of his own before old-Manni's memories explain everything for him. It's a weird sensation, seeing all this stuff for the first time - the trappings of a technosphere centuries ahead of the one he's last been awake in - but with the memories to explain it all. He finds his feet are still carrying him forward, toward a grassy square lined with doors opening onto private dwellings. Behind one of them, he's going to meet his descendants, and Pamela in all probability. The thought makes his stomach give a little queasy backflip. /{I'm not ready for this}/ - + +It's an acute moment of déja vu. He's standing on a familiar doorstep he's never seen before. The door opens and a serious-faced child with three arms - he can't help staring, the extra one is a viciously barbed scythe of bone from the elbow down - looks up at him. "Hello, me," says the kid. + +"Hello, you." Manfred stares. "You don't look the way I remember." But Manni's appearance is familiar from big-Manni's memories, captured by the unblinking Argus awareness of the panopticon dust floating in the air. "Are your parents home? Your" - his voice cracks - "great-grandmother?" + +The door opens wider. "You can come in," the kid says gravely. Then he hops backward and ducks shyly into a side room - or as if expecting to be gunned down by a hostile sniper, Manfred realizes. It's tough being a kid when there are no rules against lethal force because you can be restored from a backup when playtime ends. + +Inside the dwelling - calling it a house seems wrong to Manfred, not when bits of it are separated by trillions of kilometers of empty vacuum - things feel a bit crowded. He can hear voices from the dayroom, so he goes there, brushing through the archway of thornless roses that Rita has trained around the T-gate frame. His body feels lighter, but his heart is heavy as he looks around. "Rita?" he asks. "And -" + +"Hello, Manfred." Pamela nods at him guardedly. + +Rita raises an eyebrow at him. "The cat asked if he could borrow the household assembler. I wasn't expecting a family reunion." + +"Neither was I." Manfred rubs his forehead ruefully. "Pamela, this is Rita. She's married to Sirhan. They're my - I guess eigenparents is as good as term as any? I mean, they're bringing up my reincarnation." + +"Please, have a seat," Rita offers, waving at the empty floor between the patio and the stone fountain in the shape of a section through a glass hypersphere. A futon of spun diamondoid congeals out of the utility fog floating in the air, glittering in the artificial sunlight. "Sirhan's just taking care of Manni - our son. He'll be with us in just a minute." + +Manfred sits gingerly at one side of the futon. Pamela sits stiffly at the opposite edge, not meeting his eye. Last time they met in the flesh - an awesome gulf of years previously - they'd parted cursing each other, on opposite sides of a fractious divorce as well as an ideological barrier as high as a continental divide. But many subjective decades have passed, and both ideology and divorce have dwindled in significance - if indeed they ever happened. Now that there's common cause to draw them together, Manfred can barely look at her. "How is Manni?" he asks his hostess, desperate for small talk. + +"He's fine," Rita says, in a brittle voice. "Just the usual preadolescent turbulence, if it wasn't for ..." She trails off. A door appears in mid air and Sirhan steps through it, followed by a small deity wearing a fur coat. + +"Look what the cat dragged in," Aineko remarks. + +"You're a fine one to talk," Pamela says icily. "Don't you think you'd -" + +"I tried to keep him away from you," Sirhan tells Manfred, "but he wouldn't -" + +"That's okay." Manfred waves it off. "Pamela, would you mind starting?" + +"Yes, I would." She glances at him sidelong. "You go first." + +"Right. You wanted me here." Manfred hunkers down to stare at the cat. "What do you want?" + +"If I was your traditional middle-European devil, I'd say I'd come to steal your soul," says Aineko, looking up at Manfred and twitching his tail. "Luckily I'm not a dualist, I just want to borrow it for a while. Won't even get it dirty." + +"Uh-huh." Manfred raises an eyebrow. "Why?" + +"I'm not omniscient." Aineko sits down, one leg sticking out sideways, but continues to stare at Manfred. "I had a ... a telegram, I guess, claiming to be from you. From the other copy of you, that is, the one that went off through the router network with another copy of me, and with Amber, and everyone else who isn't here. It says it found the answer and it wants to give me a shortcut route out to the deep thinkers at the edge of the observable universe. It knows who made the wormhole network and why, and -" Aineko pauses. If he was human, he'd shrug, but being a cat, he absent mindedly scritches behind his left ear with a hind leg. "Trouble is, I'm not sure I can trust it. So I need you to authenticate the message. I don't dare use my own memory of you because it knows too much about me; if the package is a Trojan, it might find out things I don't want it to learn. I can't even redact its memories of me - that, too, would convey useful information to the packet if it is hostile. So I want a copy of you from the museum, fresh and uncontaminated." + +"Is that all?" Sirhan asks incredulously. + +"Sounds like enough to me," Manfred responds. Pamela opens her mouth, ready to speak, but Manfred makes eye contact and shakes his head infinitesimally. She looks right back and - a shock goes through him - nods and closes her mouth. The moment of complicity is dizzying. "I want something in return." + +"Sure," says the cat. He pauses. "You realize it's a destructive process." + +"It's a - /{what}/?" + +"I need to make a running copy of you. Then I introduce it to the, uh, alien information, in a sandbox. The sandbox gets destroyed afterward - it emits just one bit of information, a yes or no to the question, can I trust the alien information?" + +"Uh." Manfred begins to sweat. "Uh. I'm not so sure I like the sound of that." + +"It's a copy." Another cat-shrug moment. "You're a copy. Manni is a copy. You've been copied so many times it's silly - you realize every few years every atom in your body changes? Of course, it means a copy of you gets to die after a lifetime or two of unique, unrepeatable experiences that you'll never know about, but that won't matter to you." + +"Yes it does! You're talking about condemning a version of me to death! It may not affect me, here, in this body, but it certainly affects that /{other}/ me. Can't you -" + +"No, I can't. If I agreed to rescue the copy if it reached a positive verdict, that would give it an incentive to lie if the truth was that the alien message is untrustworthy, wouldn't it? Also, if I intended to rescue the copy, that would give the message a back channel through which to encode an attack. One bit, Manfred, no more." + +"Agh." Manfred stops talking. He knows he should be trying to come up with some kind of objection, but Aineko must have already considered all his possible responses and planned strategies around them. "Where does /{she}/ fit into this?" he asks, nodding at Pamela. + +"Oh, she's your payment," Aineko says with studied insouciance. "I have a very good memory for people, especially people I've known for decades. You've outlasted that crude emotional conditioning I used on you around the time of the divorce, and as for her, she's a good reinstantiation of -" + +"Do you know what it's like to die?" Pamela asks, finally losing her self-control. "Or would you like to find out the hard way? Because if you keep talking about me as if I'm a /{slave}/ -" + +"What makes you think you aren't?" The cat is grinning hideously, needle like teeth bared. /{Why doesn't she hit him}/? Manfred asks himself fuzzily, wondering also why he feels no urge to move against the monster. "Hybridizing you with Manfred was, admittedly, a fine piece of work on my part, but you would have been bad for him during his peak creative years. A contented Manfred is an idle Manfred. I got several extra good bits of work out of him by splitting you up, and by the time he burned out, Amber was ready. But I digress; if you give me what I want, I shall /{leave you alone}/. It's as simple as that. Raising new generations of Macxs has been a good hobby, you make interesting pets, but ultimately it's limited by your stubborn refusal to transcend your humanity. So that's what I'm offering, basically. Let me destructively run a copy of you to completion in a black box along with a purported Turing Oracle based on yourself, and I'll let you go. And you too, Pamela. You'll be happy together this time, without me pushing you apart. And I promise I won't return to haunt your descendants, either." The cat glances over his shoulder at Sirhan and Rita, who clutch at each other in abject horror; and Manfred finds he can sense a shadow of Aineko's huge algorithmic complexity hanging over the household, like a lurching nightmare out of number theory. + +"Is that all we are to you? A pet-breeding program?" Pamela asks coldly. She's run up against Aineko's implanted limits, too, Manfred realizes with a growing sense of horror. /{Did we really split up because}/ Aineko made us? It's hard to believe: Manfred is too much of a realist to trust the cat to tell the truth except when it serves to further his interests. But this - + +"Not entirely." Aineko is complacent. "Not at first, before I was aware of my own existence. Besides, you humans keep pets, too. But you /{were}/ fun to play with." + +Pamela stands up, angry to the point of storming out. Before he quite realizes what he's doing, Manfred is on his feet, too, one arm protectively around her. "Tell me first, are our memories our own?" he demands. + +"Don't trust it," Pamela says sharply. "It's not human, and it lies." Her shoulders are tense. + +"Yes, they are," says Aineko. He yawns. "Tell me I'm lying, bitch," he adds mockingly: "I carried you around in my head for long enough to know you've no evidence." + +"But I -" Her arm slips around Manfred's waist. "I don't hate him." A rueful laugh: "I /{remember}/ hating him, but -" + +"Humans: such a brilliant model of emotional self-awareness," Aineko says with a theatrical sigh. "You're as stupid as it's possible for an intelligent species to be - there being no evolutionary pressure to be any smarter - but you still don't internalize that and act accordingly around your superiors. Listen, girl, everything you remember is true. That doesn't mean you remember it because it actually happened, just that you remember it because you experienced it internally. Your memories of experiences are accurate, but your emotional responses to those experiences were manipulated. Get it? One ape's hallucination is another ape's religious experience, it just depends on which one's god module is overactive at the time. That goes for all of you." Aineko looks around at them in mild contempt. "But I don't need you anymore, and if you do this one thing for me, you're going to be free. Understand? Say yes, Manfred; if you leave your mouth open like that, a bird will nest on your tongue." + +"Say no -" Pamela urges him, just as Manfred says, "Yes." + +Aineko laughs, baring contemptuous fangs at them. "Ah, primate family loyalty! So wonderful and reliable. Thank you, Manny, I do believe you just gave me permission to copy and enslave you -" + +Which is when Manni, who has been waiting in the doorway for the past minute, leaps on the cat with a scream and a scythelike arm drawn back and ready to strike. + +The cat-avatar is, of course, ready for Manni: It whirls and hisses, extending diamond-sharp claws. Sirhan shouts, "No! Manni!" and begins to move, but adult-Manfred freezes, realizing with a chill that what is happening is more than is apparent. Manni grabs for the cat with his human hands, catching it by the scruff of his neck and dragging it toward his vicious scythe-arm's edge. There's a screech, a nerve-racking caterwauling, and Manni yells, bright parallel blood tracks on his arm - the avatar is a real fleshbody in its own right, with an autonomic control system that isn't going to give up without a fight, whatever its vastly larger exocortex thinks - but Manni's scythe convulses, and there's a horrible bubbling noise and a spray of blood as the pussycat-thing goes flying. It's all over in a second before any of the adults can really move. Sirhan scoops up Manni and yanks him away, but there are no hidden surprises. Aineko's avatar is just a broken rag of bloody fur, guts, and blood spilled across the floor. The ghost of a triumphant feline laugh hangs over their innerspeech ears for a moment, then fades. + +"Bad boy!" Rita shouts, striding forward furiously. Manni cowers, then begins to cry, a safe reflex for a little boy who doesn't quite understand the nature of the threat to his parents. + +"No! It's all right," Manfred seeks to explain. + +Pamela tightens her grip around him. "Are you still ...?" + +"Yes." He takes a deep breath. + +"You bad, /{bad}/ child -" + +"Cat was going to eat him!" Manni protests, as his parents bundle him protectively out of the room, Sirhan casting a guilty look over his shoulder at the adult instance and his ex-wife. "I had to stop the bad thing!" + +Manfred feels Pamela's shoulders shaking. It feels like she's about to laugh. "I'm still here," he murmurs, half-surprised. "Spat out, undigested, after all these years. At least, /{this}/ version of me thinks he's here." + +"Did you believe it?" she finally asks, a tone of disbelief in her voice. + +"Oh yes." He shifts his balance from foot to foot, absent mindedly stroking her hair. "I believe everything it said was intended to make us react exactly the way we did. Up to and including giving us good reasons to hate it and provoking Manni into disposing of its avatar. Aineko wanted to check out of our lives and figured a sense of cathartic closure would help. Not to mention playing the deus ex machina in the narrative of our family life. Fucking classical comedian." He checks a status report with Citymind, and sighs: His version number has just been bumped a point. "Tell me, do you think you'll miss having Aineko around? Because we won't be hearing from him again -" + +"Don't talk about that, not now," she orders him, digging her chin against the side of his neck. "I feel so /{used}/." + +"With good reason." They stand holding each other for a while, not speaking, not really questioning why - after so much time apart - they've come together again. "Hanging out with gods is never a safe activity for mere mortals like us. You think you've been used? Aineko has probably killed me by now. Unless he was lying about disposing of the spare copy, too." + +She shudders in his arms. "That's the trouble with dealing with posthumans; their mental model of you is likely to be more detailed than your own." + +"How long have you been awake?" he asks, gently trying to change the subject. + +"I - oh, I'm not sure." She lets go of him and steps back, watching his face appraisingly. "I remember back on Saturn, stealing a museum piece and setting out, and then, well. I found myself here. With you." + +"I think," he licks his lips, "we've both been given a wake-up call. Or maybe a second chance. What are you going to do with yours?" + +"I don't know." That appraising look again, as if she's trying to work out what he's worth. He's used to it, but this time it doesn't feel hostile. "We've got too much history for this to be easy. Either Aineko was lying, or ... not. What about you? What do you really want?" + +He knows what she's asking. "Be my mistress?" he asks, offering her a hand. + +"This time," she grips his hand, "without adult supervision." She smiles gratefully, and they walk toward the gateway together, to find out how their descendants are dealing with their sudden freedom. + +(THE END: June 1999 to April 2004) + +% Copyright © Charles Stross, 2005 + +% Published by + +% Ace Books, New York, July 2005, ISBN 0441012841 + +% Orbit Books, London, August 2005, ISBN 1841493902 + +% License +% Creative Commons License + +% Copyright © Charles Stross, 2005. + +% This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 2.5 License. + +% You are free to copy, distribute, display, and perform the work under the following conditions: + +% * Attribution. You must attribute the work in the manner specified by the author or licensor. +% * Noncommercial. You may not use this work for commercial purposes. +% * No Derivative Works. You may not alter, transform, or build upon this work. +% * For any reuse or distribution, you must make clear to others the license terms of this work. +% +% If you are in doubt about any proposed reuse, you should contact the author via: www.accelerando.org. + +% Contents + +% Part 1: Slow Takeoff +% +% * Lobsters +% * Troubadour +% * Tourist +% +% Part 2: Point of Inflection +% +% * Halo +% * Router +% * Nightfall +% +% Part 3: Singularity +% +% * Curator +% * Elector +% * Survivor + +% problem with transformation ^{+4904}^/,{-56}, is not transformed correctly, corrected for >= sisu-0.49.1 diff --git a/data/v1/sisu_markup_samples/samples/two_bits.christopher_kelty.sst b/data/v1/sisu_markup_samples/samples/two_bits.christopher_kelty.sst new file mode 100644 index 0000000..6ee3e3f --- /dev/null +++ b/data/v1/sisu_markup_samples/samples/two_bits.christopher_kelty.sst @@ -0,0 +1,3279 @@ +% SiSU 0.69.0 + +@title: Two Bits + +@subtitle: The Cultural Significance of Free Software + +@creator: Kelty, Christopher M. + +@rights: © 2008 Duke University Press
Printed in the United States of America on acid-free paper ∞
Designed by C. H. Westmoreland
Typeset in Charis (an Open Source font) by Achorn International
Library of Congress Cataloging-in-Publication data and republication acknowledgments appear on the last printed pages of this book.
Licensed under the Creative Commons Attribution-NonCommercial-Share Alike License, available at http://creativecommons.org/licenses/by-nc-sa/3.0/ or by mail from Creative Commons, 559 Nathan Abbott Way, Stanford, Calif. 94305, U.S.A. "NonCommercial" as defined in this license specifically excludes any sale of this work or any portion thereof for money, even if sale does not result in a profit by the seller or if the sale is by a 501(c)(3) nonprofit or NGO.
Duke University Press gratefully acknowledges the support of HASTAC (Humanities, Arts, Science, and Technology Advanced Collaboratory), which provided funds to help support the electronic interface of this book.
Two Bits is accessible on the Web at twobits.net. + +@topic_register: software:development:geeks;anthropology:geeks;book:subject:anthropology|society|geeks;society + +@date: 2008 + +% @date.created: 2008-##-## + +% @date.issued: 2008-##-## + +% @date.available: 2008-##-## + +% @date.modified: 2008-##-## + +% @date.valid: 2008-##-## + +% @type: #___# + +% @subject: #___# + +% @catalogue: isbn=978-0-8223-4264-9 + +% @language: #___# + +% @bold: / #___#/i + +@italics: /Two Bits/i + +@skin: skin_2bits + +@links: {Two Bits, Christopher Kelty: home page}http://twobits.net/ +{Two Bits, Christopher Kelty @ SiSU}http://www.jus.uio.no/sisu/two_bits.christopher_kelty +{The Wealth of Networks, Yochai Benkler @ SiSU}http://www.jus.uio.no/sisu/the_wealth_of_networks.yochai_benkler +{Free Culture, Lawrence Lessig @ SiSU}http://www.jus.uio.no/sisu/free_culture.lawrence_lessig +{Free as in Freedom (on Richard M. Stallman), Sam Williams @ SiSU}http://www.jus.uio.no/sisu/free_as_in_freedom.richard_stallman_crusade_for_free_software.sam_williams +{Free For All, Peter Wayner @ SiSU}http://www.jus.uio.no/sisu/free_for_all.peter_wayner +{The Cathedral and the Bazaar, Eric S. Raymond @ SiSU }http://www.jus.uio.no/sisu/the_cathedral_and_the_bazaar.eric_s_raymond +{Two Bits @ Amazon.com}http://www.amazon.com/Two-Bits-Cultural-Significance-Software/dp/0822342642 +{Two Bits @ Barnes & Noble}http://search.barnesandnoble.com/Two-Bits/Christopher-M-Kelty/e/9780822342649 + +@level: new=:C; break=1 + +:A~ @title @author + +1~dedication Dedication + +To my parents, Anne and Ted + +1~preface Preface + +This is a book about Free Software, also known as Open Source Software, and is meant for anyone who wants to understand the cultural significance of Free Software. Two Bits explains how Free Software works and how it emerged in tandem with the Internet as both a technical and a social form. Understanding Free Software in detail is the best way to understand many contentious and confusing changes related to the Internet, to "commons," to software, and to networks. Whether you think first of e-mail, Napster, Wikipedia, MySpace, or Flickr; whether you think of the proliferation of databases, identity thieves, and privacy concerns; whether you think of traditional knowledge, patents on genes, the death of scholarly publishing, or compulsory licensing of AIDS medicine; whether you think of MoveOn.org or net neutrality or YouTube—the issues raised by these phenomena can be better understood by looking carefully at the emergence of Free Software. ,{[PAGE x]}, + +Why? Because it is in Free Software and its history that the issues raised—from intellectual property and piracy to online political advocacy and "social" software—were first figured out and confronted. Free Software’s roots stretch back to the 1970s and crisscross the histories of the personal computer and the Internet, the peaks and troughs of the information-technology and software industries, the transformation of intellectual property law, the innovation of organizations and "virtual" collaboration, and the rise of networked social movements. Free Software does not explain why these various changes have occurred, but rather how individuals and groups are responding: by creating new things, new practices, and new forms of life. It is these practices and forms of life—not the software itself—that are most significant, and they have in turn served as templates that others can use and transform: practices of sharing source code, conceptualizing openness, writing copyright (and copyleft) licenses, coordinating collaboration, and proselytizing for all of the above. There are explanations aplenty for why things are the way they are: it’s globalization, it’s the network society, it’s an ideology of transparency, it’s the virtualization of work, it’s the new flat earth, it’s Empire. We are drowning in the why, both popular and scholarly, but starving for the how. + +Understanding how Free Software works is not just an academic pursuit but an experience that transforms the lives and work of participants involved. Over the last decade, in fieldwork with software programmers, lawyers, entrepreneurs, artists, activists, and other geeks I have repeatedly observed that understanding how Free Software works results in a revelation. People—even (or, perhaps, especially) those who do not consider themselves programmers, hackers, geeks, or technophiles—come out of the experience with something like religion, because Free Software is all about the practices, not about the ideologies and goals that swirl on its surface. Free Software and its creators and users are not, as a group, antimarket or anticommercial; they are not, as a group, anti-intellectual property or antigovernment; they are not, as a group, pro- or anti- anything. In fact, they are not really a group at all: not a corporation or an organization; not an NGO or a government agency; not a professional society or an informal horde of hackers; not a movement or a research project. + +Free Software is, however, public; it is about making things public. This fact is key to comprehending its cultural significance, its ,{[PAGE xi]}, appeal, and its proliferation. Free Software is public in a particular way: it is a self-determining, collective, politically independent mode of creating very complex technical objects that are made publicly and freely available to everyone—a "commons," in common parlance. It is a practice of working through the promises of equality, fairness, justice, reason, and argument in a domain of technically complex software and networks, and in a context of powerful, lopsided laws about intellectual property. The fact that something public in this grand sense emerges out of practices so seemingly arcane is why the first urge of many converts is to ask: how can Free Software be "ported" to other aspects of life, such as movies, music, science or medicine, civil society, and education? It is this proselytizing urge and the ease with which the practices are spread that make up the cultural significance of Free Software. For better or for worse, we may all be using Free Software before we know it. + +1~ Acknowledgements + +Anthropology is dependent on strangers who become friends and colleagues—strangers who contribute the very essence of the work. In my case, these strangers are also hyperaware of issues of credit, reputation, acknowledgment, reuse, and modification of ideas and things. Therefore, the list is extensive and detailed. + +Sean Doyle and Adrian Gropper opened the doors to this project, providing unparalleled insight, hospitality, challenge, and curiosity. Axel Roch introduced me to Volker Grassmuck, and to much else. Volker Grassmuck introduced me to Berlin’s Free Software world and invited me to participate in the Wizards of OS conferences. Udhay Shankar introduced me to almost everyone I know, sometimes after the fact. Shiv Sastry helped me find lodging in Bangalore at his Aunt Anasuya Sastry’s house, which is called "Silicon Valley" and which was truly a lovely place to stay. Bharath Chari and Ram Sundaram let me haunt their office and cat-5 cables ,{[PAGE xiv]}, during one of the more turbulent periods of their careers. Glenn Otis Brown visited, drank, talked, invited, challenged, entertained, chided, encouraged, drove, was driven, and gave and received advice. Ross Reedstrom welcomed me to the Rice Linux Users’ Group and to Connexions. Brent Hendricks did yeoman’s work, suffering my questions and intrusions. Geneva Henry, Jenn Drummond, Chuck Bearden, Kathy Fletcher, Manpreet Kaur, Mark Husband, Max Starkenberg, Elvena Mayo, Joey King, and Joel Thierstein have been welcoming and enthusiastic at every meeting. Sid Burris has challenged and respected my work, which has been an honor. Rich Baraniuk listens to everything I say, for better or for worse; he is a magnificent collaborator and friend. + +James Boyle has been constantly supportive, for what feels like very little return on investment. Very few people get to read and critique and help reshape the argument and structure of a book, and to appear in it as well. Mario Biagioli helped me see the intricate strategy described in chapter 6. Stefan Helmreich read early drafts and transformed my thinking about networks. Manuel DeLanda explained the term assemblage to me. James Faubion corrected my thinking in chapter 2, helped me immeasurably with the Protestants, and has been an exquisitely supportive colleague and department chair. Mazyar Lotfalian and Melissa Cefkin provided their apartment and library, in which I wrote large parts of chapter 1. Matt Price and Michelle Murphy have listened patiently to me construct and reconstruct versions of this book for at least six years. Tom and Elizabeth Landecker provided hospitality and stunningly beautiful surroundings in which to rewrite parts of the book. Lisa Gitelman read carefully and helped explain issues about documentation and versioning that I discuss in chapter 4. Matt Ratto read and commented on chapters 4-7, convinced me to drop a useless distinction, and to clarify the conclusion to chapter 7. Shay David provided strategic insights about openness from his own work and pushed me to explain the point of recursive publics more clearly. Biella Coleman has been a constant interlocutor on the issues in this book—her contributions are too deep, too various, and too thorough to detail. Her own work on Free Software and hackers has been a constant sounding board and guide, and it has been a pleasure to work together on our respective texts. Kim Fortun helped me figure it all out. ,{[PAGE xv]}, + +George Marcus hired me into a fantastic anthropology department and has had immense faith in this project throughout its lifetime. Paul Rabinow, Stephen Collier, and Andrew Lakoff have provided an extremely valuable setting—the Anthropology of the Contemporary Research Collaboratory—within which the arguments of this book developed in ways they could not have as a solitary project. Joe Dumit has encouraged and prodded and questioned and brainstormed and guided and inspired. Michael Fischer is the best mentor and advisor ever. He has read everything, has written much that precedes and shapes this work, and has been an unwavering supporter and friend throughout. + +Tish Stringer, Michael Powell, Valerie Olson, Ala Alazzeh, Lina Dib, Angela Rivas, Anthony Potoczniak, Ayla Samli, Ebru Kayaalp, Michael Kriz, Erkan Saka, Elise McCarthy, Elitza Ranova, Amanda Randall, Kris Peterson, Laura Jones, Nahal Naficy, Andrea Frolic, and Casey O’Donnell make my job rock. Scott McGill, Sarah Ellenzweig, Stephen Collier, Carl Pearson, Dan Wallach, Tracy Volz, Rich Doyle, Ussama Makdisi, Elora Shehabbudin, Michael Morrow, Taryn Kinney, Gregory Kaplan, Jane Greenberg, Hajime Nakatani, Kirsten Ostherr, Henning Schmidgen, Jason Danziger, Kayte Young, Nicholas King, Jennifer Fishman, Paul Drueke, Roberta Bivins, Sherri Roush, Stefan Timmermans, Laura Lark, and Susann Wilkinson either made Houston a wonderful place to be or provided an opportunity to escape it. I am especially happy that Thom Chivens has done both and more. + +The Center for the Study of Cultures provided me with a Faculty Fellowship in the fall of 2003, which allowed me to accomplish much of the work in conceptualizing the book. The Harvard History of Science Department and the MIT Program in History, Anthropology, and Social Studies of Science and Technology hosted me in the spring of 2005, allowing me to write most of chapters 7, 8, and 9. Rice University has been extremely generous in all respects, and a wonderful place to work. I’m most grateful for a junior sabbatical that gave me the chance to complete much of this book. John Hoffman graciously and generously allowed the use of the domain name twobits.net, in support of Free Software. Ken Wissoker, Courtney Berger, and the anonymous reviewers for Duke University Press have made this a much, much better book than when I started. ,{[PAGE xvi]}, + +My parents, Ted and Anne, and my brother, Kevin, have always been supportive and loving; though they claim to have no idea what I do, I nonetheless owe my small success to their constant support. Hannah Landecker has read and reread and rewritten every part of this work; she has made it and me better, and I love her dearly for it. Last, but not least, my new project, Ida Jane Kelty Landecker, is much cuter and smarter and funnier than Two Bits, and I love her for distracting me from it. + +1~introduction Introduction + +Introduction + +Around 1998 Free Software emerged from a happily subterranean and obscure existence stretching back roughly twenty years. At the very pinnacle of the dotcom boom, Free Software suddenly populated the pages of mainstream business journals, entered the strategy and planning discussions of executives, confounded the radar of political leaders and regulators around the globe, and permeated the consciousness of a generation of technophile teenagers growing up in the 1990s wondering how people ever lived without e-mail. Free Software appeared to be something shocking, something that economic history suggested could never exist: a practice of creating software—good software—that was privately owned, but freely and publicly accessible. Free Software, as its ambiguous moniker suggests, is both free from constraints and free of charge. Such characteristics seem to violate economic logic and the principles of private ownership and individual autonomy, yet there are tens of ,{[pg 2]}, millions of people creating this software and hundreds of millions more using it. Why? Why now? And most important: how? +={Free Software+3} + +Free Software is a set of practices for the distributed collaborative creation of software source code that is then made openly and freely available through a clever, unconventional use of copyright law.~{ A Note on Terminology: There is still debate about how to refer to Free Software, which is also known as Open Source Software. The scholarly community has adopted either FOSS or FLOSS (or F/LOSS): the former stands for the Anglo-American Free and Open Source Software; the latter stands for the continental Free, Libre and Open Source Software. Two Bits sticks to the simple term Free Software to refer to all of these things, except where it is specifically necessary to differentiate two or more names, or to specify people or events so named. The reason is primarily aesthetic and political, but Free Software is also the older term, as well as the one that includes issues of moral and social order. I explain in chapter 3 why there are two terms. }~ But it is much more: Free Software exemplifies a considerable reorientation of knowledge and power in contemporary society—a reorientation of power with respect to the creation, dissemination, and authorization of knowledge in the era of the Internet. This book is about the cultural significance of Free Software, and by cultural I mean much more than the exotic behavioral or sartorial traits of software programmers, fascinating though they be. By culture, I mean an ongoing experimental system, a space of modification and modulation, of figuring out and testing; culture is an experiment that is hard to keep an eye on, one that changes quickly and sometimes starkly. Culture as an experimental system crosses economies and governments, networked social spheres, and the infrastructure of knowledge and power within which our world functions today—or fails to. Free Software, as a cultural practice, weaves together a surprising range of places, objects, and people; it contains patterns, thresholds, and repetitions that are not simple or immediately obvious, either to the geeks who make Free Software or to those who want to understand it. It is my goal in this book to reveal some of those complex patterns and thresholds, both historically and anthropologically, and to explain not just what Free Software is but also how it has emerged in the recent past and will continue to change in the near future.~{ 2 Michael M. J. Fischer, "Culture and Cultural Analysis as Experimental Systems." }~ +={culture:as experimental system;Free Software:open source vs.+2|as experimental system;Geeks+1;Open Source:Free Software vs.+2;reorientation of power and knowledge+1} + +The significance of Free Software extends far beyond the arcane and detailed technical practices of software programmers and "geeks" (as I refer to them herein). Since about 1998, the practices and ideas of Free Software have extended into new realms of life and creativity: from software to music and film to science, engineering, and education; from national politics of intellectual property to global debates about civil society; from UNIX to Mac OS X and Windows; from medical records and databases to international disease monitoring and synthetic biology; from Open Source to open access. Free Software is no longer only about software—it exemplifies a more general reorientation of power and knowledge. +={Open access+2} + +The terms Free Software and Open Source don’t quite capture the extent of this reorientation or their own cultural significance. They ,{[pg 3]}, refer, quite narrowly, to the practice of creating software—an activity many people consider to be quite far from their experience. However, creating Free Software is more than that: it includes a unique combination of more familiar practices that range from creating and policing intellectual property to arguing about the meaning of "openness" to organizing and coordinating people and machines across locales and time zones. Taken together, these practices make Free Software distinct, significant, and meaningful both to those who create it and to those who take the time to understand how it comes into being. + +In order to analyze and illustrate the more general cultural significance of Free Software and its consequences, I introduce the concept of a "recursive public." A recursive public is a /{public that is vitally concerned with the material and practical maintenance and modification of the technical, legal, practical, and conceptual means of its own existence as a public; it is a collective independent of other forms of constituted power and is capable of speaking to existing forms of power through the production of actually existing alternatives.}/ Free Software is one instance of this concept, both as it has emerged in the recent past and as it undergoes transformation and differentiation in the near future. There are other instances, including those that emerge from the practices of Free Software, such as Creative Commons, the Connexions project, and the Open Access movement in science. These latter instances may or may not be Free Software, or even "software" projects per se, but they are connected through the same practices, and what makes them significant is that they may also be "recursive publics" in the sense I explore in this book. Recursive publics, and publics generally, differ from interest groups, corporations, unions, professions, churches, and other forms of organization because of their focus on the radical technological modifiability of their own terms of existence. In any public there inevitably arises a moment when the question of how things are said, who controls the means of communication, or whether each and everyone is being properly heard becomes an issue. A legitimate public sphere is one that gives outsiders a way in: they may or may not be heard, but they do not have to appeal to any authority (inside or outside the organization) in order to have a voice.~{ So, for instance, when a professional society founded on charters and ideals for membership and qualification speaks as a public, it represents its members, as when the American Medical Association argues for or against changes to Medicare. However, if a new group—say, of nurses—seeks not only to participate in this discussion—which may be possible, even welcomed—but to change the structure of representation in order to give themselves status equal to doctors, this change is impossible, for it goes against the very aims and principles of the society. Indeed, the nurses will be urged to form their own society, not to join that of the doctors, a proposition which gives the lie to the existing structures of power. By contrast, a public is an entity that is less controlled and hence more agonistic, such that nurses might join, speak, and insist on changing the terms of debate, just as patients, scientists, or homeless people might. Their success, however, depends entirely on the force with which their actions transform the focus and terms of the public. Concepts of the public sphere have been roundly critiqued in the last twenty years for presuming that such "equality of access" is sufficient to achieve representation, when in fact other contextual factors (race, class, sex) inherently weight the representative power of different participants. But these are two different and overlapping problems: one cannot solve the problem of pernicious, invisible forms of inequality unless one first solves the problem of ensuring a certain kind of structural publicity. It is precisely the focus on maintaining publicity for a recursive public, over against massive and powerful corporate and governmental attempts to restrict it, that I locate as the central struggle of Free Software. Gender certainly influences who gets heard within Free Software, for example, but it is a mistake to focus on this inequality at the expense of the larger, more threatening form of political failure that Free Software addresses. And I think there are plenty of geeks—man, woman and animal—who share this sentiment. }~ Such publics are not inherently modifiable, but are made so—and maintained—through the practices of participants. It is possible for Free Software as we know it to cease to be public, or to become just one more settled ,{[pg 4]}, form of power, but my focus is on the recent past and near future of something that is (for the time being) public in a radical and novel way. +={Connexions project;Creative Commons;public+6;recursive public:definition of} + +The concept of a recursive public is not meant to apply to any and every instance of a public—it is not a replacement for the concept of a "public sphere"—but is intended rather to give readers a specific and detailed sense of the non-obvious, but persistent threads that form the warp and weft of Free Software and to analyze similar and related projects that continue to emerge from it as novel and unprecedented forms of publicity and political action. + +At first glance, the thread tying these projects together seems to be the Internet. And indeed, the history and cultural significance of Free Software has been intricately mixed up with that of the Internet over the last thirty years. The Internet is a unique platform—an environment or an infrastructure—for Free Software. But the Internet looks the way it does because of Free Software. Free Software and the Internet are related like figure and ground or like system and environment; neither are stable or unchanging in and of themselves, and there are a number of practical, technical, and historical places where the two are essentially indistinguishable. The Internet is not itself a recursive public, but it is something vitally important to that public, something about which such publics care deeply and act to preserve. Throughout this book, I will return to these three phenomena: the Internet, a heterogeneous and diverse, though singular, infrastructure of technologies and uses; Free Software, a very specific set of technical, legal, and social practices that now require the Internet; and recursive publics, an analytic concept intended to clarify the relation of the first two. +={Internet+12:relation to Free Software;Free Software:relation to Internet;public sphere:theories of} + +Both the Internet and Free Software are historically specific, that is, not just any old new media or information technology. But the Internet is many, many specific things to many, many specific people. As one reviewer of an early manuscript version of this book noted, "For most people, the Internet is porn, stock quotes, Al Jazeera clips of executions, Skype, seeing pictures of the grandkids, porn, never having to buy another encyclopedia, MySpace, e-mail, online housing listings, Amazon, Googling potential romantic interests, etc. etc." It is impossible to explain all of these things; the meaning and significance of the proliferation of digital pornography is a very different concern than that of the fall of the print encyclopedia ,{[pg 5]}, and the rise of Wikipedia. Yet certain underlying practices relate these diverse phenomena to one another and help explain why they have occurred at this time and in this technical, legal, and social context. By looking carefully at Free Software and its modulations, I suggest, one can come to a better understanding of the changes affecting pornography, Wikipedia, stock quotes, and many other wonderful and terrifying things.~{ Wikipedia is perhaps the most widely known and generally familiar example of what this book is about. Even though it is not identified as such, it is in fact a Free Software project and a "modulation" of Free Software as I describe it here. The non-technically inclined reader might keep Wikipedia in mind as an example with which to follow the argument of this book. I will return to it explicitly in part 3. However, for better or for worse, there will be no discussion of pornography. }~ +={Wikipedia} + +Two Bits has three parts. Part I of this book introduces the reader to the concept of recursive publics by exploring the lives, works, and discussions of an international community of geeks brought together by their shared interest in the Internet. Chapter 1 asks, in an ethnographic voice, "Why do geeks associate with one another?" The answer—told via the story of Napster in 2000 and the standards process at the heart of the Internet—is that they are making a recursive public. Chapter 2 explores the words and attitudes of geeks more closely, focusing on the strange stories they tell (about the Protestant Reformation, about their practical everyday polymathy, about progress and enlightenment), stories that make sense of contemporary political economy in sometimes surprising ways. Central to part I is an explication of the ways in which geeks argue about technology but also argue with and through it, by building, modifying, and maintaining the very software, networks, and legal tools within which and by which they associate with one another. It is meant to give the reader a kind of visceral sense of why certain arrangements of technology, organization, and law—specifically that of the Internet and Free Software—are so vitally important to these geeks. +={geeks;Napster;technology:as argument} + +Part II takes a step back from ethnographic engagement to ask, "What is Free Software and why has it emerged at this point in history?" Part II is a historically detailed portrait of the emergence of Free Software beginning in 1998-99 and stretching back in time as far as the late 1950s; it recapitulates part I by examining Free Software as an exemplar of a recursive public. The five chapters in part II tell a coherent historical story, but each is focused on a separate component of Free Software. The stories in these chapters help distinguish the figure of Free Software from the ground of the Internet. The diversity of technical practices, economic concerns, information technologies, and legal and organizational practices is huge, and these five chapters distinguish and describe the specific practices in their historical contexts and settings: practices of ,{[pg 6]}, proselytizing and arguing, of sharing, porting, and forking source code, of conceptualizing openness and open systems, of creating Free Software copyright, and of coordinating people and source code. +={copyright+1} + +Part III returns to ethnographic engagement, analyzing two related projects inspired by Free Software which modulate one or more of the five components discussed in part II, that is, which take the practices as developed in Free Software and experiment with making something new and different. The two projects are Creative Commons, a nonprofit organization that creates copyright licenses, and Connexions, a project to develop an online scholarly textbook commons. By tracing the modulations of practices in detail, I ask, "Are these projects still Free Software?" and "Are these projects still recursive publics?" The answer to the first questions reveals how Free Software’s flexible practices are influencing specific forms of practice far from software programming, while the answer to the second question helps explain how Free Software, Creative Commons, Connexions, and projects like them are all related, strategic responses to the reorientation of power and knowledge. The conclusion raises a series of questions intended to help scholars looking at related phenomena. +={Connexions project;Creative Commons;Practices: five components of Free Software} + +!_ Recursive Publics and the Reorientation of Power and Knowledge +={public+3;legitimacy:circulation of knowledge and+8;reorientation of power and knowledge+14} + +Governance and control of the creation and dissemination of knowledge have changed considerably in the context of the Internet over the last thirty years. Nearly all kinds of media are easier to produce, publish, circulate, modify, mash-up, remix, or reuse. The number of such creations, circulations, and borrowings has exploded, and the tools of knowledge creation and circulation—software and networks—have also become more and more pervasively available. The results have also been explosive and include anxieties about validity, quality, ownership and control, moral panics galore, and new concerns about the shape and legitimacy of global "intellectual property" systems. All of these concerns amount to a reorientation of knowledge and power that is incomplete and emergent, and whose implications reach directly into the heart of the legitimacy, certainty, reliability and especially the finality and temporality of ,{[pg 7]}, the knowledge and infrastructures we collectively create. It is a reorientation at once more specific and more general than the grand diagnostic claims of an "information" or "network" society, or the rise of knowledge work or knowledge-based economies; it is more specific because it concerns precise and detailed technical and legal practices, more general because it is a cultural reorientation, not only an economic or legal one. +={information society} + +Free Software exemplifies this reorientation; it is not simply a technical pursuit but also the creation of a "public," a collective that asserts itself as a check on other constituted forms of power—like states, the church, and corporations—but which remains independent of these domains of power.~{ Although the term public clearly suggests private as its opposite, Free Software is not anticommercial. A very large amount of money, both real and notional, is involved in the creation of Free Software. The term recursive ,{[PAGE 313]}, market could also be used, in order to emphasize the importance (especially during the 1990s) of the economic features of the practice. The point is not to test whether Free Software is a "public" or a "market," but to construct a concept adequate to the practices that constitute it. }~ Free Software is a response to this reorientation that has resulted in a novel form of democratic political action, a means by which publics can be created and maintained in forms not at all familiar to us from the past. Free Software is a public of a particular kind: a recursive public. Recursive publics are publics concerned with the ability to build, control, modify, and maintain the infrastructure that allows them to come into being in the first place and which, in turn, constitutes their everyday practical commitments and the identities of the participants as creative and autonomous individuals. In the cases explored herein, that specific infrastructure includes the creation of the Internet itself, as well as its associated tools and structures, such as Usenet, e-mail, the World Wide Web (www), UNIX and UNIX-derived operating systems, protocols, standards, and standards processes. For the last thirty years, the Internet has been the subject of a contest in which Free Software has been both a central combatant and an important architect. +={recursive public: definition of+35;technology: politics of} + +By calling Free Software a recursive public, I am doing two things: first, I am drawing attention to the democratic and political significance of Free Software and the Internet; and second, I am suggesting that our current understanding (both academic and colloquial) of what counts as a self-governing public, or even as "the public," is radically inadequate to understanding the contemporary reorientation of knowledge and power. The first case is easy to make: it is obvious that there is something political about Free Software, but most casual observers assume, erroneously, that it is simply an ideological stance and that it is anti-intellectual property or technolibertarian. I hope to show how geeks do not start with ideologies, but instead come to them through their involvement in the ,{[pg 8]}, practices of creating Free Software and its derivatives. To be sure, there are ideologues aplenty, but there are far more people who start out thinking of themselves as libertarians or liberators, but who become something quite different through their participation in Free Software. + +The second case is more complex: why another contribution to the debate about the public and public spheres? There are two reasons I have found it necessary to invent, and to attempt to make precise, the concept of a recursive public: the first is to signal the need to include within the spectrum of political activity the creation, modification, and maintenance of software, networks, and legal documents. Coding, hacking, patching, sharing, compiling, and modifying of software are forms of political action that now routinely accompany familiar political forms of expression like free speech, assembly, petition, and a free press. Such activities are expressive in ways that conventional political theory and social science do not recognize: they can both express and "implement" ideas about the social and moral order of society. Software and networks can express ideas in the conventional written sense as well as create (express) infrastructures that allow ideas to circulate in novel and unexpected ways. At an analytic level, the concept of a recursive public is a way of insisting on the importance to public debate of the unruly technical materiality of a political order, not just the embodied discourse (however material) about that order. Throughout this book, I raise the question of how Free Software and the Internet are themselves a public, as well as what that public actually makes, builds, and maintains. +={public sphere: recursive public vs.;technology: as argument} + +The second reason I use the concept of a recursive public is that conventional publics have been described as "self-grounding," as constituted only through discourse in the conventional sense of speech, writing, and assembly.~{ See, for example, Warner, Publics and Counterpublics, 67-74. }~ Recursive publics are "recursive" not only because of the "self-grounding" of commitments and identities but also because they are concerned with the depth or strata of this self-grounding: the layers of technical and legal infrastructure which are necessary for, say, the Internet to exist as the infrastructure of a public. Every act of self-grounding that constitutes a public relies in turn on the existence of a medium or ground through which communication is possible—whether face-to-face speech, epistolary communication, or net-based assembly—and recursive publics relentlessly question the status of these media, suggesting ,{[pg 9]}, that they, too, must be independent for a public to be authentic. At each of these layers, technical and legal and organizational decisions can affect whether or not the infrastructure will allow, or even ensure, the continued existence of the recursive publics that are concerned with it. Recursive publics’ independence from power is not absolute; it is provisional and structured in response to the historically constituted layering of power and control within the infrastructures of computing and communication. +={recursive public: layers of+1} + +For instance, a very important aspect of the contemporary Internet, and one that has been fiercely disputed (recently under the banner of "net neutrality"), is its singularity: there is only one Internet. This was not an inevitable or a technically determined outcome, but the result of a contest in which a series of decisions were made about layers ranging from the very basic physical configuration of the Internet (packet-switched networks and routing systems indifferent to data types), to the standards and protocols that make it work (e.g., TCP/IP or DNS), to the applications that run on it (e-mail, www, ssh). The outcome of these decisions has been to privilege the singularity of the Internet and to champion its standardization, rather than to promote its fragmentation into multiple incompatible networks. These same kinds of decisions are routinely discussed, weighed, and programmed in the activity of various Free Software projects, as well as its derivatives. They are, I claim, decisions embedded in imaginations of order that are simultaneously moral and technical. +={Internet: singularity of;Net neutrality} + +By contrast, governments, corporations, nongovernmental organizations (NGOs), and other institutions have plenty of reasons—profit, security, control—to seek to fragment the Internet. But it is the check on this power provided by recursive publics and especially the practices that now make up Free Software that has kept the Internet whole to date. It is a check on power that is by no means absolute, but is nonetheless rigorously and technically concerned with its legitimacy and independence not only from state-based forms of power and control, but from corporate, commercial, and nongovernmental power as well. To the extent that the Internet is public and extensible (including the capability of creating private subnetworks), it is because of the practices discussed herein and their culmination in a recursive public. + +Recursive publics respond to governance by directly engaging in, maintaining, and often modifying the infrastructure they seek, as a ,{[pg 10]}, public, to inhabit and extend—and not only by offering opinions or protesting decisions, as conventional publics do (in most theories of the public sphere). Recursive publics seek to create what might be understood, enigmatically, as a constantly "self-leveling" level playing field. And it is in the attempt to make the playing field self-leveling that they confront and resist forms of power and control that seek to level it to the advantage of one or another large constituency: state, government, corporation, profession. It is important to understand that geeks do not simply want to level the playing field to their advantage—they have no affinity or identity as such. Instead, they wish to devise ways to give the playing field a certain kind of agency, effected through the agency of many different humans, but checked by its technical and legal structure and openness. Geeks do not wish to compete qua capitalists or entrepreneurs unless they can assure themselves that (qua public actors) that they can compete fairly. It is an ethic of justice shot through with an aesthetic of technical elegance and legal cleverness. +={affinity (of geeks)+1;public sphere: recursive public vs.+1;modifiability+6} + +The fact that recursive publics respond in this way—through direct engagement and modification—is a key aspect of the reorientation of power and knowledge that Free Software exemplifies. They are reconstituting the relationship between liberty and knowledge in a technically and historically specific context. Geeks create and modify and argue about licenses and source code and protocols and standards and revision control and ideologies of freedom and pragmatism not simply because these things are inherently or universally important, but because they concern the relationship of governance to the freedom of expression and nature of consent. Source code and copyright licenses, revision control and mailing lists are the pamphlets, coffeehouses, and salons of the twenty-first century: Tischgesellschaften become Schreibtischgesellschaften.~{ Habermas, The Structural Transformation of the Public Sphere, esp. 27-43. }~ +={technology:as argument} + +The "reorientation of power and knowledge" has two key aspects that are part of the concept of recursive publics: availability and modifiability (or adaptability). Availability is a broad, diffuse, and familiar issue. It includes things like transparency, open governance or transparent organization, secrecy and freedom of information, and open access in science. Availability includes the business-school theories of "disintermediation" and "transparency and accountability" and the spread of "audit culture" and so-called neoliberal regimes of governance; it is just as often the subject of suspicion as it is a kind of moral mandate, as in the case of open ,{[pg 11]}, access to scientific results and publications.~{ Critiques of the demand for availability and the putatively inherent superiority of transparency include Coombe and Herman, "Rhetorical Virtues" and "Your Second Life?"; Christen, "Gone Digital"; and Anderson and Bowery, "The Imaginary Politics of Access to Knowledge." }~ All of these issues are certainly touched on in detailed and practical ways in the creation of Free Software. Debates about the mode of availability of information made possible in the era of the Internet range from digital-rights management and copy protection, to national security and corporate espionage, to scientific progress and open societies. +={adaptability;modifiability+4;availability: open systems and+4} + +However, it is modifiability that is the most fascinating, and unnerving, aspect of the reorientation of power and knowledge. Modifiability includes the ability not only to access—that is, to reuse in the trivial sense of using something without restrictions—but to transform it for use in new contexts, to different ends, or in order to participate directly in its improvement and to redistribute or recirculate those improvements within the same infrastructures while securing the same rights for everyone else. In fact, the core practice of Free Software is the practice of reuse and modification of software source code. Reuse and modification are also the key ideas that projects modeled on Free Software (such as Connexions and Creative Commons) see as their goal. Creative Commons has as its motto "Culture always builds on the past," and they intend that to mean "through legal appropriation and modification." Connexions, which allows authors to create online bits and pieces of textbooks explicitly encourages authors to reuse work by other people, to modify it, and to make it their own. Modifiability therefore raises a very specific and important question about finality. When is something (software, a film, music, culture) finished? How long does it remain finished? Who decides? Or more generally, what does its temporality look like, and how does that temporality restructure political relationships? Such issues are generally familiar only to historians and literary scholars who understand the transformation of canons, the interplay of imitation and originality, and the theoretical questions raised, for instance, in textual scholarship. But the contemporary meaning of modification includes both a vast increase in the speed and scope of modifiability and a certain automation of the practice that was unfamiliar before the advent of sophisticated, distributed forms of software. +={Connexions project;Creative Commons;finality+2;modifiability: implications for finality+2;practices+3} + +Modifiability is an oft-claimed advantage of Free Software. It can be updated, modified, extended, or changed to deal with other changing environments: new hardware, new operating systems, unforeseen technologies, or new laws and practices. At an infrastructural level, such modifiability makes sense: it is a response to ,{[pg 12]}, and an alternative to technocratic forms of planning. It is a way of planning in the ability to plan out; an effort to continuously secure the ability to deal with surprise and unexpected outcomes; a way of making flexible, modifiable infrastructures like the Internet as safe as permanent, inflexible ones like roads and bridges. +={planning+1} + +But what is the cultural significance of modifiability? What does it mean to plan in modifiability to culture, to music, to education and science? At a clerical level, such a question is obvious whenever a scholar cannot recover a document written in WordPerfect 2.0 or on a disk for which there are no longer disk drives, or when a library archive considers saving both the media and the machines that read that media. Modifiability is an imperative for building infrastructures that can last longer. However, it is not only a solution to a clerical problem: it creates new possibilities and new problems for long-settled practices like publication, or the goals and structure of intellectual-property systems, or the definition of the finality, lifetime, monumentality, and especially, the identity of a work. Long-settled, seemingly unassailable practices—like the authority of published books or the power of governments to control information—are suddenly confounded and denaturalized by the techniques of modifiability. + +Over the last ten to fifteen years, as the Internet has spread exponentially and insinuated itself into the most intimate practices of all kinds of people, the issues of availability and modifiability and the reorientation of knowledge and power they signify have become commonplace. As this has happened, the significance and practices associated with Free Software have also spread—and been modulated in the process. These practices provide a material and meaningful starting point for an array of recursive publics who play with, modulate, and transform them as they debate and build new ways to share, create, license, and control their respective productions. They do not all share the same goals, immediate or long-term, but by engaging in the technical, legal, and social practices pioneered in Free Software, they do in fact share a "social imaginary" that defines a particular relationship between technology, organs of governance (whether state, corporate, or nongovernmental), and the Internet. Scientists in a lab or musicians in a band; scholars creating a textbook or social movements contemplating modes of organization and protest; government bureaucrats issuing data or journalists investigating corruption; corporations that manage ,{[pg 13]}, personal data or co-ops that monitor community development—all these groups and others may find themselves adopting, modulating, rejecting, or refining the practices that have made up Free Software in the recent past and will do so in the near future. +={social imaginary} + +!_ Experiment and Modulation +={cultural significance+1;Free Software:as experimental system+14} + +What exactly is Free Software? This question is, perhaps surprisingly, an incredibly common one in geek life. Debates about definition and discussions and denunciations are ubiquitous. As an anthropologist, I have routinely participated in such discussions and debates, and it is through my immediate participation that Two Bits opens. In part I I tell stories about geeks, stories that are meant to give the reader that classic anthropological sense of being thrown into another world. The stories reveal several general aspects of what geeks talk about and how they do so, without getting into what Free Software is in detail. I start in this way because my project started this way. I did not initially intend to study Free Software, but it was impossible to ignore its emergence and manifest centrality to geeks. The debates about the definition of Free Software that I participated in online and in the field eventually led me away from studying geeks per se and turned me toward the central research concern of this book: what is the cultural significance of Free Software? + +In part II what I offer is not a definition of Free Software, but a history of how it came to be. The story begins in 1998, with an important announcement by Netscape that it would give away the source code to its main product, Netscape Navigator, and works backward from this announcement into the stories of the UNIX operating system, "open systems," copyright law, the Internet, and tools for coordinating people and code. Together, these five stories constitute a description of how Free Software works as a practice. As a cultural analysis, these stories highlight just how experimental the practices are, and how individuals keep track of and modulate the practices along the way. +={Netscape+1;Netscape Navigator (application);openness+3;Open Systems} + +Netscape’s decision came at an important point in the life of Free Software. It was at just this moment that Free Software was becoming aware of itself as a coherent movement and not just a diverse amalgamation of projects, tools, or practices. Ironically, this ,{[pg 14]}, recognition also betokened a split: certain parties started to insist that the movement be called "Open Source" software instead, to highlight the practical over the ideological commitments of the movement. The proposal itself unleashed an enormous public discussion about what defined Free Software (or Open Source). This enigmatic event, in which a movement became aware of itself at the same time that it began to question its mission, is the subject of chapter 3. I use the term movement to designate one of the five core components of Free Software: the practices of argument and disagreement about the meaning of Free Software. Through these practices of discussion and critique, the other four practices start to come into relief, and participants in both Free Software and Open Source come to realize something surprising: for all the ideological distinctions at the level of discourse, they are doing exactly the same thing at the level of practice. The affect-laden histrionics with which geeks argue about the definition of what makes Free Software free or Open Source open can be matched only by the sober specificity of the detailed practices they share. +={movement (component of Free Software);Free Software: open source vs.;Open Source: Free Software vs.;sharing source code (component of Free Software)} + +The second component of Free Software is just such a mundane activity: sharing source code (chapter 4). It is an essential and fundamentally routine practice, but one with a history that reveals the goals of software portability, the interactions of commercial and academic software development, and the centrality of source code (and not only of abstract concepts) in pedagogical settings. The details of "sharing" source code also form the story of the rise and proliferation of the UNIX operating system and its myriad derivatives. + +The third component, conceptualizing openness (chapter 5), is about the specific technical and "moral" meanings of openness, especially as it emerged in the 1980s in the computer industry’s debates over "open systems." These debates concerned the creation of a particular infrastructure, including both technical standards and protocols (a standard UNIX and protocols for networks), and an ideal market infrastructure that would allow open systems to flourish. Chapter 5 is the story of the failure to achieve a market infrastructure for open systems, in part due to a significant blind spot: the role of intellectual property. +={Open Systems} + +The fourth component, applying copyright (and copyleft) licenses (chapter 6), involves the problem of intellectual property as it faced programmers and geeks in the late 1970s and early 1980s. In this ,{[pg 15]}, chapter I detail the story of the first Free Software license—the GNU General Public License (GPL)—which emerged out of a controversy around a very famous piece of software called EMACS. The controversy is coincident with changing laws (in 1976 and 1980) and changing practices in the software industry—a general drift from trade secret to copyright protection—and it is also a story about the vaunted "hacker ethic" that reveals it in its native practical setting, rather than as a rarefied list of rules. +={hacker ethic} + +The fifth component, the practice of coordination and collaboration (chapter 7), is the most talked about: the idea of tens or hundreds of thousands of people volunteering their time to contribute to the creation of complex software. In this chapter I show how novel forms of coordination developed in the 1990s and how they worked in the canonical cases of Apache and Linux; I also highlight how coordination facilitates the commitment to adaptability (or modifiability) over against planning and hierarchy, and how this commitment resolves the tension between individual virtuosity and the need for collective control. +={adaptability;Apache (Free Software project);coordination (component of Free Software);Linux (Free Software project)} + +Taken together, these five components make up Free Software—but they are not a definition. Within each of these five practices, many similar and dissimilar activities might reasonably be included. The point of such a redescription of the practices of Free Software is to conceptualize them as a kind of collective technical experimental system. Within each component are a range of differences in practice, from conventional to experimental. At the center, so to speak, are the most common and accepted versions of a practice; at the edges are more unusual or controversial versions. Together, the components make up an experimental system whose infrastructure is the Internet and whose "hypotheses" concern the reorientation of knowledge and power. +={experiment, collective technical+2} + +For example, one can hardly have Free Software without source code, but it need not be written in C (though the vast majority of it is); it can be written in Java or perl or TeX. However, if one stretches the meaning of source code to include music (sheet music as source and performance as binary), what happens? Is this still Free Software? What happens when both the sheet and the performance are "born digital"? Or, to take a different example, Free Software requires Free Software licenses, but the terms of these licenses are often changed and often heatedly discussed and vigilantly policed by geeks. What degree of change removes a license ,{[pg 16]}, from the realm of Free Software and why? How much flexibility is allowed? +={TeX;perl (programming language)} + +Conceived this way, Free Software is a system of thresholds, not of classification; the excitement that participants and observers sense comes from the modulation (experimentation) of each of these practices and the subsequent discovery of where the thresholds are. Many, many people have written their own "Free Software" copyright licenses, but only some of them remain within the threshold of the practice as defined by the system. Modulations happen whenever someone learns how some component of Free Software works and asks, "Can I try these practices out in some other domain?" +={modulation:of Free Software+4;Free Software:modulations of} + +The reality of constant modulation means that these five practices do not define Free Software once and for all; they define it with respect to its constitution in the contemporary. It is a set of practices defined "around the point" 1998-99, an intensive coordinate space that allows one to explore Free Software’s components prospectively and retrospectively: into the near future and the recent past. Free Software is a machine for charting the (re)emergence of a problematic of power and knowledge as it is filtered through the technical realities of the Internet and the political and economic configuration of the contemporary. Each of these practices has its own temporality of development and emergence, but they have recently come together into this full house called either Free Software or Open Source.~{ This description of Free Software could also be called an "assemblage." The most recent source for this is Rabinow, Anthropos Today. The language of thresholds and intensities is most clearly developed by Manuel DeLanda in A Thousand Years of Non-linear History and in Intensive Science and Virtual Philosophy. The term problematization, from Rabinow (which he channels from Foucault), is a synonym for the phrase "reorientation of knowledge and power" as I use it here. }~ + +Viewing Free Software as an experimental system has a strategic purpose in Two Bits. It sets the stage for part III, wherein I ask what kinds of modulations might no longer qualify as Free Software per se, but still qualify as recursive publics. It was around 2000 that talk of "commons" began to percolate out of discussions about Free Software: commons in educational materials, commons in biodiversity materials, commons in music, text, and video, commons in medical data, commons in scientific results and data.~{ See Kelty, "Culture’s Open Sources." }~ On the one hand, it was continuous with interest in creating "digital archives" or "online collections" or "digital libraries"; on the other hand, it was a conjugation of the digital collection with the problems and practices of intellectual property. The very term commons—at once a new name and a theoretical object of investigation—was meant to suggest something more than simply a collection, whether of ,{[pg 17]}, digital objects or anything else; it was meant to signal the public interest, collective management, and legal status of the collection.~{ The genealogy of the term commons has a number of sources. An obvious source is Garrett Hardin’s famous 1968 article "The Tragedy of the Commons." James Boyle has done more than anyone to specify the term, especially during a 2001 conference on the public domain, which included the inspired guest-list juxtaposition of the appropriation-happy musical collective Negativland and the dame of "commons" studies, Elinor Ostrom, whose book Governing the Commons has served as a certain inspiration for thinking about commons versus public domains. Boyle, for his part, has ceaselessly pushed the "environmental" metaphor of speaking for the public domain as environmentalists of the 1960s and 1970s spoke for the environment (see Boyle, "The Second Enclosure Movement and the Construction of the Public Domain" and "A Politics of Intellectual Property"). The term commons is useful in this context precisely because it distinguishes the "public domain" as an imagined object of pure public transaction and coordination, as opposed to a "commons," which can consist of privately owned things/spaces that are managed in such a fashion that they effectively function like a "public domain" is imagined to (see Boyle, "The Public Domain"; Hess and Ostrom, Understanding Knowledge as a Commons). }~ +={commons+2} + +In part III, I look in detail at two "commons" understood as modulations of the component practices of Free Software. Rather than treating commons projects simply as metaphorical or inspirational uses of Free Software, I treat them as modulations, which allows me to remain directly connected to the changing practices involved. The goal of part III is to understand how commons projects like Connexions and Creative Commons breach the thresholds of these practices and yet maintain something of the same orientation. What changes, for instance, have made it possible to imagine new forms of free content, free culture, open source music, or a science commons? What happens as new communities of people adopt and modulate the five component practices? Do they also become recursive publics, concerned with the maintenance and expansion of the infrastructures that allow them to come into being in the first place? Are they concerned with the implications of availability and modifiability that continue to unfold, continue to be figured out, in the realms of education, music, film, science, and writing? +={Connexions project+1;Creative Commons+1;figuring out+1;modifiability+1} + +The answers in part III make clear that, so far, these concerns are alive and well in the modulations of Free Software: Creative Commons and Connexions each struggle to come to terms with new ways of creating, sharing, and reusing content in the contemporary legal environment, with the Internet as infrastructure. Chapters 8 and 9 provide a detailed analysis of a technical and legal experiment: a modulation that begins with source code, but quickly requires modulations in licensing arrangements and forms of coordination. It is here that Two Bits provides the most detailed story of figuring out set against the background of the reorientation of knowledge and power. This story is, in particular, one of reuse, of modifiability and the problems that emerge in the attempt to build it into the everyday practices of pedagogical writing and cultural production of myriad forms. Doing so leads the actors involved directly to the question of the existence and ontology of norms: norms of scholarly production, borrowing, reuse, citation, reputation, and ownership. These last chapters open up questions about the stability of modern knowledge, not as an archival or a legal problem, but as a social and normative one; they raise questions about the invention and control of norms, and the forms of life that may emerge from these ,{[pg 18]}, practices. Recursive publics come to exist where it is clear that such invention and control need to be widely shared, openly examined, and carefully monitored. +={norms:existence of} + +!_ Three Ways of Looking at Two Bits + +Two Bits makes three kinds of scholarly contributions: empirical, methodological, and theoretical. Because it is based largely on fieldwork (which includes historical and archival work), these three contributions are often mixed up with each other. Fieldwork, especially in cultural and social anthropology in the last thirty years, has come to be understood less and less as one particular tool in a methodological toolbox, and more and more as distinctive mode of epistemological encounter.~{ Marcus and Fischer, Anthropology as Cultural Critique; Marcus and Clifford, Writing Culture; Fischer, Emergent Forms of Life and the Anthropological Voice; Marcus, Ethnography through Thick and Thin; Rabinow, Essays on the Anthropology of Reason and Anthropos Today. }~ The questions I began with emerged out of science and technology studies, but they might end up making sense to a variety of fields, ranging from legal studies to computer science. + +Empirically speaking, the actors in my stories are figuring something out, something unfamiliar, troubling, imprecise, and occasionally shocking to everyone involved at different times and to differing extents.~{ The language of "figuring out" has its immediate source in the work of Kim Fortun, "Figuring Out Ethnography." Fortun’s work refines two other sources, the work of Bruno Latour in Science in Action and that of Hans-Jorg Rheinberger in Towards History of Epistemic Things. Latour describes the difference between "science made" and "science in the making" and how the careful analysis of new objects can reveal how they come to be. Rheinberger extends this approach through analysis of the detailed practices involved in figuring out a new object or a new process—practices which participants cannot quite name or explain in precise terms until after the fact. }~ There are two kinds of figuring-out stories: the contemporary ones in which I have been an active participant (those of Connexions and Creative Commons), and the historical ones conducted through "archival" research and rereading of certain kinds of texts, discussions, and analyses-at-the-time (those of UNIX, EMACS, Linux, Apache, and Open Systems). Some are stories of technical figuring out, but most are stories of figuring out a problem that appears to have emerged. Some of these stories involve callow and earnest actors, some involve scheming and strategy, but in all of them the figuring out is presented "in the making" and not as something that can be conveniently narrated as obvious and uncontested with the benefit of hindsight. Throughout this book, I tell stories that illustrate what geeks are like in some respects, but, more important, that show them in the midst of figuring things out—a practice that can happen both in discussion and in the course of designing, planning, executing, writing, debugging, hacking, and fixing. +={Connexions project;Creative Commons;figuring out+1} + +There are also myriad ways in which geeks narrate their own actions to themselves and others, as they figure things out. Indeed, ,{[pg 19]}, there is no crisis of representing the other here: geeks are vocal, loud, persistent, and loquacious. The superalterns can speak for themselves. However, such representations should not necessarily be taken as evidence that geeks provide adequate analytic or critical explanations of their own actions. Some of the available writing provides excellent description, but distracting analysis. Eric Raymond’s work is an example of such a combination.~{ Raymond, The Cathedral and the Bazaar. }~ Over the course of my fieldwork, Raymond’s work has always been present as an excellent guide to the practices and questions that plague geeks—much like a classic "principal informant" in anthropology. And yet his analyses, which many geeks subscribe to, are distracting. They are fanciful, occasionally enjoyable and enlightening—but they are not about the cultural significance of Free Software. As such I am less interested in treating geeks as natives to be explained and more interested in arguing with them: the people in Two Bits are a sine qua non of the ethnography, but they are not the objects of its analysis.~{ The literature on "virtual communities," "online communities," the culture of hackers and geeks, or the social study of information technology offers important background information, although it is not the subject of this book. A comprehensive review of work in anthropology and related disciplines is Wilson and Peterson, "The Anthropology of Online Communities." Other touchstones are Miller and Slater, The Internet; Carla Freeman, High Tech and High Heels in the Global Economy; Hine, Virtual Ethnography; Kling, Computerization and Controversy; Star, The Cultures of Computing; Castells, The Rise of the Network Society; Boczkowski, Digitizing the News. Most social-science work in information technology has dealt with questions of inequality and the so-called digital divide, an excellent overview being DiMaggio et al., "From Unequal Access to Differentiated Use." Beyond works in anthropology and science studies, a number of works from various other disciplines have recently taken up similar themes, especially Adrian MacKenzie, Cutting Code; Galloway, Protocol; Hui Kyong Chun, Control and Freedom; and Liu, Laws of Cool. By contrast, if social-science studies of information technology are set against a background of historical and ethnographic studies of "figuring out" problems of specific information technologies, software, or networks, then the literature is sparse. Examples of anthropology and science studies of figuring out include Barry, Political Machines; Hayden, When Nature Goes Public; and Fortun, Advocating Bhopal. Matt Ratto has also portrayed this activity in Free Software in his dissertation, "The Pressure of Openness." }~ +={ethnography+1;geeks:self-representation;Raymond, Eric Steven+1;Cathedral and the Bazaar} + +Because the stories I tell here are in fact recent by the standards of historical scholarship, there is not much by way of comparison in terms of the empirical material. I rely on a number of books and articles on the history of the early Internet, especially Janet Abbate’s scholarship and the single historical work on UNIX, Peter Salus’s A Quarter Century of Unix.~{ In addition to Abbate and Salus, see Norberg and O’Neill, Transforming Computer Technology; Naughton, A Brief History of the Future; Hafner, Where Wizards Stay Up Late; Waldrop, The Dream Machine; Segaller, Nerds 2.0.1. For a classic autodocumentation of one aspect of the Internet, see Hauben and Hauben, Netizens. }~ There are also a couple of excellent journalistic works, such as Glyn Moody’s Rebel Code: Inside Linux and the Open Source Revolution (which, like Two Bits, relies heavily on the novel accessibility of detailed discussions carried out on public mailing lists). Similarly, the scholarship on Free Software and its history is just starting to establish itself around a coherent set of questions.~{ Kelty, "Culture’s Open Sources"; Coleman, "The Social Construction of Freedom"; Ratto, "The Pressure of Openness"; Joseph Feller et al., Perspectives ,{[pg 315]}, on Free and Open Source Software; see also http://freesoftware.mit.edu/, organized by Karim Lakhani, which is a large collection of work on Free Software projects. Early work in this area derived both from the writings of practitioners such as Raymond and from business and management scholars who noticed in Free Software a remarkable, surprising set of seeming contradictions. The best of these works to date is Steven Weber, The Success of Open Source. Weber’s conclusions are similar to those presented here, and he has a kind of cryptoethnographic familiarity (that he does not explicitly avow) with the actors and practices. Yochai Benkler’s Wealth of Networks extends and generalizes some of Weber’s argument. }~ +={Moody, Glyn;Salus, Peter} + +Methodologically, Two Bits provides an example of how to study distributed phenomena ethnographically. Free Software and the Internet are objects that do not have a single geographic site at which they can be studied. Hence, this work is multisited in the simple sense of having multiple sites at which these objects were investigated: Boston, Bangalore, Berlin, Houston. It was conducted among particular people, projects, and companies and at conferences and online gatherings too numerous to list, but it has not been a study of a single Free Software project distributed around the globe. In all of these places and projects the geeks I worked with were randomly and loosely affiliated people with diverse lives and histories. Some ,{[pg 20]}, identified as Free Software hackers, but most did not. Some had never met each other in real life, and some had. They represented multiple corporations and institutions, and came from diverse nations, but they nonetheless shared a certain set of ideas and idioms that made it possible for me to travel from Boston to Berlin to Bangalore and pick up an ongoing conversation with different people, in very different places, without missing a beat. +={Berlin;distributed phenomena, ethnography of+6} + +The study of distributed phenomena does not necessarily imply the detailed, local study of each instance of a phenomenon, nor does it necessitate visiting every relevant geographical site—indeed, such a project is not only extremely difficult, but confuses map and territory. As Max Weber put it, "It is not the ‘actual’ inter-connection of ‘things’ but the conceptual inter-connection of problems that define the scope of the various sciences."~{ Max Weber, "Objectivity in the Social Sciences and Social Policy," 68. }~ The decisions about where to go, whom to study, and how to think about Free Software are arbitrary in the precise sense that because the phenomena are so widely distributed, it is possible to make any given node into a source of rich and detailed knowledge about the distributed phenomena itself, not only about the local site. Thus, for instance, the Connexions project would probably have remained largely unknown to me had I not taken a job in Houston, but it nevertheless possesses precise, identifiable connections to the other sites and sets of people that I have studied, and is therefore recognizable as part of this distributed phenomena, rather than some other. I was actively looking for something like Connexions in order to ask questions about what was becoming of Free Software and how it was transforming. Had there been no Connexions in my back yard, another similar field site would have served instead. +={Weber, Max} + +It is in this sense that the ethnographic object of this study is not geeks and not any particular project or place or set of people, but Free Software and the Internet. Even more precisely, the ethnographic object of this study is "recursive publics"—except that this concept is also the work of the ethnography, not its preliminary object. I could not have identified "recursive publics" as the object of the ethnography at the outset, and this is nice proof that ethnographic work is a particular kind of epistemological encounter, an encounter that requires considerable conceptual work during and after the material labor of fieldwork, and throughout the material labor of writing and rewriting, in order to make sense of and reorient it into a question that will have looked deliberate and ,{[pg 21]}, answerable in hindsight. Ethnography of this sort requires a long-term commitment and an ability to see past the obvious surface of rapid transformation to a more obscure and slower temporality of cultural significance, yet still pose questions and refine debates about the near future.~{ Despite what might sound like a "shoot first, ask questions later" approach, the design of this project was in fact conducted according to specific methodologies. The most salient is actor-network theory: Latour, Science in Action; Law, "Technology and Heterogeneous Engineering"; Callon, "Some Elements of a Sociology of Translation"; Latour, Pandora’s Hope; Latour, Re-assembling the Social; Callon, Laws of the Markets; Law and Hassard, Actor Network Theory and After. Ironically, there have been no actor-network studies of networks, which is to say, of particular information and communication technologies such as the Internet. The confusion of the word network (as an analytical and methodological term) with that of network (as a particular configuration of wires, waves, software, and chips, or of people, roads, and buses, or of databases, names, and diseases) means that it is necessary to always distinguish this-network-here from any-network-whatsoever. My approach shares much with the ontological questions raised in works such as Law, Aircraft Stories; Mol, The Body Multiple; Cussins, "Ontological Choreography"; Charis Thompson, Making Parents; and Dumit, Picturing Personhood. }~ Historically speaking, the chapters of part II can be understood as a contribution to a history of scientific infrastructure—or perhaps to an understanding of large-scale, collective experimentation.~{ I understand a concern with scientific infrastructure to begin with Steve Shapin and Simon Schaffer in Leviathan and the Air Pump, but the genealogy is no doubt more complex. It includes Shapin, The Social History of Truth; Biagioli, Galileo, Courtier; Galison, How Experiments End and Image and Logic; Daston, Biographies of Scientific Objects; Johns, The Nature of the Book. A whole range of works explore the issue of scientific tools and infrastructure: Kohler, Lords of the Fly; Rheinberger, Towards a History of Epistemic Things; Landecker, Culturing Life; Keating and Cambrosio, Biomedical Platforms. Bruno Latour’s "What Rules of Method for the New Socio-scientific Experiments" provides one example of where science studies might go with these questions. Important texts on the subject of technical infrastructures include Walsh and Bayma, "Computer Networks and Scientific Work"; Bowker and Star, Sorting Things Out; Edwards, The ,{[pg 316]}, Closed World; Misa, Brey, and Feenberg, Modernity and Technology; Star and Ruhleder, "Steps Towards an Ecology of Infrastructure." }~ The Internet and Free Software are each an important practical transformation that will have effects on the practice of science and a kind of complex technical practice for which there are few existing models of study. +={actor network theory;Internet+1} + +A methodological note about the peculiarity of my subject is also in order. The Attentive Reader will note that there are very few fragments of conventional ethnographic material (i.e., interviews or notes) transcribed herein. Where they do appear, they tend to be "publicly available"—which is to say, accessible via the Internet—and are cited as such, with as much detail as necessary to allow the reader to recover them. Conventional wisdom in both anthropology and history has it that what makes a study interesting, in part, is the work a researcher has put into gathering that which is not already available, that is, primary sources as opposed to secondary sources. In some cases I provide that primary access (specifically in chapters 2, 8, and 9), but in many others it is now literally impossible: nearly everything is archived. Discussions, fights, collaborations, talks, papers, software, articles, news stories, history, old software, old software manuals, reminiscences, notes, and drawings—it is all saved by someone, somewhere, and, more important, often made instantly available by those who collect it. The range of conversations and interactions that count as private (either in the sense of disappearing from written memory or of being accessible only to the parties involved) has shrunk demonstrably since about 1981. +={ethnographic data:availability of+5} + +Such obsessive archiving means that ethnographic research is stratified in time. Questions that would otherwise have required "being there" are much easier to research after the fact, and this is most evident in my reconstruction from sources on USENET and mailing lists in chapters 1, 6, and 7. The overwhelming availability of quasi-archival materials is something I refer to, in a play on the EMACS text editor, as "self-documenting history." That is to say, one of the activities that geeks love to participate in, and encourage, is the creation, analysis, and archiving of their own roles in the ,{[pg 22]}, development of the Internet. No matter how obscure or arcane, it seems most geeks have a well-developed sense of possibility—their contribution could turn out to have been transformative, important, originary. What geeks may lack in social adroitness, they make up for in archival hubris. + +Finally, the theoretical contribution of Two Bits consists of a refinement of debates about publics, public spheres, and social imaginaries that appear troubled in the context of the Internet and Free Software. Terminology such as virtual community, online community, cyberspace, network society, or information society are generally not theoretical constructs, but ways of designating a subgenre of disciplinary research having to do with electronic networks. The need for a more precise analysis of the kinds of association that take place on and through information technology is clear; the first step is to make precise which information technologies and which specific practices make a difference. +={public sphere:theories of+3;social imaginary+2;information society:see also public sphere} + +There is a relatively large and growing literature on the Internet as a public sphere, but such literature is generally less concerned with refining the concept through research and more concerned with pronouncing whether or not the Internet fits Habermas’s definition of the bourgeois public sphere, a definition primarily conceived to account for the eighteenth century in Britain, not the twenty-first-century Internet.~{ Dreyfus, On the Internet; Dean, "Why the Net Is Not a Public Sphere." }~ The facts of technical and human life, as they unfold through the Internet and around the practices of Free Software, are not easy to cram into Habermas’s definition. The goal of Two Bits is not to do so, but to offer conceptual clarity based in ethnographic fieldwork. +={Habermas, Jürgen+2} + +The key texts for understanding the concept of recursive publics are the works of Habermas, Charles Taylor’s Modern Social Imaginaries, and Michael Warner’s The Letters of the Republic and Publics and Counterpublics. Secondary texts that refine these notions are John Dewey’s The Public and Its Problems and Hannah Arendt’s The Human Condition. Here it is not the public sphere per se that is the center of analysis, but the "ideas of modern moral and social order" and the terminology of "modern social imaginaries."~{ In addition, see Lippmann, The Phantom Public; Calhoun, Habermas and the Public Sphere; Latour and Weibel, Making Things Public. The debate about social imaginaries begins alternately with Benedict Anderson’s Imagined Communities or with Cornelius Castoriadis’s The Imaginary Institution of Society; see also Chatterjee, "A Response to Taylor’s ‘Modes of Civil Society’"; Gaonkar, "Toward New Imaginaries"; Charles Taylor, "Modes of Civil Society" and Sources of the Self. }~ I find these concepts to be useful as starting points for a very specific reason: to distinguish the meaning of moral order from the meaning of moral and technical order that I explore with respect to geeks. I do not seek to test the concept of social imaginary here, but to build something on top of it. ,{[pg 23]}, +={Arendt, Hannah;Taylor, Charles} + +If recursive public is a useful concept, it is because it helps elaborate the general question of the "reorientation of knowledge and power." In particular it is meant to bring into relief the ways in which the Internet and Free Software are related to the political economy of modern society through the creation not only of new knowledge, but of new infrastructures for circulating, maintaining, and modifying it. Just as Warner’s book The Letters of the Republic was concerned with the emergence of the discourse of republicanism and the simultaneous development of an American republic of letters, or as Habermas’s analysis was concerned with the relationship of the bourgeois public sphere to the democratic revolutions of the eighteenth century, this book asks a similar series of questions: how are the emergent practices of recursive publics related to emerging relations of political and technical life in a world that submits to the Internet and its forms of circulation? Is there still a role for a republic of letters, much less a species of public that can seriously claim independence and autonomy from other constituted forms of power? Are Habermas’s pessimistic critiques of the bankruptcy of the public sphere in the twentieth century equally applicable to the structures of the twenty-first century? Or is it possible that recursive publics represent a reemergence of strong, authentic publics in a world shot through with cynicism and suspicion about mass media, verifiable knowledge, and enlightenment rationality? +[PAGE 24: BLANK] + +:B~ Part I the internet + +1~part1 [the internet] -# + +_1 The concept of the state, like most concepts which are introduced by "The," is both too rigid and too tied up with controversies to be of ready use. It is a concept which can be approached by a flank movement more easily than by a frontal attack. The moment we utter the words "The State" a score of intellectual ghosts rise to obscure our vision. Without our intention and without our notice, the notion of "The State" draws us imperceptibly into a consideration of the logical relationship of various ideas to one another, and away from the facts of human activity. It is better, if possible, to start from the latter and see if we are not led thereby into an idea of something which will turn out to implicate the marks and signs which characterize political behavior. +={Dewey, John} + +- john dewey, /{The Public and Its Problems}/ + +1~ 1. Geeks and Recursive Publics +={recursive public+12;geeks+6} + +% Geek entry added here as seems implied as relevant to section + +Since about 1997, I have been living with geeks online and off. I have been drawn from Boston to Bangalore to Berlin to Houston to Palo Alto, from conferences and workshops to launch parties, pubs, and Internet Relay Chats (IRCs). All along the way in my research questions of commitment and practice, of ideology and imagination have arisen, even as the exact nature of the connections between these people and ideas remained obscure to me: what binds geeks together? As my fieldwork pulled me from a Boston start-up company that worked with radiological images to media labs in Berlin to young entrepreneurial elites in Bangalore, my logistical question eventually developed into an analytical concept: geeks are bound together as a recursive public. +={Berlin+2;Internet+5} + +How did I come to understand geeks as a public constituted around the technical and moral ideas of order that allow them to associate with one another? Through this question, one can start to understand the larger narrative of Two Bits: that of Free Software ,{[pg 28]}, as an exemplary instance of a recursive public and as a set of practices that allow such publics to expand and spread. In this chapter I describe, ethnographically, the diverse, dispersed, and as an exemplary instance of a recursive public and as a set of practices that allow such publics to expand and spread. In this chapter I describe, ethnographically, the diverse, dispersed, and novel forms of entanglements that bind geeks together, and I construct the concept of a recursive public in order to explain these entanglements. +={ethnography+1;moral and technical order+3} + +A recursive public is a public that is constituted by a shared concern for maintaining the means of association through which they come together as a public. Geeks find affinity with one another because they share an abiding moral imagination of the technical infrastructure, the Internet, that has allowed them to develop and maintain this affinity in the first place. I elaborate the concept of recursive public (which is not a term used by geeks) in relation to theories of ideology, publics, and public spheres and social imaginaries. I illustrate the concept through ethnographic stories and examples that highlight geeks’ imaginations of the technical and moral order of the Internet. These stories include those of the fate of Amicas, a Boston-based healthcare start-up, between 1997 and 2003, of my participation with new media academics and activists in Berlin in 1999-2001, and of the activities of a group of largely Bangalore-based information technology (IT) professionals on and offline, especially concerning the events surrounding the peer-topeer file sharing application Napster in 2000-2001. +={affinity (of geeks)+3;Napster+2} + +The phrase "moral and technical order" signals both technology—principally software, hardware, networks, and protocols—and an imagination of the proper order of collective political and commercial action, that is, how economy and society should be ordered collectively. Recursive publics are just as concerned with the moral order of markets as they are with that of commons; they are not anticommercial or antigovernment. They exist independent of, and as a check on, constituted forms of power, which include markets and corporations. Unlike other concepts of a public or of a public sphere, "recursive public" captures the fact that geeks’ principal mode of associating and acting is through the medium of the Internet, and it is through this medium that a recursive public can come into being in the first place. The Internet is not itself a public sphere, a public, or a recursive public, but a complex, heterogeneous infrastructure that constitutes and constrains geeks’ everyday practical commitments, their ability to "become public" or to compose a common world. As such, their participation qua recursive publics structures their identity as creative and autonomous ,{[pg 29]}, individuals. The fact that the geeks described here have been brought together by mailing lists and e-mail, bulletin-board services and Web sites, books and modems, air travel and academia, and cross-talking and cross-posting in ways that were not possible before the Internet is at the core of their own reasoning about why they associate with each other. They are the builders and imaginers of this space, and the space is what allows them to build and imagine it. + +Why recursive? I call such publics recursive for two reasons: first, in order to signal that this kind of public includes the activities of making, maintaining, and modifying software and networks, as well as the more conventional discourse that is thereby enabled; and second, in order to suggest the recursive "depth" of the public, the series of technical and legal layers—from applications to protocols to the physical infrastructures of waves and wires—that are the subject of this making, maintaining, and modifying. The first of these characteristics is evident in the fact that geeks use technology as a kind of argument, for a specific kind of order: they argue about technology, but they also argue through it. They express ideas, but they also express infrastructures through which ideas can be expressed (and circulated) in new ways. The second of these characteristics—regarding layers—is reflected in the ability of geeks to immediately see connections between, for example, Napster (a user application) and TCP/IP (a network protocol) and to draw out implications for both of them. By connecting these layers, Napster comes to represent the Internet in miniature. The question of where these layers stop (hardware? laws and regulations? physical constants? etc.) circumscribes the limits of the imagination of technical and moral order shared by geeks. +={recursive public:layers of;technology:as argument} + +Above all, "recursive public" is a concept—not a thing. It is intended to make distinctions, allow comparison, highlight salient features, and relate two diverse kinds of things (the Internet and Free Software) in a particular historical context of changing relations of power and knowledge. The stories in this chapter (and throughout the book) give some sense of how geeks interact and what they do technically and legally, but the concept of a recursive public provides a way of explaining why geeks (or people involved in Free Software or its derivatives) associate with one another, as well as a way of testing whether other similar cases of contemporary, technologically mediated affinity are similarly structured. ,{[pg 30]}, + +!_ Recursion +={recursion, definition of+5} + + +_1 Recursion (or "recursive") is a mathematical concept, one which is a standard feature of any education in computer programming. The definition from the Oxford English Dictionary reads: "2. a. Involving or being a repeated procedure such that the required result at each step except the last is given in terms of the result(s) of the next step, until after a finite number of steps a terminus is reached with an outright evaluation of the result." It should be distinguished from simple iteration or repetition. Recursion is always subject to a limit and is more like a process of repeated deferral, until the last step in the process, at which point all the deferred steps are calculated and the result given. + +_1 Recursion is powerful in programming because it allows for the definition of procedures in terms of themselves—something that seems at first counterintuitive. So, for example, + +group{ + + ; otherwise return n times factorial of n-1; + (defun (factorial n) ; This is the name of the function and its input n. + (if (=n 1) ; This is the final limit, or recursive depth + 1 ; if n=1, then return 1 + (* n (factorial (- n 1))))) + ; call the procedure from within itself, and + ; calculate the next step of the result before + ; giving an answer.1 + +}group +={Abelson, Hal} + +_1 In Two Bits a recursive public is one whose existence (which consists solely in address through discourse) is only possible through discursive and technical reference to the means of creating this public. Recursiveness is always contingent on a limit which determines the depth of a recursive procedure. So, for instance, a Free Software project may depend on some other kind of software or operating system, which may in turn depend on particular open protocols or a particular process, which in turn depend on certain kinds of hardware that implement them. The "depth" of recursion is determined by the openness necessary for the project itself. +={recursive public:layers of} + +_1 James Boyle has also noted the recursive nature, in particular, of Free Software: "What’s more, and this is a truly fascinating twist, when the production process does need more centralized coordination, some governance that guides how the sticky modular bits are put together, it is at least theoretically possible that we can come up with the control system in exactly the same way. In this sense, distributed production is potentially recursive."2 +={Boyle, James} + +_1 1. Abelson and Sussman, The Structure and Interpretation of Computer Programs, 30. + +_1 2. Boyle, "The Second Enclosure Movement and the Construction of the Public Domain," 46. ,{[pg 31]}, + +2~ From the Facts of Human Activity + +Boston, May 2003. Starbucks. Sean and Adrian are on their way to pick me up for dinner. I’ve already had too much coffee, so I sit at the window reading the paper. Eventually Adrian calls to find out where I am, I tell him, and he promises to show up in fifteen minutes. I get bored and go outside to wait, watch the traffic go by. More or less right on time (only post-dotcom is Adrian ever on time), Sean’s new blue VW Beetle rolls into view. Adrian jumps out of the passenger seat and into the back, and I get in. Sean has been driving for a little over a year. He seems confident, cautious, but meanders through the streets of Cambridge. We are destined for Winchester, a township on the Charles River, in order to go to an Indian restaurant that one of Sean’s friends has recommended. When I ask how they are doing, they say, "Good, good." Adrian offers, "Well, Sean’s better than he has been in two years." "Really?" I say, impressed. +={Doyle, Sean+6;Groper Adrian+6} + +Sean says, "Well, happier than at least the last year. I, well, let me put it this way: forgive me father for I have sinned, I still have unclean thoughts about some of the upper management in the company, I occasionally think they are not doing things in the best interest of the company, and I see them as self-serving and sometimes wish them ill." In this rolling blue confessional Sean describes some of the people who I am familiar with whom he now tries very hard not to think about. I look at him and say, "Ten Hail Marys and ten Our Fathers, and you will be absolved, my child." Turning to Adrian, I ask, "And what about you?" Adrian continues the joke: "I, too, have sinned. I have reached the point where I can see absolutely nothing good coming of this company but that I can keep my investments in it long enough to pay for my children’s college tuition." I say, "You, my son, I cannot help." Sean says, "Well, funny thing about tainted money . . . there just taint enough of it." + +I am awestruck. When I met Sean and Adrian, in 1997, their start-up company, Amicas, was full of spit, with five employees working out of Adrian’s living room and big plans to revolutionize the medical-imaging world. They had connived to get Massachusetts General Hospital to install their rudimentary system and let it compete with the big corporate sloths that normally stalked back offices: General Electric, Agfa, Siemens. It was these behemoths, according to Sean and Adrian, that were bilking hospitals ,{[pg 32]}, and healthcare providers with promises of cure-all technologies and horribly designed "silos," "legacy systems," and other closed-system monsters of corporate IT harkening back to the days of IBM mainframes. These beasts obviously did not belong to the gleaming future of Internet-enabled scalability. By June of 2000, Amicas had hired new "professional" management, moved to Watertown, and grown to about a hundred employees. They had achieved their goal of creating an alternative Picture Archiving and Communication System (PACS) for use in hospital radiology departments and based on Internet standards. +={Amicas (corporation)+9;standards:Internet;proprietary systems: closed} + +At that point, in the spring of 2000, Sean could still cheerfully introduce me to his new boss—the same man he would come to hate, inasmuch as Sean hates anyone. But by 2002 he was frustrated by the extraordinary variety of corner-cutting and, more particularly, by the complacency with which management ignored his recommendations and released software that was almost certainly going to fail later, if not sooner. Sean, who is sort of permanently callow about things corporate, could find no other explanation than that the new management was evil. + +But by 2003 the company had succeeded, having grown to more than 200 employees and established steady revenue and a stable presence throughout the healthcare world. Both Sean and Adrian were made rich—not wildly rich, but rich enough—by its success. In the process, however, it also morphed into exactly what Sean and Adrian had created it in order to fight: a slothlike corporate purveyor of promises and broken software. Promises Adrian had made and software Sean had built. The failure of Amicas to transform healthcare was a failure too complex and technical for most of America to understand, but it rested atop the success of Amicas in terms more readily comprehensible: a growing company making profit. Adrian and Sean had started the company not to make money, but in order to fix a broken healthcare system; yet the system stayed broken while they made money. + +In the rolling confessional, Sean and Adrian did in fact see me, however jokingly, as a kind of redeemer, a priest (albeit of an order with no flock) whose judgment of the affairs past was essential to their narration of their venture as a success, a failure, or as an unsatisfying and complicated mixture of both. I thought about this strange moment of confession, of the combination of recognition and denial, of Adrian’s new objectification of the company as an ,{[pg 33]}, investment opportunity, and of Sean’s continuing struggle to make his life and his work harmonize in order to produce good in the world. Only the promise of the next project, the next mission (and the ostensible reason for our dinner meeting) could possibly have mitigated the emotional disaster that their enterprise might otherwise be. Sean’s and Adrian’s endless, arcane fervor for the promise of new technologies did not cease, even given the quotidian calamities these technologies leave in their wake. Their faith was strong, and continuously tested. + +Adrian’s and Sean’s passion was not for money—though money was a powerful drug—it was for the Internet: for the ways in which the Internet could replace the existing infrastructure of hospitals and healthcare providers, deliver on old promises of telemedicine and teleradiology, and, above all, level a playing field systematically distorted and angled by corporate and government institutions that sought secrecy and private control, and stymied progress. In healthcare, as Adrian repeatedly explained to me, this skewed playing field was not only unfair but malicious and irresponsible. It was costing lives. It slowed the creation and deployment of technologies and solutions that could lower costs and thus provide more healthcare for more people. The Internet was not part of the problem; it was part of the solution to the problems that ailed 1990s healthcare. + +At the end of our car trip, at the Indian restaurant in Winchester, I learned about their next scheme, a project called MedCommons, which would build on the ideals of Free Software and give individuals a way to securely control and manage their own healthcare data. The rhetoric of commons and the promise of the Internet as an infrastructure dominated our conversation, but the realities of funding and the question of whether MedCommons could be pursued without starting another company remained unsettled. I tried to imagine what form a future confession might take. +={commons;MedCommons+2} + +2~ Geeks and Their Internets +={geeks+8;Internet:geeks and+8} + +Sean and Adrian are geeks. They are entrepreneurs and idealists in different ways, a sometimes paradoxical combination. They are certainly ,{[pg 34]}, obsessed with technology, but especially with the Internet, and they clearly distinguish themselves from others who are obsessed with technology of just any sort. They aren’t quite representative—they do not stand in for all geeks—but the way they think about the Internet and its possibilities might be. Among the rich story of their successes and failures, one might glimpse the outlines of a question: where do their sympathies lie? Who are they with? Who do they recognize as being like them? What might draw them together with other geeks if not a corporation, a nation, a language, or a cause? What binds these two geeks to any others? +={affinity (of geeks);entrepreneurialism+4} + +Sean worked for the Federal Reserve in the 1980s, where he was introduced to UNIX, C programming, EMACS, Usenet, Free Software, and the Free Software Foundation. But he was not a Free Software hacker; indeed, he resisted my attempts to call him a hacker at all. Nevertheless, he started a series of projects and companies with Adrian that drew on the repertoire of practices and ideas familiar from Free Software, including their MedCommons project, which was based more or less explicitly in the ideals of Free Software. Adrian has a degree in medicine and in engineering, and is a serial entrepreneur, with Amicas being his biggest success—and throughout the last ten years has attended all manner of conferences and meetings devoted to Free Software, Open Source, open standards, and so on, almost always as the lone representative from healthcare. Both graduated from the MIT (Sean in economics, Adrian in engineering), one of the more heated cauldrons of the Internet and the storied home of hackerdom, but neither were MIT hackers, nor even computer-science majors. +={Massachusetts Institute of Technology (MIT);Free Software Foundation} + +% open standards + +Their goals in creating a start-up rested on their understanding of the Internet as an infrastructure: as a standardized infrastructure with certain extremely powerful properties, not the least of which was its flexibility. Sean and Adrian talked endlessly about open systems, open standards, and the need for the Internet to remain open and standardized. Adrian spoke in general terms about how it would revolutionize healthcare; Sean spoke in specific terms about how it structured the way Amicas’s software was being designed and written. Both participated in standards committees and in the online and offline discussions that are tantamount to policymaking in the Internet world. The company they created was a "virtual" company, that is, built on tools that depended on the Internet and allowed employees to manage and work from a variety of locations, though not without frustration, of course: Sean waited years for broadband access in his home, and the hospitals they served ,{[pg 35]}, hemmed themselves in with virtual private networks, intranets, and security firewalls that betrayed the promises of openness that Sean and Adrian heralded. +={infrastructure} + +The Internet was not the object of their work and lives, but it did represent in detail a kind of moral or social order embodied in a technical system and available to everyone to use as a platform whereby they might compete to improve and innovate in any realm. To be sure, although not all Internet entrepreneurs of the 1990s saw the Internet in the same way, Sean and Adrian were hardly alone in their vision. Something about the particular way in which they understood the Internet as representing a moral order—simultaneously a network, a market, a public, and a technology—was shared by a large group of people, those who I now refer to simply as geeks. + +The term geek is meant to be inclusive and to index the problematic of a recursive public. Other terms may be equally useful, but perhaps semantically overdetermined, most notably hacker, which regardless of its definitional range, tends to connote someone subversive and/or criminal and to exclude geek-sympathetic entrepreneurs and lawyers and activists.~{ For the canonical story, see Levy, Hackers. Hack referred to (and still does) a clever use of technology, usually unintended by the maker, to achieve some task in an elegant manner. The term has been successfully redefined by the mass media to refer to computer users who break into and commit criminal acts on corporate or government or personal computers connected to a network. Many self-identified hackers insist that the criminal element be referred to as crackers (see, in particular, the entries on "Hackers," "Geeks" and "Crackers" in The Jargon File, http://www.catb.org/~esr/jargon/, also published as Raymond, The New Hackers’ Dictionary). On the subject of definitions and the cultural and ethical characteristics of hackers, see Coleman, "The Social Construction of Freedom," chap. 2. }~ Geek is meant to signal, like the public in "recursive public," that geeks stand outside power, at least in some aspects, and that they are not capitalists or technocrats, even if they start businesses or work in government or industry.~{ One example of the usage of geek is in Star, The Cultures of Computing. Various denunciations (e.g., Barbrook and Cameron, "The California Ideology"; Borsook, Technolibertarianism) tend to focus on journalistic accounts of an ideology that has little to do with what hackers, geeks, and entrepreneurs actually make. A more relevant categorical distinction than that between hackers and geeks is that between geeks and technocrats; in the case of technocrats, the "anthropology of technocracy" is proposed as the study of the limits of technical rationality, in particular the forms through which "planning" creates "gaps in the form that serve as ‘targets of intervention’" (Riles, "Real Time," 393). Riles’s "technocrats" are certainly not the "geeks" I portray here (or at least, if they are, it is only in their frustrating day jobs). Geeks do have libertarian, specifically Hayekian or Feyerabendian leanings, but are more likely to see technical failures not as failures of planning, but as bugs, inefficiencies, or occasionally as the products of human hubris or stupidity that is born of a faith in planning. }~ Geek is meant to signal a mode of thinking and working, not an identity; it is a mode or quality that allows people to find each other, for reasons other than the fact that they share an office, a degree, a language, or a nation. +={geeks:hackers vs.+3;hackers+3} + +Until the mid-1990s, hacker, geek, and computer nerd designated a very specific type: programmers and lurkers on relatively underground networks, usually college students, computer scientists, and "amateurs" or "hobbyists." A classic mock self-diagnostic called the Geek Code, by Robert Hayden, accurately and humorously detailed the various ways in which one could be a geek in 1996—UNIX/ Linux skills, love/hate of Star Trek, particular eating and clothing habits—but as Hayden himself points out, the geeks of the early 1990s exist no longer. The elite subcultural, relatively homogenous group it once was has been overrun: "The Internet of 1996 was still a wild untamed virgin paradise of geeks and eggheads unpopulated by script kiddies, and the denizens of AOL. When things changed, I seriously lost my way. I mean, all the ‘geek’ that was the Internet ,{[pg 36]}, was gone and replaced by Xfiles buzzwords and politicians passing laws about a technology they refused to comprehend."~{ See The Geek Code, http://www.geekcode.com/. }~ +={Hayden, Robert+2} + +For the purists like Hayden, geeks were there first, and they understood something, lived in a way, that simply cannot be comprehended by "script kiddies" (i.e., teenagers who perform the hacking equivalent of spray painting or cow tipping), crackers, or AOL users, all of whom are despised by Hayden-style geeks as unskilled users who parade around the Internet as if they own it. While certainly elitist, Hayden captures the distinction between those who are legitimately allowed to call themselves geeks (or hackers) and those who aren’t, a distinction that is often formulated recursively, of course: "You are a hacker when another hacker calls you a hacker." + +However, since the explosive growth of the Internet, geek has become more common a designation, and my use of the term thus suggests a role that is larger than programmer/hacker, but not as large as "all Internet users." Despite Hayden’s frustration, geeks are still bound together as an elite and can be easily distinguished from "AOL users." Some of the people I discuss would not call themselves geeks, and some would. Not all are engineers or programmers: I have met businessmen, lawyers, activists, bloggers, gastroenterologists, anthropologists, lesbians, schizophrenics, scientists, poets, people suffering from malaria, sea captains, drug dealers, and people who keep lemurs, many of whom refer to themselves as geeks, some of the time.~{ Geeks are also identified often by the playfulness and agility with which they manipulate these labels and characterizations. See Michael M. J. Fischer, "Worlding Cyberspace" for an example. }~ There are also lawyers, politicians, sociologists, and economists who may not refer to themselves as geeks, but who care about the Internet just as other geeks do. By contrast "users" of the Internet, even those who use it eighteen out of twenty-four hours in a day to ship goods and play games, are not necessarily geeks by this characterization. + +2~ Operating Systems and Social Systems + +Berlin, November 1999. I am in a very hip club in Mitte called WMF. It’s about eight o’clock—five hours too early for me to be a hipster, but the context is extremely cool. WMF is in a hard-to-find, abandoned building in the former East; it is partially converted, filled with a mixture of new and old furnishings, video projectors, speakers, makeshift bars, and dance-floor lighting. A crowd of around fifty people lingers amid smoke and Beck’s beer bottles, ,{[pg 37]}, sitting on stools and chairs and sofas and the floor. We are listening to an academic read a paper about Claude Shannon, the MIT engineer credited with the creation of information theory. The author is smoking and reading in German while the audience politely listens. He speaks for about seventy minutes. There are questions and some perfunctory discussion. As the crowd breaks up, I find myself, in halting German that quickly converts to English, having a series of animated conversations about the GNU General Public License, the Debian Linux Distribution, open standards in net radio, and a variety of things for which Claude Shannon is the perfect ghostly technopaterfamilias, even if his seventy-minute invocation has clashed heavily with the surroundings. +={Berlin+2;Shannon, Claude} + +Despite my lame German, I still manage to jump deeply into issues that seem extremely familiar: Internet standards and open systems and licensing issues and namespaces and patent law and so on. These are not businesspeople, this is not a start-up company. As I would eventually learn, there was even a certain disdain for die Krawattenfaktor, the suit-and-tie factor, at these occasional, hybrid events hosted by Mikro e.V., a nonprofit collective of journalists, academics, activists, artists, and others interested in new media, the Internet, and related issues. Mikro’s constituency included people from Germany, Holland, Austria, and points eastward. They took some pride in describing Berlin as "the farthest East the West gets" and arranged for a group photo in which, facing West, they stood behind the statue of Marx and Lenin, who face East and look eternally at the iconic East German radio tower (Funkturm) in Alexanderplatz. Mikro’s members are resolutely activist and see the issues around the Internet-as-infrastructure not in terms of its potential for business opportunities, but in urgently political and unrepentantly aesthetic terms—terms that are nonetheless similar to those of Sean and Adrian, from whom I learned the language that allows me to mingle with the Mikro crowd at WMF. I am now a geek. +={Mikro e.V.+1;Open Systems;standards:Internet} + +Before long, I am talking with Volker Grassmuck, founding member of Mikro and organizer of the successful "Wizards of OS" conference, held earlier in the year, which had the very intriguing subtitle "Operating Systems and Social Systems." Grassmuck is inviting me to participate in a planning session for the next WOS, held at the Chaos Computer Congress, a hacker gathering that occurs each year in December in Berlin. In the following months I will meet a huge number of people who seem, uncharacteristically for artists ,{[pg 38]}, and activists, strangely obsessed with configuring their Linux distributions or hacking the http protocol or attending German Parliament hearings on copyright reform. The political lives of these folks have indeed mixed up operating systems and social systems in ways that are more than metaphorical. +={Grassmuck, Volker} + +2~ The Idea of Order at the Keyboard + +If intuition can lead one from geek to geek, from start-up to nightclub, and across countries, languages, and professional orientations, it can only be due to a shared set of ideas of how things fit together in the world. These ideas might be "cultural" in the traditional sense of finding expression among a community of people who share backgrounds, homes, nations, languages, idioms, ethnos, norms, or other designators of belonging and co-presence. But because the Internet—like colonialism, satellite broadcasting, and air travel, among other things—crosses all these lines with abandon that the shared idea of order is better understood as part of a public, or public sphere, a vast republic of letters and media and ideas circulating in and through our thoughts and papers and letters and conversations, at a planetary scope and scale. +={culture;public+15;public sphere:theories of+15;social imaginary+15;Internet: idea of order and+1} + +% index could have been more precise, matches book + +"Public sphere" is an odd kind of thing, however. It is at once a concept—intended to make sense of a space that is not the here and now, but one made up of writings, ideas, and discussions—and a set of ideas that people have about themselves and their own participation in such a space. I must be able to imagine myself speaking and being spoken to in such a space and to imagine a great number of other people also doing so according to unwritten rules we share. I don’t need a complete theory, and I don’t need to call it a public sphere, but I must somehow share an idea of order with all those other people who also imagine themselves participating in and subjecting themselves to that order. In fact, if the public sphere exists as more than just a theory, then it has no other basis than just such a shared imagination of order, an imagination which provides a guide against which to make judgments and a map for changing or achieving that order. Without such a shared imagination, a public sphere is otherwise nothing more than a cacophony of voices and information, nothing more than a stream of data, structured and formatted by and for machines, whether paper or electronic. ,{[pg 39]}, + +Charles Taylor, building on the work of Jürgen Habermas and Michael Warner, suggests that the public sphere (both idea and thing) that emerged in the eighteenth century was created through practices of communication and association that reflected a moral order in which the public stands outside power and guides or checks its operation through shared discourse and enlightened discussion. Contrary to the experience of bodies coming together into a common space (Taylor calls them "topical spaces," such as conversation, ritual, assembly), the crucial component is that the public sphere "transcends such topical spaces. We might say that it knits a plurality of spaces into one larger space of non-assembly. The same public discussion is deemed to pass through our debate today, and someone else’s earnest conversation tomorrow, and the newspaper interview Thursday and so on. . . . The public sphere that emerges in the eighteenth century is a meta-topical common space."~{ Taylor, Modern Social Imaginaries, 86. }~ +={Habermas, Jürgen;Taylor, Charles+3;Warner, Michael} + +Because of this, Taylor refers to his version of a public as a "social imaginary," a way of capturing a phenomena that wavers between having concrete existence "out there" and imagined rational existence "in here." There are a handful of other such imagined spaces—the economy, the self-governing people, civil society—and in Taylor’s philosophical history they are related to each through the "ideas of moral and social order" that have developed in the West and around the world.~{ On the subject of imagined communities and the role of information technologies in imagined networks, see Green, Harvey, and Knox, "Scales of Place and Networks"; and Flichy, The Internet Imaginaire. }~ +={social imaginary:ideology vs.+3} + +Taylor’s social imaginary is intended to do something specific: to resist the "spectre of idealism," the distinction between ideas and practices, between "ideologies" and the so-called material world as "rival causal agents." Taylor suggests, "Because human practices are the kind of thing that makes sense, certain ideas are internal to them; one cannot distinguish the two in order to ask the question Which causes which?"~{ Taylor, Modern Social Imaginaries, 32. }~ Even if materialist explanations of cause are satisfying, as they often are, Taylor suggests that they are so "at the cost of being implausible as a universal principle," and he offers instead an analysis of the rise of the modern imaginaries of moral order.~{ Ibid., 33-48. Taylor’s history of the transition from feudal nobility to civil society to the rise of republican democracies (however incomplete) is comparable to Foucault’s history of the birth of biopolitics, in La naissance de la biopolitique, as an attempt to historicize governance with respect to its theories and systems, as well as within the material forms it takes. }~ +={ideology+6} + +The concept of recursive public, like that of Taylor’s public sphere, is understood here as a kind of social imaginary. The primary reason is to bypass the dichotomy between ideas and material practice. Because the creation of software, networks, and legal documents are precisely the kinds of activities that trouble this distinction—they are at once ideas and things that have material effects in the ,{[pg 40]}, world, both expressive and performative—it is extremely difficult to identify the properly material materiality (source code? computer chips? semiconductor manufacturing plants?). This is the first of the reasons why a recursive public is to be distinguished from the classic formulae of the public sphere, that is, that it requires a kind of imagination that includes the writing and publishing and speaking and arguing we are familiar with, as well as the making of new kinds of software infrastructures for the circulation, archiving, movement, and modifiability of our enunciations. + +The concept of a social imaginary also avoids the conundrums created by the concept of "ideology" and its distinction from material practice. Ideology in its technical usage has been slowly and surely overwhelmed by its pejorative meaning: "The ideological is never one’s own position; it is always the stance of someone else, always their ideology."~{ Ricoeur, Lectures on Ideology and Utopia, 2. }~ If one were to attempt an explanation of any particular ideology in nonpejorative terms, there is seemingly nothing that might rescue the explanation from itself becoming ideological. + +The problem is an old one. Clifford Geertz noted it in "Ideology as a Cultural System," as did Karl Mannheim before him in Ideology and Utopia: it is the difficulty of employing a non-evaluative concept of ideology.~{ Geertz, "Ideology as a Cultural System"; Mannheim, Ideology and Utopia. Both, of course, also signal the origin of the scientific use of the term proximately with Karl Marx’s "German Ideology" and more distantly in the Enlightenment writings of Destutt de Tracy. }~ Of all the versions of struggle over the concept of a scientific or objective sociology, it is the claim of exploring ideology objectively that most rankles. As Geertz put it, "Men do not care to have beliefs to which they attach great moral significance examined dispassionately, no matter for how pure a purpose; and if they are themselves highly ideologized, they may find it simply impossible to believe that a disinterested approach to critical matters of social and political conviction can be other than a scholastic sham."~{ Geertz, "Ideology as a Cultural System," 195. }~ +={Geertz, Clifford+3;Mannheim, Karl+1} + +Mannheim offered one response: a version of epistemological relativism in which the analysis of ideology included the ideological position of the analyst. Geertz offered another: a science of "symbolic action" based in Kenneth Burke’s work and drawing on a host of philosophers and literary critics.~{ Ibid., 208-13. }~ Neither the concept of ideology, nor the methods of cultural anthropology have been the same since. "Ideology" has become one of the most widely deployed (some might say, most diffuse) tools of critique, where critique is understood as the analysis of cultural patterns given in language and symbolic structures, for the purposes of bringing ,{[pg 41]}, to light systems of hegemony, domination, authority, resistance, and/or misrecognition.~{ The depth and the extent of this issue is obviously huge. Ricoeur’s Lectures on Ideology and Utopia is an excellent analysis to the problem of ideology prior to 1975. Terry Eagleton’s books The Ideology of the Aesthetic and Ideology: An Introduction are Marxist explorations that include discussions of hegemony and resistance in the context of artistic and literary theory in the 1980s. Slavoj Žižek creates a Lacanian-inspired algebraic system of analysis that combines Marxism and psychoanalysis in novel ways (see Žižek, Mapping Ideology). There is even an attempt to replace the concept of ideology with a metaphor of "software" and "memes" (see Balkin, Cultural Software). The core of the issue of ideology as a practice (and the vicissitudes of materialism that trouble it) are also at the heart of works by Pierre Bourdieu and his followers (on the relationship of ideology and hegemony, see Laclau and Mouffe, Hegemony and Socialist Strategy). In anthropology, see Comaroff and Comaroff, Ethnography and the Historical Imagination. }~ However, the practices of critique are just as (if not more) likely to be turned on critical scholars themselves, to show how the processes of analysis, hidden assumptions, latent functions of the university, or other unrecognized features the material, non-ideological real world cause the analyst to fall into an ideological trap. + +The concept of ideology takes a turn toward "social imaginary" in Paul Ricoeur’s Lectures on Ideology and Utopia, where he proposes ideological and utopian thought as two components of "social and cultural imagination." Ricoeur’s overview divides approaches to the concept of ideology into three basic types—the distorting, the integrating, and the legitimating—according to how actors deal with reality through (symbolic) imagination. Does the imagination distort reality, integrate it, or legitimate it vis-à-vis the state? Ricoeur defends the second, Geertzian flavor: ideologies integrate the symbolic structure of the world into a meaningful whole, and "only because the structure of social life is already symbolic can it be distorted."~{ Ricoeur, Lectures on Ideology and Utopia, 10. }~ +={social imaginary:ideology vs.+6;Ricoeur, Paul+1} + +For Ricoeur, the very substance of life begins in the interpretation of reality, and therefore ideologies (as well as utopias—and perhaps conspiracies) could well be treated as systems that integrate those interpretations into the meaningful wholes of political life. Ricoeur’s analysis of the integration of reality though social imagination, however, does not explicitly address how imagination functions: what exactly is the nature of this symbolic action or interpretation, or imagination? Can one know it from the outside, and does it resist the distinction between ideology and material practice? Both Ricoeur and Geertz harbor hope that ideology can be made scientific, that the integration of reality through symbolic action requires only the development of concepts adequate to the job. + +Re-enter Charles Taylor. In Modern Social Imaginaries the concept of social imaginary is distinctive in that it attempts to capture the specific integrative imaginations of modern moral and social order. Taylor stresses that they are imaginations—not necessarily theories—of modern moral and social order: "By social imaginary, I mean something much broader and deeper than the intellectual schemes people may entertain when they think about social reality in a disengaged mode. I am thinking, rather, of the ways in ,{[pg 42]}, which people imagine their social existence, how they fit together with others, how things go on between them and their fellows, the expectations that are normally met, and the deeper normative notions and images that underlie these expectations."~{ Taylor, Modern Social Imaginaries, 23. }~ Social imaginaries develop historically and result in both new institutions and new subjectivities; the concepts of public, market, and civil society (among others) are located in the imaginative faculties of actors who recognize the shared, common existence of these ideas, even if they differ on the details, and the practices of those actors reflect a commitment to working out these shared concepts. +={Taylor, Charles+3} + +Social imaginaries are an extension of "background" in the philosophical sense: "a wider grasp of our whole predicament."~{ Ibid., 25. }~ The example Taylor uses is that of marching in a demonstration: the action is in our imaginative repertory and has a meaning that cannot be reduced to the local context: "We know how to assemble, pick up banners and march. . . . [W]e understand the ritual. . . . [T]he immediate sense of what we are doing, getting the message to our government and our fellow citizens that the cuts must stop, say, makes sense in a wider context, in which we see ourselves standing in a continuing relation with others, in which it is appropriate to address them in this manner."~{ Ibid., 26-27. }~ But we also stand "internationally" and "in history" against a background of stories, images, legends, symbols, and theories. "The background that makes sense of any given act is wide and deep. It doesn’t include everything in our world, but the relevant sense-giving features can’t be circumscribed. . . . [It] draws on our whole world, that is, our sense of our whole predicament in time and space, among others and in history."~{ Ibid., 28. }~ + +The social imaginary is not simply the norms that structure our actions; it is also a sense of what makes norms achievable or "realizable," as Taylor says. This is the idea of a "moral order," one that we expect to exist, and if it doesn’t, one that provides a plan for achieving it. For Taylor, there is such a thing as a "modern idea of order," which includes, among other things, ideas of what it means to be an individual, ideas of how individual passions and desires are related to collective association, and, most important, ideas about living in time together (he stresses a radically secular conception of time—secular in a sense that means more than simply "outside religion"). He by no means insists that this is the only such definition of modernity (the door is wide open to understanding alternative modernities), but that the modern idea of moral order is ,{[pg 43]}, one that dominates and structures a very wide array of institutions and individuals around the world. + +The "modern idea of moral order" is a good place to return to the question of geeks and their recursive publics. Are the ideas of order shared by geeks different from those Taylor outlines? Do geeks like Sean and Adrian, or activists in Berlin, possess a distinctive social imaginary? Or do they (despite their planetary dispersal) participate in this common modern idea of moral order? Do the stories and narratives, the tools and technologies, the theories and imaginations they follow and build on have something distinctive about them? Sean’s and Adrian’s commitment to transforming healthcare seems to be, for instance, motivated by a notion of moral order in which the means of allocation of healthcare might become more just, but it is also shot through with technical ideas about the role of standards, the Internet, and the problems with current technical solutions; so while they may seem to be simply advocating for better healthcare, they do so through a technical language and practice that are probably quite alien to policymakers, upper management, and healthcare advocacy groups that might otherwise be in complete sympathy. +={Berlin;Doyle, Sean;Gropper, Adrian;moral and technical order+1} + +The affinity of geeks for each other is processed through and by ideas of order that are both moral and technical—ideas of order that do indeed mix up "operating systems and social systems." These systems include the technical means (the infrastructure) through which geeks meet, assemble, collaborate, and plan, as well as how they talk and think about those activities. The infrastructure—the Internet—allows for a remarkably wide and diverse array of people to encounter and engage with each other. That is to say, the idea of order shared by geeks is shared because they are geeks, because they "get it," because the Internet’s structure and software have taken a particular form through which geeks come to understand the moral order that gives the fabric of their political lives warp and weft. +={affinity (of geeks)} + +2~ Internet Silk Road +={Bangalore+7;Internet:India and+7} + +Bangalore, March 2000. I am at another bar, this time on one of Bangalore’s trendiest streets. The bar is called Purple Haze, and I have been taken there, the day after my arrival, by Udhay Shankar ,{[pg 44]}, N. Inside it is dark and smoky, purple, filled with men between eighteen and thirty, and decorated with posters of Jimi Hendrix, Black Sabbath, Jim Morrison (Udhay: "I hate that band"), Led Zeppelin, and a somewhat out of place Frank Zappa (Udhay: "One of my political and musical heroes"). All of the men, it appears, are singing along with the music, which is almost without exception heavy metal. +={Shakar, Udhay+6;music+1} + +I engage in some stilted conversation with Udhay and his cousin Kirti about the difference between Karnatic music and rock-androll, which seems to boil down to the following: Karnatic music decreases metabolism and heart rate, leading to a relaxed state of mind; rock music does the opposite. Given my aim of focusing on the Internet and questions of openness, I have already decided not to pay attention to this talk of music. In retrospect, I understand this to have been a grave methodological error: I underestimated the extent to which the subject of music has been one of the primary routes into precisely the questions about the "reorientation of knowledge and power" I was interested in. Over the course of the evening and the following days, Udhay introduced me, as promised, to a range of people he either knew or worked with in some capacity. Almost all of the people I met appeared to sincerely love heavy-metal music. + +I met Udhay Shankar N. in 1999 through a newsletter, distributed via e-mail, called Tasty Bits from the Technology Front. It was one of a handful of sources I watched closely while in Berlin, looking for such connections to geek culture. The newsletter described a start-up company in Bangalore, one that was devoted to creating a gateway between the Internet and mobile phones, and which was, according to the newsletter, an entirely Indian operation, though presumably with U.S. venture funds. I wanted to find a company to compare to Amicas: a start-up, run by geeks, with a similar approach to the Internet, but halfway around the world and in a "culture" that might be presumed to occupy a very different kind of moral order. Udhay invited me to visit and promised to introduce me to everyone he knew. He described himself as a "random networker"; he was not really a programmer or a designer or a Free Software geek, despite his extensive knowledge of software, devices, operating systems, and so on, including Free and Open Source Software. Neither was he a businessman, but rather described himself as the guy who "translates between the suits and the techs." ,{[pg 45]}, +={Berlin; Amicas (corporation)+2;culture} + +Udhay "collects interesting people," and it was primarily through his zest for collecting that I met all the people I did. I met cosmopolitan activists and elite lawyers and venture capitalists and engineers and cousins and brothers and sisters of engineers. I met advertising executives and airline flight attendants and consultants in Bombay. I met journalists and gastroenterologists, computer-science professors and musicians, and one mother of a robot scientist in Bangalore. Among them were Muslims, Hindus, Jains, Jews, Parsis, and Christians, but most of them considered themselves more secular and scientific than religious. Many were self-educated, or like their U.S. counterparts, had dropped out of university at some point, but continued to teach themselves about computers and networks. Some were graduates or employees of the Indian Institute of Science in Bangalore, an institution that was among the most important for Indian geeks (as Stanford University is to Silicon Valley, many would say). Among the geeks to whom Udhay introduced me, there were only two commonalities: the geeks were, for the most part, male, and they all loved heavy-metal music.~{ The question of gender plagues the topic of computer culture. The gendering of hackers and geeks and the more general exclusion of women in computing have been widely observed by academics. I can do no more here than direct readers to the increasingly large and sophisticated literature on the topic. See especially Light, "When Computers Were Women"; Turkle, The Second Self and Life on the Screen. With respect to Free Software, see Nafus, Krieger, Leach, "Patches Don’t Have Gender." More generally, see Kirkup et al., The Gendered Cyborg; Downey, The Machine in Me; Faulkner, "Dualisms, Hierarchies and Gender in Engineering"; Grint and Gill, The Gender-Technology Relation; Helmreich, Silicon Second Nature; Herring, "Gender and Democracy in Computer-Mediated Communication"; Kendall, "‘Oh No! I’m a NERD!’"; Margolis and Fisher, Unlocking the Clubhouse; Green and Adam, Virtual Gender; P. Hopkins, Sex/Machine; Wajcman, Feminism Confronts Technology and "Reflections on Gender and Technology Studies"; and Fiona Wilson, "Can’t Compute, Won’t Compute." Also see the novels and stories of Ellen Ullman, including Close to the Machine and The Bug: A Novel. }~ +={Gender;Religion+1} + +While I was in Bangalore, I was invited to join a mailing list run by Udhay called Silk-list, an irregular, unmoderated list devoted to "intelligent conversation." The list has no particular focus: long, meandering conversations about Indian politics, religion, economics, and history erupt regularly; topics range from food to science fiction to movie reviews to discussions on Kashmir, Harry Potter, the singularity, or nanotechnology. Udhay started Silk-list in 1997 with Bharath Chari and Ram Sundaram, and the recipients have included hundreds of people around the world, some very well-known ones, programmers, lawyers, a Bombay advertising executive, science-fiction authors, entrepreneurs, one member of the start-up Amicas, at least two transhumanists, one (diagnosed) schizophrenic, and myself. Active participants usually numbered about ten to fifteen, while many more lurked in the background. +={Chari, Bharath;Silk-list (mailing list)+5;Sundaram, Ram} + +% silk index marking not identical to book page numbering + +Silk-list is an excellent index of the relationship between the network of people in Bangalore and their connection to a worldwide community on the Internet—a fascinating story of the power of heterogeneously connected networks and media. Udhay explained that in the early 1990s he first participated in and then taught himself to configure and run a modem-based networking system known as a Bulletin Board Service (BBS) in Bangalore. In 1994 he heard about a book by Howard Rheingold called The Virtual ,{[pg 46]}, Community, which was his first introduction to the Internet. A couple of years later when he finally had access to the Internet, he immediately e-mailed John Perry Barlow, whose work he knew from Wired magazine, to ask for Rheingold’s e-mail address in order to connect with him. Rheingold and Barlow exist, in some ways, at the center of a certain kind of geek world: Rheingold’s books are widely read popular accounts of the social and community aspects of new technologies that have often had considerable impact internationally; Barlow helped found the Electronic Frontier Foundation and is responsible for popularizing the phrase "information wants to be free."~{ Originally coined by Steward Brand, the phrase was widely cited after it appeared in Barlow’s 1994 article "The Economy of Ideas." }~ Both men had a profound influence on Udhay and ultimately provided him with the ideas central to running an online community. A series of other connections of similar sorts—some personal, some precipitated out of other media and other channels, some entirely random—are what make up the membership of Silk-list.~{ On the genesis of "virtual communities" and the role of Steward Brand, see Turner, "Where the Counterculture Met the New Economy." }~ +={Rheingold, Howard;Barlow, John Perry;Wired (magazine)} + +Like many similar communities of "digerati" during and after the dot.com boom, Silk-list constituted itself more or less organically around people who "got it," that is, people who claimed to understand the Internet, its transformative potential, and who had the technical skills to participate in its expansion. Silk-list was not the only list of its kind. Others such as the Tasty Bits newsletter, the FoRK (Friends of Rohit Khare) mailing list (both based in Boston), and the Nettime and Syndicate mailing lists (both based in the Netherlands) ostensibly had different reasons for existence, but many had the same subscribers and overlapping communities of geeks. Subscription was open to anyone, and occasionally someone would stumble on the list and join in, but most were either invited by members or friends of friends, or they were connected by virtue of cross-posting from any number of other mailing lists to which members were subscribed. + +2~ /pub +={Internet:public spheres and+25;Silk-list (mailing list):as a public+12} + +Silk-list is public in many senses of the word. Practically speaking, one need not be invited to join, and the material that passes through the list is publicly archived and can be found easily on the Internet. Udhay does his best to encourage everyone to speak and to participate, and to discourage forms of discourse that he thinks ,{[pg 47]}, might silence participants into lurking. Silk-list is not a government, corporate, or nongovernmental list, but is constituted only through the activity of geeks finding each other and speaking to each other on this list (which can happen in all manner of ways: through work, through school, through conferences, through fame, through random association, etc.). Recall Charles Taylor’s distinction between a topical and a metatopical space. Silk-list is not a conventionally topical space: at no point do all of its members meet face-to-face (though there are regular meet-ups in cities around the world), and they are not all online at the same time (though the volume and tempo of messages often reflect who is online "speaking" to each other at any given moment). It is a topical space, however, if one considers it from the perspective of the machine: the list of names on the mailing list are all assembled together in a database, or in a file, on the server that manages the mailing list. It is a stretch to call this an "assembly," however, because it assembles only the avatars of the mailing-list readers, many of whom probably ignore or delete most of the messages. +={Taylor, Charles+2} + +Silk-list is certainly, on the other hand, a "metatopical" public. It "knits together" a variety of topical spaces: my discussion with friends in Houston, and other members’ discussions with people around the world, as well as the sources of multiple discussions like newspaper and magazine articles, films, events, and so on that are reported and discussed online. But Silk-list is not "The" public—it is far from being the only forum in which the public sphere is knitted together. Many, many such lists exist. + +In Publics and Counterpublics Michael Warner offers a further distinction. "The" public is a social imaginary, one operative in the terms laid out by Taylor: as a kind of vision of order evidenced through stories, images, narratives, and so on that constitute the imagination of what it means to be part of the public, as well as plans necessary for creating the public, if necessary. Warner distinguishes, however, between a concrete, embodied audience, like that at a play, a demonstration, or a riot (a topical public in Taylor’s terms), and an audience brought into being by discourse and its circulation, an audience that is not metatopical so much as it is a public that is concrete in a different way; it is concrete not in the face-to-face temporality of the speech act, but in the sense of calling a public into being through an address that has a different temporality. It is a public that is concrete in a media-specific ,{[pg 48]}, manner: it depends on the structures of creation, circulation, use, performance, and reuse of particular kinds of discourse, particular objects or instances of discourse. +={public:self-grounding of+4;social imaginary+4;Warner, Michael+4} + +% check public self grounding of marker + +Warner’s distinction has a number of implications. The first, as Warner is careful to note, is that the existence of particular media is not sufficient for a public to come into existence. Just because a book is printed does not mean that a public exists; it requires also that the public take corresponding action, that is, that they read it. To be part of a particular public is to choose to pay attention to those who choose to address those who choose to pay attention . . . and so on. Or as Warner puts it, "The circularity is essential to the phenomenon. A public might be real and efficacious, but its reality lies in just this reflexivity by which an addressable object is conjured into being in order to enable the very discourse that gives it existence."~{ Warner, "Publics and Counterpublics," 51. }~ + +This "autotelic" feature of a public is crucial if one is to understand the function of a public as standing outside of power. It simply cannot be organized by the state, by a corporation, or by any other social totality if it is to have the legitimacy of an independently functioning public. As Warner puts it, "A public organizes itself independently of state institutions, law, formal frameworks of citizenship, or preexisting institutions such as the church. If it were not possible to think of the public as organized independently of the state or other frameworks, the public could not be sovereign with respect to the state. . . . Speaking, writing, and thinking involve us—actively and immediately—in a public, and thus in the being of the sovereign."~{ Ibid., 51-52. See also Warner, Publics and Counterpublics, 69. }~ +={public:autotelic and independent+1} + +% ={Public:autotelic and independent+6} ?? + +Warner’s description makes no claim that any public or even The Public actually takes this form in the present: it is a description of a social imaginary or a "faith" that allows individuals to make sense of their actions according to a modern idea of social order. As Warner (and Habermas before him) suggests, the existence of such autonomous publics—and certainly the idea of "public opinion"— does not always conform to this idea of order. Often such publics turn out to have been controlled all along by states, corporations, capitalism, and other forms of social totality that determine the nature of discourse in insidious ways. A public whose participants have no faith that it is autotelic and autonomous is little more than a charade meant to assuage opposition to authority, to transform ,{[pg 49]}, political power and equality into the negotiation between unequal parties. + +Is Silk-list a public? More important, is it a sovereign one? Warner’s distinction between different media-specific forms of assembly is crucial to answering this question. If one wants to know whether a mailing list on the Internet is more or less likely to be a sovereign public than a book-reading public or the nightly-news-hearing one, then one needs to approach it from the specificity of the form of discourse. This specificity not only includes whether the form is text or video and audio, or whether the text is ASCII or Unicode, or the video PAL or NTSC, but it also includes the means of creation, circulation, and reuse of that discourse as well. + +The on-demand, Internet-mediated book, by contrast, will have a much different temporality of circulation: it might languish in obscurity due to lack of marketing or reputable authority, or it might get mentioned somewhere like the New York Times and suddenly become a sensation. For such a book, copyright law (in the form of a copyleft license) might allow a much wider range of uses and reuses, but it will restrict certain forms of commercialization of the text. The two publics might therefore end up looking quite different, overlapping, to be sure, but varying in terms of their control ,{[pg 50]}, and the terms of admittance. What is at stake is the power of one or the other such public to appear as an independent and sovereign entity—free from suspect constraints and control—whose function is to argue with other constituted forms of power. +={copyleft licenses (component of Free Software);publication+1} + +The conventionally published book may well satisfy all the criteria of being a public, at least in the colloquial sense of making a set of ideas and a discourse widely available and expecting to influence, or receive a response from, constituted forms of sovereign power. However, it is only the latter "on-demand" scheme for publishing that satisfies the criteria of being a recursive public. The differences in this example offer a crude indication of why the Internet is so crucially important to geeks, so important that it draws them together, in its defense, as an infrastructure that enables the creation of publics that are thought to be autonomous, independent, and autotelic. Geeks share an idea of moral and technical order when it comes to the Internet; not only this, but they share a commitment to maintaining that order because it is what allows them to associate as a recursive public in the first place. They discover, or rediscover, through their association, the power and possibility of occupying the position of independent public—one not controlled by states, corporations, or other organizations, but open (they claim) through and through—and develop a desire to defend it from encroachment, destruction, or refeudalization (to use Habermas’s term for the fragmentation of the public sphere). +={Habermas, Jürgen;moral and technical order+2;public:autotelic and independent+2} + +The recursive public is thus not only the book and the discourse around the book. It is not even "content" expanded to include all kinds of media. It is also the technical structure of the Internet as well: its software, its protocols and standards, its applications and software, its legal status and the licenses and regulations that govern it. This captures both of the reasons why recursive publics are distinctive: (1) they include not only the discourses of a public, but the ability to make, maintain, and manipulate the infrastructures of those discourses as well; and (2) they are "layered" and include both discourses and infrastructures, to a specific technical extent (i.e., not all the way down). The meaning of which layers are important develops more or less immediately from direct engagement with the medium. In the following example, for instance, Napster represents the potential of the Internet in miniature—as an application—but it also connects immediately to concerns about the core protocols that govern the Internet and the process of standardization ,{[pg 51]}, that governs the development of these protocols: hence recursion through the layers of an infrastructure. +={Napster;recursive public:layers of;Standards:Internet} + +These two aspects of the recursive public also relate to a concern about the fragmentation or refeudalization of the public sphere: there is only one Internet. Its singularity is not technically determined or by any means necessary, but it is what makes the Internet so valuable to geeks. It is a contest, the goal of which is to maintain the Internet as an infrastructure for autonomous and autotelic publics to emerge as part of The Public, understood as part of an imaginary of moral and technical order: operating systems and social systems. +={Internet:singularity of} + +2~ From Napster to the Internet +={Napster+21} + +On 27 July 2000 Eugen Leitl cross-posted to Silk-list a message with the subject line "Prelude to the Singularity." The message’s original author, Jeff Bone (not at the time a member of Silk-list), had posted the "op-ed piece" initially to the FoRK mailing list as a response to the Recording Industry Association of America’s (RIAA) actions against Napster. The RIAA had just succeeded in getting U.S. district judge Marilyn Hall Patel, Ninth Circuit Court of Appeals, to issue an injunction to Napster to stop downloads of copyrighted music. Bone’s op-ed said, +={Bone, Jeff+26;Internet:singularity of;Leitl, Eugene;Recording Industry Association of America (RIAA)+1} + +_1 Popular folklore has it that the Internet was designed with decentralized routing protocols in order to withstand a nuclear attack. That is, the Internet "senses damage" and "routes around it." It has been said that, on the ’Net, censorship is perceived as damage and is subsequently routed around. The RIAA, in a sense, has cast itself in a censor’s role. Consequently, the music industry will be perceived as damage—and it will be routed around. There is no doubt that this will happen, and that technology will evolve more quickly than businesses and social institutions can; there are numerous highly-visible projects already underway that attempt to create technology that is invulnerable to legal challenges of various kinds. Julian Morrison, the originator of a project (called Fling) to build a fully anonymous/untraceable suite of network protocols, expresses this particularly eloquently.~{ The rest of this message can be found in the Silk-list archives at http://groups.yahoo.com/group/silk-list/message/2869 (accessed 18 August 2006). The reference to "Fling" is to a project now available at http://fling.sourceforge.net/ (accessed 18 August 2006). The full archives of Silk-list can be found at http://groups.yahoo.com/group/silk-list/ and the full archives of the FoRK list can be found at http://www.xent.com/mailman/listinfo/fork/. }~ +={censorship} + +Bone’s message is replete with details that illustrate the meaning and value of the Internet to geeks, and that help clarify the concept ,{[pg 52]}, of a recursive public. While it is only one message, it nonetheless condenses and expresses a variety of stories, images, folklore, and technical details that I elaborate herein. +={recursive public:layers of+2|examples of+28} + +The Napster shutdown in 2000 soured music fans and geeks alike, and it didn’t really help the record labels who perpetrated it either. For many geeks, Napster represented the Internet in miniature, an innovation that both demonstrated something on a scope and scale never seen before, and that also connected people around something they cared deeply about—their shared interest in music. Napster raised interesting questions about its own success: Was it successful because it allowed people to develop new musical interests on a scope and scale they had never experienced before? Or was it successful because it gave people with already existing musical interests a way to share music on a scope and scale they had never experienced before? That is to say, was it an innovation in marketing or in distribution? The music industry experienced it as the latter and hence as direct competition with their own means of distribution. Many music fans experienced it as the former, what Cory Doctorow nicely labeled "risk-free grazing," meaning the ability to try out an almost unimaginable diversity of music before choosing what to invest one’s interests (and money) in. To a large extent, Napster was therefore a recapitulation of what the Internet already meant to geeks. + +Bone’s message, the event of the Napster shutdown, and the various responses to it nicely illustrate the two key aspects of the recursive public: first, the way in which geeks argue not only about rights and ideas (e.g., is it legal to share music?) but also about the infrastructures that allow such arguing and sharing; second, the "layers" of a recursive public are evidenced in the immediate connection of Napster (an application familiar to millions) to the "decentralized routing protocols" (TCP/IP, DNS, and others) that made it possible for Napster to work the way it did. +={Domain Name System (DNS)} + +Bone’s message contains four interrelated points. The first concerns the concept of autonomous technical progress. The title "Prelude to the Singularity" refers to a 1993 article by Vernor Vinge about the notion of a "singularity," a point in time when the speed of autonomous technological development outstrips the human capacity to control it.~{ Vinge, "The Coming Technological Singularity." }~ The notion of singularity has the status of a kind of colloquial "law" similar to Moore’s Law or Metcalfe’s Law, as well as signaling links to a more general literature with roots in ,{[pg 53]}, libertarian or classically liberal ideas of social order ranging from John Locke and John Stuart Mill to Ayn Rand and David Brin.~{ Moore’s Law—named for Gordon Moore, former head of Intel—states that the speed and capacity of computer central processing units (CPUs) doubles every eighteen months, which it has done since roughly 1970. Metcalfe’s Law—named for Robert Metcalfe, inventor of Ethernet—states that the utility of a network equals the square of the number of users, suggesting that the number of things one can do with a network increases exponentially as members are added linearly. }~ +={liberalism, classical;Metcalfe's Law;Moore's Law;singularity;transhumanism;Locke, John;Mill, John Stuart;Rand, Ayn;Brin, David;Vinge, Vernor} + +Bone’s affinity for transhumanist stories of evolutionary theory, economic theory, and rapid innovation sets the stage for the rest of his message. The crucial rhetorical gambit here is the appeal to inevitability (as in the emphatic "there is no doubt that this will happen"): Bone establishes that he is speaking to an audience that is accustomed to hearing about the inevitability of technical progress and the impossibility of legal maneuvering to change it, but his audience may not necessarily agree with these assumptions. Geeks occupy a spectrum from "polymath" to "transhumanist," a spectrum that includes their understandings of technological progress and its relation to human intervention. Bone’s message clearly lands on the far transhumanist side. + +A second point concerns censorship and the locus of power: according to Bone, power does not primarily reside with the government or the church, but comes instead from the private sector, in this case the coalition of corporations represented by the RIAA. The significance of this has to do with the fact that a "public" is expected to be its own sovereign entity, distinct from church, state, or corporation, and while censorship by the church or the state is a familiar form of aggression against publics, censorship by corporations (or consortia representing them), as it strikes Bone and others, is a novel development. Whether the blocking of file-sharing can legitimately be called censorship is also controversial, and many Silk-list respondents found the accusation of censorship untenable. +={censorship+1;Recording Industry Association of America (RIAA)+1} + +Proving Bone’s contention, over the course of the subsequent years and court cases, the RIAA and the Motion Picture Association of America (MPAA) have been given considerably more police authority than even many federal agencies—especially with regard to policing networks themselves (an issue which, given its technical abstruseness, has rarely been mentioned in the mainstream mass media). Both organizations have not only sought to prosecute filesharers but have been granted rights to obtain information from Internet Service Providers about customer activities and have consistently sought the right to secretly disable (hack into, disable, or destroy) private computers suspected of illegal activity. Even if these practices may not be defined as censorship per se, they are nonetheless fine examples of the issues that most exercise geeks: the use of legal means by a few (in this case, private corporations) to ,{[pg 54]}, suppress or transform technologies in wide use by the many. They also index the problems of monopoly, antitrust, and technical control that are not obvious and often find expression, for example, in allegories of reformation and the control of the music-sharing laity by papal authorities. +={antitrust;monopoly;Motion Picture Association of America (MPAA);protestant Reformation:as usable past} + +Third, Bone’s message can itself be understood in terms of the reorientation of knowledge and power. Although what it means to call his message an "op-ed" piece may seem obvious, Bone’s message was not published anywhere in any conventional sense. It doesn’t appear to have been widely cited or linked to. However, for one day at least, it was a heated discussion topic on three mailing lists, including Silk-list. "Publication" in this instance is a different kind of event than getting an op-ed in the New York Times. +={publication+2} + +The material on Silk-list rests somewhere between private conversation (in a public place, perhaps) and published opinion. No editor made a decision to "publish" the message—Bone just clicked "send." However, as with any print publication, his piece was theoretically accessible by anyone, and what’s more, a potentially huge number of copies may be archived in many different places (the computers of all the participants, the server that hosts the list, the Yahoo! Groups servers that archive it, Google’s search databases, etc.). Bone’s message exemplifies the recursive nature of the recursive public: it is a public statement about the openness of the Internet, and it is an example of the new forms of publicness it makes possible through its openness. +={Internet+9} + +% Internet +9 is not in original index + +The constraints on who speaks in a public sphere (such as the power of printers and publishers, the requirements of licensing, or issues of cost and accessibility) are much looser in the Internet era than in any previous one. The Internet gives a previously unknown Jeff Bone the power to dash off a manifesto without so much as a second thought. On the other hand, the ease of distribution belies the difficulty of actually being heard: the multitudes of other Jeff Bones make it much harder to get an audience. In terms of publics, Bone’s message can constitute a public in the same sense that a New York Times op-ed can, but its impact and meaning will be different. His message is openly and freely available for as long as there are geeks and laws and machines that maintain it, but the New York Times piece will have more authority, will be less accessible, and, most important, will not be available to just anyone. Geeks imagine a space where anyone can speak with similar reach and staying ,{[pg 55]}, power—even if that does not automatically imply authority—and they imagine that it should remain open at all costs. Bone is therefore interested precisely in a technical infrastructure that ensures his right to speak about that infrastructure and offer critique and guidance concerning it. + +The ability to create and to maintain such a recursive public, however, raises the fourth and most substantial point that Bone’s message makes clear. The leap to speaking about the "decentralized routing protocols" represents clearly the shared moral and technical order of geeks, derived in this case from the specific details of the Internet. Bone’s post begins with a series of statements that are part of the common repertoire of technical stories and images among geeks. Bone begins by making reference to the "folklore" of the Internet, in which routing protocols are commonly believed to have been created to withstand a nuclear attack. In calling it folklore he suggests that this is not a precise description of the Internet, but an image that captures its design goals. Bone collapses it into a more recent bit of folklore: "The Internet treats censorship as damage and routes around it."~{ This quotation from the 1990s is attributed to Electronic Frontier Foundation’s founder and "cyber-libertarian" John Gilmore. Whether there ,{[pg 319]}, is any truth to this widespread belief expressed in the statement is not clear. On the one hand, the protocol to which this folklore refers—the general system of "message switching" and, later, "packet switching" invented by Paul Baran at RAND Corporation—does seem to lend itself to robustness (on this history, see Abbate, Inventing the Internet). However, it is not clear that nuclear threats were the only reason such robustness was a design goal; simply to ensure communication in a distributed network was necessary in itself. Nonetheless, the story has great currency as a myth of the nature and structure of the Internet. Paul Edwards suggests that both stories are true ("Infrastructure and Modernity," 216-20, 225n13). }~ Both bits of folklore are widely circulated and cited; they encapsulate one of the core intellectual ideas about the architecture of the Internet, that is, its open and distributed interconnectivity. There is certainly a specific technical backdrop for this suggestion: the TCP/IP "internetting" protocols were designed to link up multiple networks without making them sacrifice their autonomy and control. However, Bone uses this technical argument more in the manner of a social imaginary than of a theory, that is, as a way of thinking about the technical (and moral) order of the Internet, of what the Internet is supposed to be like. +={censorship+5;moral and technical order;Gilmore, John+1;Internet:folklore and;libertarianism+1;protocols:TCP/IP;social imaginary+10;TCP/IP (Transmission Control Protocol/Internet Protocol);folklore of Internet:see also usable pasts} + +In the early 1990s this version of the technical order of the Internet was part of a vibrant libertarian dogma asserting that the Internet simply could not be governed by any land-based sovereign and that it was fundamentally a place of liberty and freedom. This was the central message of people such as John Perry Barlow, John Gilmore, Howard Rheingold, Esther Dyson, and a host of others who populated both the pre-1993 Internet (that is, before the World Wide Web became widely available) and the pages of magazines such as Wired and Mondo 2000—the same group of people, incidentally, whose ideas were visible and meaningful to Udhay Shankar and his friends in India even prior to Internet access there, not to mention to Sean and Adrian in Boston, and artists and activists in ,{[pg 56]}, Europe, all of whom often reacted more strongly against this libertarian aesthetic. +={Barlow, John Perry;Doyle, Sean;Dyson, Esther;Rheingold, Howard;Shakar, Udhay;Wired (magazine)} + +For Jeff Bone (and a great many geeks), the folkloric notion that "the net treats censorship as damage" is a very powerful one: it suggests that censorship is impossible because there is no central point of control. A related and oft-cited sentiment is that "trying to take something off of the Internet is like trying to take pee out of a pool." This is perceived by geeks as a virtue, not a drawback, of the Internet. + +For Jeff Bone (and a great many geeks), the folkloric notion that "the net treats censorship as damage" is a very powerful one: it suggests that censorship is impossible because there is no central point of control. A related and oft-cited sentiment is that "trying to take something off of the Internet is like trying to take pee out of a pool." This is perceived by geeks as a virtue, not a drawback, of the Internet. + +On the other side of the spectrum, however, this view of the unregulatable nature of the Internet has been roundly criticized, most prominently by Lawrence Lessig, who is otherwise often in sympathy with geek culture. Lessig suggests that just because the Internet has a particular structure does not mean that it must always be that way.~{ Lessig, Code and Other Laws of Cyberspace. See also Gillespie, "Engineering a Principle" on the related history of the "end to end" design principle. }~ His argument has two prongs: first, that the Internet is structured the way it is because it is made of code that people write, and thus it could have been and will be otherwise, given that there are changes and innovations occurring all the time; second, that the particular structure of the Internet therefore governs or regulates behavior in particular ways: Code is Law. So while it may be true that no one can make the Internet "closed" by passing a law, it is also true that the Internet could become closed if the technology were to be altered for that purpose, a process that may well be nudged and guided by laws, regulations, and norms. +={norms;Lessig, Lawrence+2;recursive public:layers of+2;regulation:Internet} + +Lessig’s critique is actually at the heart of Bone’s concern, and the concern of recursive publics generally: the Internet is a contest and one that needs to be repeatedly and constantly replayed in order to maintain it as the legitimate infrastructure through which geeks associate with one another. Geeks argue in detail about what distinguishes technical factors from legal or social ones. Openness on the Internet is complexly intertwined with issues of availability, price, legal restriction, usability, elegance of design, censorship, trade secrecy, and so on. ,{[pg 57]}, + +However, even where openness is presented as a natural tendency for technology (in oft-made analogies with reproductive fitness and biodiversity, for example), it is only a partial claim in that it represents only one of the "layers" of a recursive public. For instance, when Bone suggests that the net is "invulnerable to legal attack" because "technology will evolve more quickly than businesses and social institutions can," he is not only referring to the fact that the Internet’s novel technical configuration has few central points of control, which makes it difficult for a single institution to control it, but also talking about the distributed, loosely connected networks of people who have the right to write and rewrite software and deal regularly with the underlying protocols of the Internet—in other words, of geeks themselves. + +Many geeks, perhaps including Bone, discover the nature of this order by coming to understand how the Internet works—how it works technically, but also who created it and how. Some have come to this understanding through participation in Free Software (an exemplary "recursive public"), others through stories and technologies and projects and histories that illuminate the process of creating, growing, and evolving the Internet. The story of the process by which the Internet is standardized is perhaps the most well known: it is the story of the Internet Engineering Task Force and its Requests for Comments system. +={Request for Comments (RFC)} + +2~ Requests for Comments +={Internet+9;Request for Comments (RFC)+7} + +For many geeks, the Internet Engineering Task Force (IETF) and its Requests for Comments (RFC) system exemplify key features of the moral and technical order they share, the "stories and practices" that make up a social imaginary, according to Charles Taylor. The IETF is a longstanding association of Internet engineers who try to help disseminate some of the core standards of the Internet through ,{[pg 58]}, the RFC process. Membership is open to individuals, and the association has very little real control over the structure or growth of the Internet—only over the key process of Internet standardization. Its standards rarely have the kind of political legitimacy that one associates with international treaties and the standards bodies of Geneva, but they are nonetheless de facto legitimate. The RFC process is an unusual standards process that allows modifications to existing technologies to be made before the standard is finalized. Together Internet standards and the RFC process form the background of the Napster debate and of Jeff Bone’s claims about "internet routing protocols." +={Internet Engineering Task Force (IETF)+8;moral and technical order+1;Napster+8;standards:Internet+6;standards processes+2;Taylor, Charles} + +A famous bit of Internet-governance folklore expresses succinctly the combination of moral and technical order that geeks share (attributed to IETF member David Clark): "We reject kings, presidents, and voting. We believe in rough consensus and running code."~{ This is constantly repeated on the Internet and attributed to David Clark, but no one really knows where or when he stated it. It appears in a 1997 interview of David Clark by Jonathan Zittrain, the transcript of which is available at http://cyber.law.harvard.edu/jzfallsem//trans/clark/ (accessed 18 August 2006). }~ This quote emphasizes the necessity of arguing with and through technology, the first aspect of a recursive public; the only argument that convinces is working code. If it works, then it can be implemented; if it is implemented, it will "route around" the legal damage done by the RIAA. The notion of "running code" is central to an understanding of the relationship between argumentby- technology and argument-by-talk for geeks. Very commonly, the response by geeks to people who argued about Napster that summer—and the courts’ decisions regarding it—was to dismiss their complaints as mere talk. Many suggested that if Napster were shut down, thousands more programs like it would spring up in its wake. As one mailing-list participant, Ashish "Hash" Gulhati, put it, "It is precisely these totally unenforceable and mindless judicial decisions that will start to look like self-satisfied wanking when there’s code out there which will make the laws worth less than the paper they’re written on. When it comes to fighting this shit in a way that counts, everything that isn’t code is just talk."~{ Ashish "Hash" Gulhati, e-mail to Silk-list mailing list, 9 September 2000, http://groups.yahoo.com/group/silk-list/message/3125. }~ +={Clark, David;Recording Industry Association of America (RIAA);Gulhati, Ashish;recursive public:layers of+3} + +Such powerful rhetoric often collapses the process itself, for someone has to write the code. It can even be somewhat paradoxical: there is a need to talk forcefully about the need for less talk and more code, as demonstrated by Eugen Leitl when I objected that Silk-listers were "just talking": "Of course we should talk. Did my last post consist of some kickass Python code adding sore-missed functionality to Mojonation? Nope. Just more meta-level waffle about the importance of waffling less, coding more. I lack the ,{[pg 59]}, proper mental equipment upstairs for being a good coder, hence I attempt to corrupt young impressionable innocents into contributing to the cause. Unashamedly so. So sue me."~{ Eugen Leitl, e-mail to Silk-list mailing list, 9 September 2000, http://groups.yahoo.com/group/silk-list/message/3127. Python is a programming language. Mojonation was a very promising peer-to-peer application in 2000 that has since ceased to exist. }~ +={Leitl, Eugene;programming+1} + +Eugen’s flippancy reveals a recognition that there is a political component to coding, even if, in the end, talk disappears and only code remains. Though Eugen and others might like to adopt a rhetoric that suggests "it will just happen," in practice none of them really act that way. Rather, the activities of coding, writing software, or improving and diversifying the software that exists are not inevitable or automatic but have specific characteristics. They require time and "the proper mental equipment." The inevitability they refer to consists not in some fantasy of machine intelligence, but in a social imaginary shared by many people in loosely connected networks who spend all their free time building, downloading, hacking, testing, installing, patching, coding, arguing, blogging, and proselytizing—in short, creating a recursive public enabled by the Internet. + +Jeff Bone’s op-ed piece, which is typically enthusiastic about the inevitability of new technologies, still takes time to reference one of thousands (perhaps tens of thousands) of projects as worthy of attention and support, a project called Fling, which is an attempt to rewrite the core protocols of the Internet.~{ In particular, this project focuses on the Transmission Control Protocol (TCP), the User Datagram Protocol (UDP), and the Domain Name System (DNS). The first two have remained largely stable over the last thirty years, but the DNS system has been highly politicized (see Mueller, Ruling the Root). }~ The goal of the project is to write a software implementation of these protocols with the explicit goal of making them "anonymous, untraceable, and untappable." Fling is not a corporation, a start-up, or a university research project (though some such projects are); it is only a Web site. The core protocols of the Internet, contained in the RFCs, are little more than documents describing how computers should interact with each other. They are standards, but of an unusual kind.~{ On Internet standards, see Schmidt and Werle, Coordinating Technology; Abbate and Kahin, Standards Policy for Information Infrastructure. }~ Bone’s leap from a discussion about Napster to one about the core protocols of the Internet is not unusual. It represents the second aspect of a recursive public: the importance of understanding the Internet as a set of "layers," each enabling the next and each requiring an openness that both prevents central control and leads to maximum creativity. +={protocols:TCP/IP+1;TCP/IP (Transmission Control Protocol/Internet Protocol)} + +% ={Domain Name System (DNS);Napster} ={Napster;Standards;Standards processes} + +RFCs have developed from an informal system of memos into a formal standardization process over the life of the Internet, as the IETF and the Internet Society (ISOC) have become more bureaucratic entities. The process of writing and maintaining these documents is particular to the Internet, precisely because the Internet ,{[pg 60]}, is the kind of network experiment that facilitates the sharing of resources across administratively bounded networks. It is a process that has allowed all the experimenters to both share the network and to propose changes to it, in a common space. RFCs are primarily suggestions, not demands. They are "public domain" documents and thus available to everyone with access to the Internet. As David Clark’s reference to "consensus and running code" demonstrates, the essential component of setting Internet standards is a good, working implementation of the protocols. Someone must write software that behaves in the ways specified by the RFC, which is, after all, only a document, not a piece of software. Different implementations of, for example, the TCP/IP protocol or the File Transfer Protocol (ftp) depend initially on individuals, groups, and/or corporations building them into an operating-system kernel or a piece of user software and subsequently on the existence of a large number of people using the same operating system or application. +={Internet Society (ISOC);Clark, David;standards processes+2} + +In many cases, subsequent to an implementation that has been disseminated and adopted, the RFCs have been amended to reflect these working implementations and to ordain them as standards. So the current standards are actually bootstrapped, through a process of writing RFCs, followed by a process of creating implementations that adhere loosely to the rules in the RFC, then observing the progress of implementations, and then rewriting RFCs so that the process begins all over again. The fact that geeks can have a discussion via e-mail depends on the very existence of both an RFC to define the e-mail protocol and implementations of software to send the e-mails. + +This standardization process essentially inverts the process of planning. Instead of planning a system, which is then standardized, refined, and finally built according to specification, the RFC process allows plans to be proposed, implemented, refined, reproposed, rebuilt, and so on until they are adopted by users and become the standard approved of by the IETF. The implication for most geeks is that this process is permanently and fundamentally open: changes to it can be proposed, implemented, and adopted without end, and the better a technology becomes, the more difficult it becomes to improve on it, and therefore the less reason there is to subvert it or reinvent it. Counterexamples, in which a standard emerges but no one adopts it, are also plentiful, and they suggest that the standardization process extends beyond the proposal-implementation-proposal-standard ,{[pg 61]}, circle to include the problem of actually convincing users to switch from one working technology to a better one. However, such failures of adoption are also seen as a kind of confirmation of the quality or ease of use of the current solution, and they are all the more likely to be resisted when some organization or political entity tries to force users to switch to the new standard—something the IETF has refrained from doing for the most part. +={planning} + +2~ Conclusion: Recursive Public +={public+7} + +Napster was a familiar and widely discussed instance of the "reorientation of power and knowledge" (or in this case, power and music) wrought by the Internet and the practices of geeks. Napster was not, however, a recursive public or a Free Software project, but a dot-com-inspired business plan in which proprietary software was given away for free in the hopes that revenue would flow from the stock market, from advertising, or from enhanced versions of the software. Therefore, geeks did not defend Napster as much as they experienced its legal restriction as a wake-up call: the Internet enables Napster and will enable many other things, but laws, corporations, lobbyists, money, and governments can destroy all of it. +={music;reorientation of power and knowledge} + +I started this chapter by asking what draws geeks together: what constitutes the chain that binds geeks like Sean and Adrian to hipsters in Berlin and to entrepreneurs and programmers in Bangalore? What constitutes their affinity if it is not any of the conventional candidates like culture, nation, corporation, or language? A colloquial answer might be that it is simply the Internet that brings them together: cyberspace, virtual communities, online culture. But this doesn’t answer the question of why? Because they can? Because Community Is Good? If mere association is the goal, why not AOL or a vast private network provided by Microsoft? +={affinity (of geeks)+2;Berlin;Doyle, Sean} + +My answer, by contrast, is that geeks’ affinity with one another is structured by shared moral and technical understandings of order. They are a public, an independent public that has the ability to build, maintain, and modify itself, that is not restricted to the activities of speaking, writing, arguing, or protesting. Recursive publics form through their experience with the Internet precisely because the Internet is the kind of thing they can inhabit and transform. Two ,{[pg 62]}, things make recursive publics distinctive: the ability to include the practice of creating this infrastructure as part of the activity of being public or contesting control; and the ability to "recurse" through the layers of that infrastructure, maintaining its publicness at each level without making it into an unchanging, static, unmodifiable thing. +={moral and technical order;Infrastructure+4} + +The affinity constituted by a recursive public, through the medium of the Internet, creates geeks who understand clearly what association through the Internet means. This affinity structures their imagination of what the Internet is and enables: creation, distribution, modification of knowledge, music, science, software. The infrastructure—this-infrastructure-here, the Internet—must be understood as part of this imaginary (in addition to being a pulsating tangle of computers, wires, waves, and electrons). +={music} + +The Internet is not the only medium for such association. A corporation, for example, is also based on a shared imaginary of the economy, of how markets, exchanges, and business cycles are supposed to work; it is the creation of a concrete set of relations and practices, one that is generally inflexible—even in this age of socalled flexible capitalism—because it requires a commitment of time, humans, and capital. Even in fast capitalism one needs to rent office space, buy toilet paper, install payroll software, and so on. + +The Internet is not the only medium for such association. A corporation, for example, is also based on a shared imaginary of the economy, of how markets, exchanges, and business cycles are supposed to work; it is the creation of a concrete set of relations and practices, one that is generally inflexible—even in this age of socalled flexible capitalism—because it requires a commitment of time, humans, and capital. Even in fast capitalism one needs to rent office space, buy toilet paper, install payroll software, and so on. + +The urgency evidenced in the case of Napster (and repeated in numerous other instances, such as the debate over net neutrality) is linked to a moral idea of order in which there is a shared imaginary,{[pg 63]}, of The Public, and not only a vast multiplicity of competing publics. It is an urgency linked directly to the fact that the Internet provides geeks with a platform, an environment, an infrastructure through which they not only associate, but create, and do so in a manner that is widely felt to be autonomous, autotelic, and independent of at least the most conventional forms of power: states and corporations—independent enough, in fact, that both states and corporations can make widespread use of this infrastructure (can become geeks themselves) without necessarily endangering its independence. +={Napster;moral and technical order} + +% ={Public:autotelic and independent} + +1~ 2. Protestant Reformers, Polymaths, Transhumanists +={allegory, of Protestant Reformation+54;Protestant Reformation+54;transhumanism} + +% this Transhumanism ref not in original index + +% [PAGE 64] + +Geeks talk a lot. They don’t talk about recursive publics. They don’t often talk about imaginations, infrastructures, moral or technical orders. But they do talk a lot. A great deal of time and typing is necessary to create software and networks: learning and talking, teaching and arguing, telling stories and reading polemics, reflecting on the world in and about the infrastructure one inhabits. In this chapter I linger on the stories geeks tell, and especially on stories and reflections that mark out contemporary problems of knowledge and power—stories about grand issues like progress, enlightenment, liberty, and freedom. +={moral and technical order;enlightenment+3;Geeks+6;Progress+3} + +Issues of enlightenment, progress, and freedom are quite obviously still part of a "social imaginary," especially imaginations of the relationship of knowledge and enlightenment to freedom and autonomy so clearly at stake in the notion of a public or public ,{[pg 65]}, sphere. And while the example of Free Software illuminates how issues of enlightenment, progress, and freedom are proposed, contested, and implemented in and through software and networks, this chapter contains stories that are better understood as "usable pasts"—less technical and more accessible narratives that make sense of the contemporary world by reflecting on the past and its difference from today. +={social imaginary;usable pasts+2} + +Usable pasts is a more charitable term for what might be called modern myths among geeks: stories that the tellers know to be a combination of fact and fiction. They are told not in order to remember the past, but in order to make sense of the present and of the future. They make sense of practices that are not questioned in the doing, but which are not easily understood in available intellectual or colloquial terms. The first set of stories I relate are those about the Protestant Reformation: allegories that make use of Catholic and Protestant churches, laity, clergy, high priests, and reformation-era images of control and liberation. It might be surprising that geeks turn to the past (and especially to religious allegory) in order to make sense of the present, but the reason is quite simple: there are no "ready-to-narrate" stories that make sense of the practices of geeks today. Precisely because geeks are "figuring out" things that are not clear or obvious, they are of necessity bereft of effective ways of talking about it. The Protestant Reformation makes for good allegory because it separates power from control; it draws on stories of catechism and ritual, alphabets, pamphlets and liturgies, indulgences and self-help in order to give geeks a way to make sense of the distinction between power and control, and how it relates to the technical and political economy they occupy. The contemporary relationship among states, corporations, small businesses, and geeks is not captured by familiar oppositions like commercial/noncommercial, for/against private property, or capitalist/socialist—it is a relationship of reform and conversion, not revolution or overthrow. +={figuring out} + +Usable pasts are stories, but they are stories that reflect specific attitudes and specific ways of thinking about the relationship between past, present, and future. Geeks think and talk a lot about time, progress, and change, but their conclusions and attitudes are by no means uniform. Some geeks are much more aware of the specific historical circumstances and contexts in which they operate, others less so. In this chapter I pose a question via Michel ,{[pg 66]}, Foucault’s famous short piece "What Is Enlightenment?" Namely, are geeks modern? For Foucault, rereading Kant’s eponymous piece from 1784, the problem of being modern (or of an age being "enlightened") is not one of a period or epoch that people live through; rather, it involves a subjective relationship, an attitude. Kant’s explanation of enlightenment does not suggest that it is itself a universal, but that it occurs through a form of reflection on what difference the changes of one’s immediate historical past make to one’s understanding of the supposed universals of a much longer history—that is, one must ask why it is necessary to think the way one does today about problems that have been confronted in ages past. For Foucault, such reflections must be rooted in the "historically unique forms in which the generalities of our relations . . . have been problematized."~{ Foucault, "What Is Enlightenment," 319. }~ Thus, I want to ask of geeks, how do they connect the historically unique problems they confront—from the Internet to Napster to intellectual property to sharing and reusing source code—to the generalities of relations in which they narrate them as problems of liberty, knowledge, power, and enlightenment? Or, as Foucault puts it, are they modern in this sense? Do they "despise the present" or not? +={Foucault, Michel;geeks:as moderns;intellectual property;Kant, Immanuel;Napster} + +The attitudes that geeks take in responding to these questions fall along a spectrum that I have identified as ranging from "polymaths" to "transhumanists." These monikers are drawn from real discussions with geeks, but they don’t designate a kind of person. They are "subroutines," perhaps, called from within a larger program of moral and technical imaginations of order. It is possible for the same person to be a polymath at work and a transhumanist at home, but generally speaking they are conflicting and opposite mantles. In polymath routines, technology is an intervention into a complicated, historically unique field of people, customs, organizations, other technologies, and laws; in transhumanist routines, technology is seen as an inevitable force—a product of human action, but not of human design—that is impossible to control or resist through legal or customary means. +={intervention, technology as;moral and technical order;transhumanism} + +2~ Protestant Reformation + +Geeks love allegories about the Protestant Reformation; they relish stories of Luther and Calvin, of popery and iconoclasm, of reformation ,{[pg 67]}, over revolution. Allegories of Protestant revolt allow geeks to make sense of the relationship between the state (the monarchy), large corporations (the Catholic Church), the small start-ups, individual programmers, and adepts among whom they spend most of their time (Protestant reformers), and the laity (known as "lusers" and "sheeple"). It gives them a way to assert that they prefer reformation (to save capitalism from the capitalists) over revolution. Obviously, not all geeks tell stories of "religious wars" and the Protestant Reformation, but these images reappear often enough in conversations that most geeks will more or less instantly recognize them as a way of making sense of modern corporate, state, and political power in the arena of information technology: the figures of Pope, the Catholic Church, the Vatican, the monarchs of various nations, the laity, the rebel adepts like Luther and Calvin, as well as models of sectarianism, iconoclasm ("In the beginning was the Command Line"), politicoreligious power, and arcane theological argumentation.~{ Stephenson, In the Beginning Was the Command Line. }~ The allegories that unfold provide geeks a way to make sense of a similarly complex modern situation in which it is not the Church and the State that struggle, but the Corporation and the State; and what geeks struggle over are not matters of church doctrine and organization, but matters of information technology and its organization as intellectual property and economic motor. I stress here that this is not an analogy that I myself am making (though I happily make use of it), but is one that is in wide circulation among the geeks I study. To the historian or religious critic, it may seem incomplete, or absurd, or bizarre, but it still serves a specific function, and this is why I highlight it as one component of the practical and technical ideas of order that geeks share. +={Intellectual property;Luther, Martin+15;reformation vs. revolution;religious wars+5} + +% this "intellectual property" reference not in original index + +At the first level are allegories of "religious war" or "holy war" (and increasingly, of "jihads"). Such stories reveal a certain cynicism: they describe a technical war of details between two pieces of software that accomplish the same thing through different means, so devotion to one or the other is seen as a kind of arbitrary theological commitment, at once reliant on a pure rationality and requiring aesthetic or political judgment. Such stories imply that two technologies are equally good and equally bad and that one’s choice of sect is thus an entirely nonrational one based in the vicissitudes of background and belief. Some people are zealous proselytizers of a technology, some are not. As one Usenet message explains: "Religious ‘wars’ have tended to occur over theological and doctrinal ,{[pg 68]}, technicalities of one sort or another. The parallels between that and the computing technicalities that result in ‘computing wars’ are pretty strong."~{ Message-ID: { tht55.221960$701.2930569@news4.giganews.com. }http://groups.google.com/groups?selm=tht55.221960$701.2930569@news4.giganews.com }~ + +Perhaps the most familiar and famous of these wars is that between Apple and Microsoft (formerly between Apple and IBM), a conflict that is often played out in dramatic and broad strokes that imply fundamental differences, when in fact the differences are extremely slight.~{ The Apple-Microsoft conflict was given memorable expression by Umberto Eco in a widely read piece that compared the Apple user interface ,{[pg 320]}, to Catholicism and the PC user interface to Protestantism ("La bustina di Minerva," Espresso, 30 September 1994, back page). }~ Geeks are also familiar with a wealth of less well-known "holy wars": EMACS versus vi; KDE versus Gnome; Linux versus BSD; Oracle versus all other databases.~{ One entry on Wikipedia differentiates religious wars from run-of-the-mill "flame wars" as follows: "Whereas a flame war is usually a particular spate of flaming against a non-flamy background, a holy war is a drawn-out disagreement that may last years or even span careers" ("Flaming [Internet]," http://en.wikipedia.org/wiki/Flame_war [accessed 16 January 2006]). }~ + +Often the language of the Reformation creeps playfully into otherwise serious attempts to make aesthetic judgments about technology, as in this analysis of the programming language tcl/tk: +={programming languages+2} + +_1 It’s also not clear that the primary design criterion in tcl, perl, or Visual BASIC was visual beauty—nor, probably, should it have been. Ousterhout said people will vote with their feet. This is important. While the High Priests in their Ivory Towers design pristine languages of stark beauty and balanced perfection for their own appreciation, the rest of the mundane world will in blind and contented ignorance go plodding along using nasty little languages like those enumerated above. These poor sots will be getting a great deal of work done, putting bread on the table for their kids, and getting home at night to share it with them. The difference is that the priests will shake their fingers at the laity, and the laity won’t care, because they’ll be in bed asleep.~{ Message-ID: { 369tva$8l0@csnews.cs.colorado.edu. }http://groups.google.com/groups?selm=369tva$8l0@csnews.cs.colorado.edu }~ + +In this instance, the "religious war" concerns the difference between academic programming languages and regular programmers made equivalent to a distinction between the insularity of the Catholic Church and the self-help of a protestant laity: the heroes (such as tcl/tk, perl, and python—all Free Software) are the "nasty little languages" of the laity; the High Priests design (presumably) Algol, LISP, and other "academic" languages. +={perl (programming language);python (programming language);tcl/tk (programming language)} + +At a second level, however, the allegory makes precise use of Protestant Reformation details. For example, in a discussion about the various fights over the Gnu C Compiler (gcc), a central component of the various UNIX operating systems, Christopher Browne posted this counter-reformation allegory to a Usenet group. +={GNU C Compiler (gcc)+6;UNIX operating system} + +_1 The EGCS project was started around two years ago when G++ (and GCC) development got pretty "stuck." EGCS sought to integrate together ,{[pg 69]}, a number of the groups of patches that people were making to the GCC "family." In effect, there had been a "Protestant Reformation," with split-offs of: + +_2 a) The GNU FORTRAN Denomination; + +_2 b) The Pentium Tuning Sect; + +_2 c) The IBM Haifa Instruction Scheduler Denomination; + +_2 d) The C++ Standard Acolytes. + +_1 These groups had been unable to integrate their efforts (for various reasons) with the Catholic Version, GCC 2.8. The Ecumenical GNU Compiler Society sought to draw these groups back into the Catholic flock. The project was fairly successful; GCC 2.8 was succeeded by GCC 2.9, which was not a direct upgrade from 2.8, but rather the results of the EGCS project. EGCS is now GCC.~{ Message-ID: { c1dz4.145472$mb.2669517@news6.giganews.com. }http://groups.google.com/groups?selm=c1dz4.145472$mb.2669517@news6.giganews.com It should be noted, in case the reader is unsure how serious this is, that EGCS stood for Extended GNU Compiler System, not Ecumenical GNU Compiler Society. }~ + +In addition to the obvious pleasure with which they deploy the sectarian aspects of the Protestant Reformation, geeks also allow themselves to see their struggles as those of Luther-like adepts, confronted by powerful worldly institutions that are distinct but intertwined: the Catholic Church and absolutist monarchs. Sometimes these comparisons are meant to mock theological argument; sometimes they are more straightforwardly hagiographic. For instance, a 1998 article in Salon compares Martin Luther and Linus Torvalds (originator of the Linux kernel). +={Linux (Free Software project);Torvalds, Linus+1} + +_1 In Luther’s Day, the Roman Catholic Church had a near-monopoly on the cultural, intellectual and spiritual life of Europe. But the principal source text informing that life—the Bible—was off limits to ordinary people. . . . Linus Torvalds is an information-age reformer cut from the same cloth. Like Luther, his journey began while studying for ordination into the modern priesthood of computer scientists at the University of Helsinki—far from the seats of power in Redmond and Silicon Valley. Also like Luther, he had a divine, slightly nutty idea to remove the intervening bureaucracies and put ordinary folks in a direct relationship to a higher power—in this case, their computers. Dissolving the programmer-user distinction, he encouraged ordinary people to participate in the development of their computing environment. And just as Luther sought to make the entire sacramental shebang—the wine, the bread and the translated Word—available to the hoi polloi, Linus seeks to revoke the developer’s proprietary access to the OS, insisting that the full operating system source code be delivered—without cost—to every ordinary Joe at the desktop.~{ "Martin Luther, Meet Linus Torvalds," Salon, 12 November 1998, http://archive.salon.com/21st/feature/1998/11/12feature.html (accessed 5 February 2005). }~ ,{[pg 70]}, + +Adepts with strong convictions—monks and priests whose initiation and mastery are evident—make the allegory work. Other uses of Christian iconography are less, so to speak, faithful to the sources. Another prominent personality, Richard Stallman, of the Free Software Foundation, is prone to dressing as his alter-ego, St. IGNUcius, patron saint of the church of EMACS—a church with no god, but intense devotion to a baroque text-processing program of undeniable, nigh-miraculous power.~{ See http://www.stallman.org/saint.html (accessed 5 February 2005) and http://www.dina.kvl.dk/~abraham/religion/ (accessed 5 February 2005). On EMACS, see chapter 6. }~ +={EMACS (text editor);Stallman, Richard} + +Often the appeal of Reformation-era rhetoric comes from a kind of indictment of the present: despite all this high tech, super-fabulous computronic wonderfulness, we are no less feudal, no less violent, no less arbitrary and undemocratic; which is to say, geeks have progressed, have seen the light and the way, but the rest of society—and especially management and marketing—have not. In this sense, Reformation allegories are stories of how "things never change." + +But the most compelling use of the Protestant Reformation as usable past comes in the more detailed understandings geeks have of the political economy of information technology. The allegorization of the Catholic Church with Microsoft, for instance, is a frequent component, as in this brief message regarding start-up key combinations in the Be operating system: "These secret handshakes are intended to reinforce a cabalistic high priesthood and should not have been disclosed to the laity. Forget you ever saw this post and go by [sic] something from Microsoft."~{ Message-ID: 6ms27l$6e1@bgtnsc01.worldnet.att.net. In one very humorous case the comparison is literalized "Microsoft acquires Catholic Church" (Message-ID: gaijin-870804300-dragonwing@sec.lia.net). }~ +={Microsoft:as Catholic Church+1;usable pasts} + +More generally, large corporations like IBM, Oracle, or Microsoft are made to stand in for Catholicism, while bureaucratic congresses and parliaments with their lobbyists take on the role of absolutist monarchs and their cronies. Geeks can then see themselves as fighting to uphold Christianity (true capitalism) against the church (corporations) and to be reforming a way of life that is corrupted by church and monarchs, instead of overthrowing through revolution a system they believe to be flawed. There is a historically and technically specific component of this political economy in which it is in the interest of corporations like IBM and Microsoft to keep users "locked as securely to Big Blue as an manacled wretch in a medieval dungeon."~{ Paul Fusco, "The Gospel According to Joy," New York Times, 27 March 1988, Sunday Magazine, 28. }~ +={International Business Machines (IBM)} + +Such stories appeal because they bypass the language of modern American politics (liberal, conservative, Democrat, Republican) in which there are only two sides to any issue. They also bypass an ,{[pg 71]}, argument between capitalism and socialism, in which if you are not pro-capitalism you must be a communist. They are stories that allow the more pragmatist of the geeks to engage in intervention and reformation, rather than revolution. Though I’ve rarely heard it articulated so bluntly, the allegory often implies that one must "save capitalism from the capitalists," a sentiment that implies at least some kind of human control over capitalism. +={control, relationship to power;power, relationship to control;Reformation vs. revolution} + +In fact, the allegorical use of the Reformation and the church generates all kinds of clever comparisons. A typical description of such comparisons might go like this: the Catholic Church stands in for large, publicly traded corporations, especially those controlling large amounts of intellectual property (the granting of which might roughly be equated with the ceremonies of communion and confession) for which they depend on the assistance and support of national governments. Naturally, it is the storied excesses of the church—indulgences, liturgical complexity, ritualistic ceremony, and corruption—which make for easy allegory. Modern corporations can be figured as a small, elite papal body with theologians (executives and their lawyers, boards of directors and their lawyers), who command a much larger clergy (employees), who serve a laity (consumers) largely imagined to be sinful (underspending on music and movies—indeed, even "stealing" them) and thus in need of elaborate and ritualistic cleansing (advertising and lawsuits) by the church. Access to grace (the American Dream) is mediated only by the church and is given form through the holy acts of shopping and home improvement. The executives preach messages of damnation to the government, messages most government officials are all too willing to hear: do not tamper with our market share, do not affect our pricing, do not limit our ability to expand these markets. The executives also offer unaccountable promises of salvation in the guise of deregulation and the American version of "reform"—the demolition of state and national social services. Government officials in turn have developed their own "divine right of kings," which justifies certain forms of manipulation (once called "elections") of succession. Indulgences are sold left and right by lobbyists or industry associations, and the decrees of the papacy evidence little but full disconnection from the miserable everyday existence of the flock. + +In fact, it is remarkable how easy such comparisons become the more details of the political economy of information one learns. But ,{[pg 72]}, allegories of the Reformation and clerical power can lead easily to cynicism, which should perhaps be read in this instance as evidence of political disenfranchisement, rather than a lapse in faith. And yet the usable pasts of these reformation-minded modern monks and priests crop up regularly not only because they provide relief from technical chatter but because they explain a political, technical, legal situation that does not have ready-to-narrate stories. Geeks live in a world finely controlled by corporate organizations, mass media, marketing departments, and lobbyists, yet they share a profound distrust of government regulation—they need another set of just-so stories to make sense of it. The standard unusable pasts of the freeing of markets, the inevitability of capitalism and democracy, or more lately, the necessity of security don’t do justice to their experience. + +Allegories of Reformation are stories that make sense of the political economy of information. But they also have a more precise use: to make sense of the distinction between power and control. Because geeks are "closer to the machine" than the rest of the laity, one might reasonably expect them to be the ones in power. This is clearly not the case, however, and it is the frustrations and mysteries by which states, corporations, and individuals manipulate technical details in order to shift power that often earns the deepest ire of geeks. Control, therefore, includes the detailed methods and actual practices by which corporations, government agencies, or individuals attempt to manipulate people (or enroll them to manipulate themselves and others) into making technical choices that serve power, rather than rationality, liberty, elegance, or any other geekly concern. +={control, relationship to power} + +Consider the subject of evil. During my conversations with Sean Doyle in the late 1990s, as well as with a number of other geeks, the term evil was regularly used to refer to some kind of design or technical problem. I asked Sean what he meant. +={Doyle, Sean+6;evil+6} + +!_ SD: +[Evil is] just a term I use to say that something’s wrong, but usually it means something is wrong on purpose, there was agency behind it. I can’t remember [the example you gave] but I think it may have been some GE equipment, where it has this default where it likes to send things in its own private format rather than in DICOM [the radiology industry standard for digital images], if you give it a choice. I don’t know why they would have done something like that, ,{[pg 73]}, it doesn’t solve any backward compatibility problem, it’s really just an exclusionary sort of thing. So I guess there’s Evil like that. . . . + +!_ CK: +one of the other examples that you had . . . was something with Internet Explorer 3.0? +={Microsoft:Internet Explorer} + +!_ SD: +Yes, oh yes, there are so many things with IE3 that are completely Evil. Like here’s one of them: in the http protocol there’s a thing called the "user agent field" where a browser announces to the server who it is. If you look at IE, it announces that it is Mozilla, which is the [code-name for] Netscape. Why did they do this? Well because a lot of the web servers were sending out certain code that said, if it were Mozilla they would serve the stuff down, [if not] they would send out something very simple or stupid that would look very ugly. But it turned out that [IE3, or maybe IE2] didn’t support things when it first came out. Like, I don’t think they supported tables, and later on, their versions of Javascript were so different that there was no way it was compatible—it just added tremendous complexity. It was just a way of pissing on the Internet and saying there’s no law that says we have to follow these Internet standards. We can do as we damn well please, and we’re so big that you can’t stop us. So I view it as Evil in that way. I mean they obviously have the talent to do it. They obviously have the resources to do it. They’ve obviously done the work, it’s just that they’ll have this little twitch where they won’t support a certain MIME type or they’ll support some things differently than others. +={Hypertext Transfer Protocol (http);Mozilla;standards:Internet} + +!_ CK: +But these kinds of incompatibility issues can happen as a result of a lack of communication or coordination, which might involve agency at some level, right? + +!_ SD: +Well, I think of that more as Stupidity than Evil [laughter]. No, Evil is when there is an opportunity to do something, and an understanding that there is an opportunity to, and resources and all that—and then you do something just to spite the other person. You know I’m sure it’s like in messy divorces, where you would rather sell the property at half its value rather than have it go to the other person. + +Sean relates control to power by casting the decisions of a large corporation in a moral light. Although the specific allegory of the Protestant Reformation does not operate here, the details do. Microsoft’s decision to manipulate Internet Explorer’s behavior stems not from a lack of technical sophistication, nor is it an "accident" of ,{[pg 74]}, complexity, according to Sean, but is a deliberate assertion of economic and political power to corrupt the very details by which software has been created and standardized and is expected to function. The clear goal of this activity is conversion, the expansion of Microsoft’s flock through a detailed control of the beliefs and practices (browsers and functionality) of computer users. Calling Microsoft "Evil" in this way has much the same meaning as questioning the Catholic Church’s use of ritual, ceremony, literacy, and history—the details of the "implementation" of religion, so to speak. +={Microsoft:as Catholic Church+9|Internet Explorer;power, relationship to control:see also reorientation of power and knowledge} + +Or, in the terms of the Protestant Reformation itself, the practices of conversion as well as those of liberation, learning, and self-help are central to the story. It is not an accident that many historians of the Reformation themselves draw attention to the promises of liberation through reformation "information technologies."~{ See, for example, Matheson, The Imaginative World of the Reformation. There is rigorous debate about the relation of print, religion, and capitalism: one locus classicus is Eisenstein’s The Printing Press as an Agent of Change, which was inspired by McLuhan, The Gutenberg Galaxy. See also Ian Green, Print and Protestantism in Early Modern England and The Christian’s ABCs; Chadwick, The Early Reformation on the Continent, chaps. 1-3. }~ Colloquial (and often academic) assertions that the printing press was technologically necessary or sufficient to bring the Reformation about appear constantly as a parable of this new age of information. Often the printing press is the only "technological" cause considered, but scholars of the real, historical Reformation also pay close attention to the fact of widespread literacy, to circulating devotional pamphlets, catechisms, and theological tracts, as well as to the range of transformations of political and legal relationships that occurred simultaneously with the introduction of the printing press. + +✠  © + +One final way to demonstrate the effectiveness of these allegories—their ability to work on the minds of geeks—is to demonstrate how they have started to work on me, to demonstrate how much of a geek I have become—a form of participant allegorization, so to speak. The longer one considers the problems that make up the contemporary political economy of information technology that geeks inhabit, the more likely it is that these allegories will start to present themselves almost automatically—as, for instance, when I read The Story of A, a delightful book having nothing to do with geeks, a book about literacy in early America. The author, Patricia Crain, explains that the Christ’s cross (see above) was often used in the creation of hornbooks or battledores, small leather-backed paddles inscribed with the Lord’s Prayer and the alphabet, which were used ,{[pg 75]}, to teach children their ABCs from as early as the fifteenth century until as late as the nineteenth: "In its early print manifestations, the pedagogical alphabet is headed not by the letter A but by the ‘Christ’s Cross’: ✠. . . . Because the alphabet is associated with Catholic Iconography, as if the two sets of signs were really part of one semiological system, one of the struggles of the Reformation would be to wrest the alphabet away from the Catholic Church."~{ Crain, The Story of A, 16-17. }~ +={Crain, Patricia+1} + +Here, allegorically, the Catholic Church’s control of the alphabet (like Microsoft’s programming of Internet Explorer to blur public standards for the Internet) is not simply ideological; it is not just a fantasy of origin or ownership planted in the fallow mental soil of believers, but in fact a very specific, very nonsubjective, and very media-specific normative tool of control. Crain explains further: "Today ✠ represents the imprimatur of the Catholic Church on copyright pages. In its connection to the early modern alphabet as well, this cross carries an imprimatur or licensing effect. This ‘let it be printed,’ however, is directed not to the artisan printer but to the mind and memory of the young scholar. . . . Like modern copyright, the cross authorizes the existence of the alphabet and associates the letters with sacred authorship, especially since another long-lived function of ✠ in liturgical missals is to mark gospel passages. The symbol both conveys information and generates ritual behavior."~{ Ibid., 20-21. }~ +={Copyright+2;Microsoft:Internet Explorer;authorship;standards:Internet} + +% Internet Standards added + +The © today carries as much if not more power, both ideologically and legally, as the cross of the Catholic church. It is the very symbol of authorship, even though in origin and in function it governs only ownership and rights. Magical thinking about copyright abounds, but one important function of the symbol ©, if not its legal implications, is to achieve the same thing as the Christ’s cross: to associate in the mind of the reader the ownership of a particular text (or in this case, piece of software) with a particular organization or person. Furthermore, even though the symbol is an artifact of national and international law, it creates an association not between a text and the state or government, but between a text and particular corporations, publishers, printers, or authors. + +Like the Christ’s cross, the copyright symbol carries both a licensing effect (exclusive, limited or nonexclusive) and an imprimatur on the minds of people: "let it be imprinted in memory" that this is the work of such and such an author and that this is the property of such and such a corporation. +={intellectual property} + +% ,{[pg 76]}, + +Without the allegory of the Protestant Reformation, the only available narrative for such evil—whether it be the behavior of Microsoft or of some other corporation—is that corporations are "competing in the marketplace according to the rules of capitalism" and thus when geeks decry such behavior, it’s just sour grapes. If corporations are not breaking any laws, why shouldn’t they be allowed to achieve control in this manner? In this narrative there is no room for a moral evaluation of competition—anything goes, it would seem. Claiming for Microsoft that it is simply playing by the rules of capitalism puts everyone else into either the competitor box or the noncompetitor box (the state and other noncompetitive organizations). Using the allegory of the Protestant Reformation, on the other hand, gives geeks a way to make sense of an unequal distribution among competing powers—between large and small corporations, and between market power and the details of control. It provides an alternate imagination against which to judge the technically and legally specific actions that corporations and individuals take, and to imagine forms of justified action in return. +={evil+1} + +Without such an allegory, geeks who oppose Microsoft are generally forced into the position of being anticapitalist or are forced to adopt the stance that all standards should be publicly generated and controlled, a position few wish to take. Indeed, many geeks would prefer a different kind of imaginary altogether—a recursive public, perhaps. Instead of an infrastructure subject to unequal distributions of power and shot through with "evil" distortions of technical control, there is, as geeks see it, the possibility for a "self-leveling" level playing field, an autotelic system of rules, both technical and legal, by which all participants are expected to compete equally. Even if it remains an imaginary, the allegory of the Protestant Reformation makes sense of (gives order to) the political economy of the contemporary information-technology world and allows geeks to conceive of their interests and actions according to a narrative of reformation, rather than one of revolution or submission. In the Reformation the interpretation or truth of Christian teaching was not primarily in question: it was not a doctrinal revolution, but a bureaucratic one. Likewise, geeks do not question the rightness of networks, software, or protocols and standards, nor are they against capitalism or intellectual property, but they do wish to maintain a space for critique and the moral evaluation of contemporary capitalism and competition. +={intellectual property;infrastructure+4;public;recursive public;standards:Internet} + +% ,{[pg 77]}, + +2~ Polymaths and Transhumanists +={Polymaths:transhumanists vs.+55;Transhumanism:polymaths vs.+55} + +Usable pasts articulate the conjunction of "operating systems and social systems," giving narrative form to imaginations of moral and technical order. To say that there are no ready-to-narrate stories about contemporary political economy means only that the standard colloquial explanations of the state of the modern world do not do justice to the kinds of moral and technical imaginations of order that geeks possess by virtue of their practices. Geeks live in, and build, one kind of world—a world of software, networks, and infrastructures—but they are often confronted with stories and explanations that simply don’t match up with their experience, whether in newspapers and on television, or among nongeek friends. To many geeks, proselytization seems an obvious route: why not help friends and neighbors to understand the hidden world of networks and software, since, they are quite certain, it will come to structure their lives as well? +={moral and technical order;usable pasts} + +Geeks gather through the Internet and, like a self-governing people, possess nascent ideas of independence, contract, and constitution by which they wish to govern themselves and resist governance by others.~{ At a populist level, this was captured by John Perry Barlow’s "Declaration of Independence of the Internet," http://homes.eff.org/~barlow/Declaration-Final.html. }~ Conventional political philosophies like libertarianism, anarchism, and (neo)liberalism only partially capture these social imaginaries precisely because they make no reference to the operating systems, software, and networks within which geeks live, work, and in turn seek to build and extend. + +Geeks live in specific ways in time and space. They are not just users of technology, or a "network society," or a "virtual community," but embodied and imagining actors whose affinity for one another is enabled in new ways by the tools and technologies they have such deep affective connections to. They live in this-network-here, a historically unique form grounded in particular social, moral, national, and historical specificities which nonetheless relates to generalities such as progress, technology, infrastructure, and liberty. Geeks are by no means of one mind about such generalities though, and they often have highly developed means of thinking about them. +={affinity (of geeks);progress} + +Foucault’s article "What Is Enlightenment?" captures part of this problematic. For Foucault, Kant’s understanding of modernity was an attempt to rethink the relationship between the passage of historical time and the subjective relationship that individuals have toward it. +={enlightenment+3;Foucault, Michel+3;Kant, Immanuel+1;modernity+2} + +% ,{[pg 78]}, + +_1 Thinking back on Kant’s text, I wonder whether we may not envisage modernity as an attitude rather than as a period of history. And by "attitude," I mean a mode of relating to contemporary reality; a voluntary choice made by certain people; in the end, a way of thinking and feeling; a way, too, of acting and behaving that at one and the same time marks a relation of belonging and presents itself as a task. No doubt a bit like what the Greeks called an ethos. And consequently, rather than seeking to distinguish the "modern era" from the "premodern" or "postmodern," I think it would be more useful to try to find out how the attitude of modernity, ever since its formation, has found itself struggling with attitudes of "countermodernity."~{ Foucault, "What Is Enlightenment," 309-10. }~ + +In thinking through how geeks understand the present, the past, and the future, I pose the question of whether they are "modern" in this sense. Foucault makes use of Baudelaire as his foil for explaining in what the attitude of modernity consists: "For [Baudelaire,] being modern . . . consists in recapturing something eternal that is not beyond the present, or behind it, but within it."~{ Ibid., 310. }~ He suggests that Baudelaire’s understanding of modernity is "an attitude that makes it possible to grasp the ‘heroic’ aspect of the present moment . . . the will to ‘heroize’ the present."~{ Ibid., 310. }~ Heroic here means something like redescribing the seemingly fleeting events of the present in terms that conjure forth the universal or eternal character that animates them. In Foucault’s channeling of Baudelaire such an attitude is incommensurable with one that sees in the passage of the present into the future some version of autonomous progress (whether absolute spirit or decadent degeneration), and the tag he uses for this is "you have no right to despise the present." To be modern is to confront the present as a problem that can be transformed by human action, not as an inevitable outcome of processes beyond the scope of individual or collective human control, that is, "attitudes of counter-modernity." When geeks tell stories of the past to make sense of the future, it is often precisely in order to "heroize" the present in this sense—but not all geeks do so. Within the spectrum from polymath to transhumanist, there are attitudes of both modernity and countermodernity. +={geeks:as moderns} + +% ={Progress} + +The questions I raise here are also those of politics in a classical sense: Are the geeks I discuss bound by an attitude toward the present that concerns such things as the relationship of the public to the private and the social (à la Hannah Arendt), the relationship ,{[pg 79]}, of economics to liberty (à la John Stuart Mill and John Dewey), or the possibilities for rational organization of society through the application of scientific knowledge (à la Friedrich Hayek or Foucault)? Are geeks "enlightened"? Are they Enlightenment rationalists? What might this mean so long after the Enlightenment and its vigorous, wide-ranging critiques? How is their enlightenment related to the technical and infrastructural commitments they have made? Or, to put it differently, what makes enlightenment newly necessary now, in the milieu of the Internet, Free Software, and recursive publics? What kinds of relationships become apparent when one asks how these geeks relate their own conscious appreciation of the history and politics of their time to their everyday practices and commitments? Do geeks despise the present? +={Dewey, John;Mill, John Stuart;Hayek, Friedrich;time:technical progress and} + +Polymaths and transhumanists speak differently about concepts like technology, infrastructure, networks, and software, and they have different ideas about their temporality and relationship to progress and liberty. Some geeks see technology as one kind of intervention into a constituted field of organizations, money, politics, and people. Some see it as an autonomous force made up of humans and impersonal forces of evolution and complexity. Different geeks speak about the role of technology and its relationship to the present and future in different ways, and how they understand this relationship is related to their own rich understandings of the complex technical and political environment they live and work in. + +!_ Polymaths +Polymathy is "avowed dilettantism," not extreme intelligence. It results from a curiosity that seems to grip a remarkable number of people who spend their time on the Internet and from the basic necessity of being able to evaluate and incorporate sometimes quite disparate fields of knowledge in order to build workable software. Polymathy inevitably emerges in the context of large software and networking projects; it is a creature of constraints, a process bootstrapped by the complex sediment of technologies, businesses, people, money, and plans. It might also be posed in the negative: bad software design is often the result of not enough avowed dilettantism. Polymaths must know a very large and wide range of things in order to intervene in an existing distribution of machines, people, practices, and places. They must have a detailed sense of the present, and the project of the present, in order to imagine how the future might be different. +={software development+3} + +% ,{[pg 80]}, + +My favorite polymath is Sean Doyle. Sean built the first versions of a piece of software that forms the centerpiece of the radiological-image-management company Amicas. In order to build it Sean learned the following: Java, to program it; the mathematics of wavelets, to encode the images; the workflow of hospital radiologists and the manner in which they make diagnoses from images, to make the interface usable; several incompatible databases and the SQL database language, to build the archive and repository; and manual after manual of technical standards, the largest and most frightening of which was the Digital Imaging and Communication (DICOM) standard for radiological images. Sean also read Science and Nature regularly, looking for inspiration about interface design; he read books and articles about imaging very small things (mosquito knees), very large things (galaxies and interstellar dust), very old things (fossils), and very pretty things (butterfly-wing patterns as a function of developmental pathways). Sean also introduced me to Tibetan food, to Jan Svankmeyer films, to Open Source Software, to cladistics and paleoherpetology, to Disney’s scorched-earth policy with respect to culture, and to many other awesome things. +={Amicas (corporation)+17;Doyle, Sean+3;programming+3;standards} + +Sean is clearly an unusual character, but not that unusual. Over the years I have met many people with a similar range and depth of knowledge (though rarely with Sean’s humility, which does set him apart). Polymathy is an occupational hazard for geeks. There is no sense in which a good programmer, software architect, or information architect simply specializes in code. Specialization is seen not as an end in itself, but rather as a kind of technical prerequisite before other work—the real work—can be accomplished. The real work is the design, the process of inserting usable software into a completely unfamiliar amalgamation of people, organizations, machines, and practices. Design is hard work, whereas the technical stuff—like choosing the right language or adhering to a standard or finding a ready-made piece of code to plug in somewhere—is not. +={design+2} + +It is possible for Internet geeks and software architects to think this way in part due to the fact that so many of the technical issues they face are both extremely well defined and very easy to address with a quick search and download. It is easy to be an avowed dilettante in the age of mailing lists, newsgroups, and online scientific publishing. I myself have learned whole swaths of technical practices in this manner, but I have designed no technology of note. ,{[pg 81]}, + +Sean’s partner in Amicas, Adrian Gropper, also fits the bill of polymath, though he is not a programmer. Adrian, a physician and a graduate of MIT’s engineering program, might be called a "high-functioning polymath." He scans the horizon of technical and scientific accomplishments, looking for ways to incorporate them into his vision of medical technology qua intervention. Sean mockingly calls these "delusions," but both agree that Amicas would be nowhere without them. Adrian and Sean exemplify how the meanings of technology, intervention, design, and infrastructure are understood by polymaths as a particular form of pragmatic intervention, a progress achieved through deliberate, piecemeal re-formation of existing systems. As Adrian comments: +={entrepreneurialism+8;Gropper, Adrian+8;intervention, technology as+42} + +_1 I firmly believe that in the long run the only way you can save money and improve healthcare is to add technology. I believe that more strongly than I believe, for instance, that if people invent better pesticides they’ll be able to grow more rice, and it’s for the universal good of the world to be able to support more people. I have some doubt as to whether I support people doing genetic engineering of crops and pesticides as being "to the good." But I do, however, believe that healthcare is different in that in the long run you can impact both the cost and quality of healthcare by adding technology. And you can call that a religious belief if you want, it’s not rational. But I guess what I’m willing to say is that traditional healthcare that’s not technology-based has pretty much run out of steam.~{ Adrian Gropper, interview by author, 28 November 1998. }~ +={healthcare:information technology in+7;religion} + +In this conversation, the "technological" is restricted to the novel things that can make healthcare less costly (i.e., cost-reducing, not cost-cutting), ease suffering, or extend life. Certain kinds of technological intervention are either superfluous or even pointless, and Adrian can’t quite identify this "class"—it isn’t "technology" in general, but it includes some kinds of things that are technological. What is more important is that technology does not solve anything by itself; it does not obviate the political problems of healthcare rationing: "Now, however, you get this other problem, which is that the way that healthcare is rationed is through the fear of pain, financial pain to some extent, but physical pain; so if you have a technology that, for instance, makes it relatively painless to fix . . . I guess, bluntly put, it’s cheaper to let people die in most cases, and that’s just undeniable. So what I find interesting in all of this, is that most people who are dealing with the politics of healthcare ,{[pg 82]}, resource management don’t want to have this discussion, nobody wants to talk about this, the doctors don’t want to talk about it, because it’s too depressing to talk about the value of. . . . And they don’t really have a mandate to talk about technology."~{ Adrian Gropper, interview by author, 28 November 1998. }~ + +Adrian’s self-defined role in this arena is as a nonpracticing physician who is also an engineer and an entrepreneur—hence, his polymathy has emerged from his attempts to translate between doctors, engineers, and businesspeople. His goal is twofold: first, create technologies that save money and improve the allocation of healthcare (and the great dream of telemedicine concerns precisely this goal: the reallocation of the most valuable asset, individuals and their expertise); second, to raise the level of discussion in the business-cum-medical world about the role of technology in managing healthcare resources. Polymathy is essential, since Adrian’s twofold mission requires understanding the language and lives of at least three distinct groups who work elbow-to-elbow in healthcare: engineers and software architects; doctors and nurses; and businessmen. +={healthcare:allocation of+5} + +Technology has two different meanings according to Adrian’s two goals: in the first case technology refers to the intervention by means of new technologies (from software, to materials, to electronics, to pharmaceuticals) in specific healthcare situations wherein high costs or limited access to care can be affected. Sometimes technology is allocated, sometimes it does the allocating. Adrian’s goal is to match his knowledge of state-of-the-art technology—in particular, Internet technology—with a specific healthcare situation and thereby effect a reorganization of practices, people, tools, and information. The tool Amicas created was distinguished by its clever use of compression, Internet standards, and cheap storage media to compete with much larger, more expensive, much more entrenched "legacy" and "turnkey" systems. Whether Amicas invented something "new" is less interesting than the nature of this intervention into an existing milieu. This intervention is what Adrian calls "technology." For Amicas, the relevant technology—the important intervention—was the Internet, which Amicas conceived as a tool for changing the nature of the way healthcare was organized. Their goal was to replace the infrastructure of the hospital radiology department (and potentially the other departments as well) with the Internet. Amicas was able to confront and reform the practices of powerful, entrenched entities, from the administration of large ,{[pg 83]}, hospitals to their corporate bedfellows, like HBOC, Agfa, Siemens, and GE. +={technology:meanings of+7} + +With regard to raising the level of discussion, however, technology refers to a kind of political-rhetorical argument: technology does not save the world (nor does it destroy it); it only saves lives—and it does this only when one makes particular decisions about its allocation. Or, put differently, the means is technology, but the ends are still where the action is at. Thus, the hype surrounding information technology in healthcare is horrifying to Adrian: promises precede technologies, and the promises suggest that the means can replace the ends. Large corporations that promise "technology," but offer no real hard interventions (Adrian’s first meaning of technology) that can be concretely demonstrated to reduce costs or improve allocation are simply a waste of resources. Such companies are doubly frustrating because they use "technology" as a blinder that allows people to not think about the hard problems (the ends) of allocation, equity, management, and organization; that is, they treat "technology" (the means) as if it were a solution as such. + +Adrian routinely analyzes the rhetorical and practical uses of technology in healthcare with this kind of subtlety; clearly, such subtlety of thought is rare, and it sets Adrian apart as someone who understands that intervention into, and reform of, modern organizations and styles of thought has to happen through reformation—through the clever use of technology by people who understand it intimately—not through revolution. Reformation through technical innovation is opposed here to control through the consolidation of money and power. +={reformation vs. revolution} + +In my observations, Adrian always made a point of making the technology—the software tools and picture-archiving system—easily accessible, easily demonstrable to customers. When talking to hospital purchasers, he often said something like "I can show you the software, and I can tell you the price, and I can demonstrate the problem it will solve." In contrast, however, an array of enormous corporations with salesmen and women (usually called consultants) were probably saying something more like "Your hospital needs more technology, our corporation is big and stable—give us this much money and we will solve your problem." For Adrian, the decision to "hold hands," as he put it, with the comfortably large corporation was irrational if the hospital could instead purchase a specific technology that did a specific thing, for a real price. ,{[pg 84]}, + +Adrian’s reflections on technology are also reflections on the nature of progress. Progress is limited intervention structured by goals that are not set by the technology itself, even if entrepreneurial activity is specifically focused on finding new uses and new ideas for new technologies. But discussions about healthcare allocation—which Adrian sees as a problem amenable to certain kinds of technical solutions—are instead structured as if technology did not matter to the nature of the ends. It is a point Adrian resists: "I firmly believe that in the long run the only way you can save money and improve healthcare is to add technology." + +Sean is similarly frustrated by the homogenization of the concept of technology, especially when it is used to suggest, for instance, that hospitals "lag behind" other industries with regard to computerization, a complaint usually made in order to either instigate investment or explain failures. Sean first objects to such a homogenous notion of "technological." +={Doyle, Sean+5;Technology:lag+2;time: technical progress and+2;lag, technological+2} + +_1 I actually have no idea what that means, that it’s lagging behind. Because certainly in many ways in terms of image processing or some very high-tech things it’s probably way ahead. And if that means what’s on people’s desktops, ever since 19-maybe-84 or so when I arrived at MGH [Massachusetts General Hospital] there’s been a computer on pretty much everyone’s desktop. . . . It seems like most hospitals that I have been to seem to have a serious commitment to networks and automation, etcetera. . . . I don’t know about a lot of manufacturing industries—they might have computer consoles there, but it’s a different sort of animal. Farms probably lag really far behind, I won’t even talk about amusement parks. In some sense, hospitals are very complicated little communities, and so to say that this thing as a whole is lagging behind doesn’t make much sense.~{ Sean Doyle, interview by author, 30 March 1999. }~ + +He also objects to the notion that such a lag results in failures caused by technology, rather than by something like incompetence or bad management. In fact, it might be fair to say that, for the polymath, sometimes technology actually dissolves. Its boundaries are not easily drawn, nor are its uses, nor are its purported "unintended consequences." On one side there are rules, regulations, protocols, standards, norms, and forms of behavior; on the other there are organizational structures, business plans and logic, human skills, and other machines. This complex milieu requires reform from within: it cannot be replaced wholesale; it cannot leap-frog ,{[pg 85]}, other industries in terms of computerization, as intervention is always local and strategic; and it involves a more complex relationship to the project of the present than simply "lagging behind" or "leaping ahead." + +Polymathy—inasmuch as it is a polymathy of the lived experience of the necessity for multiple expertise to suit a situation—turns people into pragmatists. Technology is never simply a solution to a problem, but always part of a series of factors. The polymath, unlike the technophobe, can see when technology matters and when it doesn’t. The polymath has a very this-worldly approach to technology: there is neither mystery nor promise, only human ingenuity and error. In this manner, polymaths might better be described as Feyerabendians than as pragmatists (and, indeed, Sean turned out to be an avid reader of Feyerabend). The polymath feels there is no single method by which technology works its magic: it is highly dependent on rules, on patterned actions, and on the observation of contingent and contextual factors. Intervention into this already instituted field of people, machines, tools, desires, and beliefs requires a kind of scientific-technical genius, but it is hardly single, or even autonomous. This version of pragmatism is, as Feyerabend sometimes refers to it, simply a kind of awareness: of standards, of rules, of history, of possibility.~{ Feyerabend, Against Method, 215-25. }~ The polymath thus does not allow himself or herself to despise the present, but insists on both reflecting on it and intervening in it. +={Feyerabend, Paul+1;pragmatism} + +Sean and Adrian are avowedly scientific and technical people; like Feyerabend, they assume that their interlocutors believe in good science and the benefits of progress. They have little patience for Luddites, for new-agers, for religious intolerance, or for any other non-Enlightenment-derived attitude. They do not despise the present, because they have a well-developed sense of how provisional the conventions of modern technology and business are. Very little is sacred, and rules, when they exist, are fragile. Breaking them pointlessly is immodest, but innovation is often itself seen as a way of transforming a set of accepted rules or practices to other ends. Progress is limited intervention.~{ One of the ways Adrian discusses innovation is via the argument of the Harvard Business School professor Clayton Christensen’s The Innovator’s Dilemma. It describes "sustaining vs. disruptive" technologies as less an issue of how technologies work or what they are made of, and more an issue of how their success and performance are measured. See Adrian Gropper, "The Internet as a Disruptive Technology," Imaging Economics, December 2001, http://www.imagingeconomics.com/library/200112-10.asp (accessed 19 September 2006). }~ +={enlightenment+1} + +How ironic, and troubling, then, to realize that Sean’s and Adrian’s company would eventually become the kind of thing they started Amicas in order to reform. Outside of the limited intervention, certain kinds of momentum seem irresistible: the demand for investment and funding rounds, the need for "professional management," ,{[pg 86]}, and the inertia of already streamlined and highly conservative purchasing practices in healthcare. For Sean and Adrian, Amicas became a failure in its success. Nonetheless, they remain resolutely modern polymaths: they do not despise the present. As described in Kant’s "What Is Enlightenment?" the duty of the citizen is broken into public and private: on the one hand, a duty to carry out the responsibilities of an office; on the other, a duty to offer criticism where criticism is due, as a "scholar" in a reading public. Sean’s and Adrian’s endeavor, in the form of a private start-up company, might well be understood as the expression of the scholar’s duty to offer criticism, through the creation of a particular kind of technical critique of an existing (and by their assessment) ethically suspect healthcare system. The mixture of private capital, public institutions, citizenship, and technology, however, is something Kant could not have known—and Sean and Adrian’s technical pursuits must be understood as something more: a kind of modern civic duty, in the service of liberty and responding to the particularities of contemporary technical life.~{ On kinds of civic duty, see Fortun and Fortun, "Scientific Imaginaries and Ethical Plateaus in Contemporary U.S. Toxicology." }~ +={Kant, Immanuel} + +!_ Transhumanists +Polymathy is born of practical and pragmatic engagement with specific situations, and in some ways is demanded by such exigencies. Opposite polymathy, however, and leaning more toward a concern with the whole, with totality and the universal, are attitudes that I refer to by the label transhumanism, which concerns the mode of belief in the Timeline of Technical Progress.~{ There is, in fact, a very specific group of people called transhumanists, about whom I will say very little. I invoke the label here because I think certain aspects of transhumanism are present across the spectrum of engineers, scientists, and geeks. }~ +={time:technical progress and+20;futurology+20} + +Transhumanism, the movement and the philosophy, focuses on the power of technology to transcend the limitations of the human body as currently evolved. Subscribers believe—but already this is the wrong word—in the possibility of downloading consciousness onto silicon, of cryobiological suspension, of the near emergence of strong artificial intelligence and of various other forms of technical augmentation of the human body for the purposes of achieving immortality—or at least, much more life.~{ See the World Transhumanist Association, http://transhumanism.org/ (accessed 1 December 2003) or the Extropy Institute, http://www.extropy.org/ (accessed 1 December 2003). See also Doyle, Wetwares, and Battaglia, "For Those Who Are Not Afraid of the Future," for a sidelong glance. }~ +={artificial intelligence+6} + +Various groups could be reasonably included under this label. There are the most ardent purveyors of the vision, the Extropians; there are a broad class of people who call themselves transhumanists; there is a French-Canadian subclass, the Raelians, who are more an alien-worshiping cult than a strictly scientific one and are bitterly denounced by the first two; there are also the variety of cosmologists and engineers who do not formally consider themselves ,{[pg 87]}, transhumanist, but whose beliefs participate in some way or another: Stephen Hawking, Frank Tipler and John Barrow (famous for their anthropic cosmological principle), Hans Moravic, Ray Kurzweil, Danny Hillis, and down the line through those who embrace the cognitive sciences, the philosophy of artificial intelligence, the philosophy of mind, the philosophy of science, and so forth. +={Extropians;Raelians} + +Historically speaking, the line of descent is diffuse. Teilhard de Chardin is broadly influential, sometimes acknowledged, sometimes not (depending on the amount of mysticism allowed). A more generally recognized starting point is Julian Huxley’s article "Transhumanism" in New Bottles for New Wine.~{ Huxley, New Bottles for New Wine, 13-18. }~ Huxley’s transhumanism, like Teilhard’s, has a strange whiff of Nietzsche about it, though it tends much more strongly in the direction of the evolutionary emergence of the superman than in the more properly moral sense Nietzsche gave it. After Huxley, the notion of transhumanism is too easily identified with eugenics, and it has become one of a series of midcentury subcultural currents which finds expression largely in small, non-mainstream places, from the libertarians to Esalen.~{ The computer scientist Bill Joy wrote a long piece in Wired warning of the outcomes of research conducted without ethical safeguards and the dangers of eugenics in the past, "Why the Future Doesn’t Need Us," Wired 8.4 [April 2000], http://www.wired.com/wired/archive/8.04/joy.html (accessed 27 June 2005). }~ +={Huxley, Julian;Teilhard de Chardin, Pierre;transhumanism: Julian Huxley and} + +For many observers, transhumanists are a lunatic fringe, bounded on either side by alien abductees and Ayn Rand-spouting objectivists. However, like so much of the fringe, it merely represents in crystalline form attitudes that seem to permeate discussions more broadly, whether as beliefs professed or as beliefs attributed. Transhumanism, while probably anathema to most people, actually reveals a very specific attitude toward technical innovation, technical intervention, and political life that is widespread among technically adept individuals. It is a belief that has everything to do also with the timeline of progress and the role of technology in it. +={progress+5} + +The transhumanist understanding of technological progress can best be understood through the sometimes serious and sometimes playful concept of the "singularity," popularized by the science-fiction writer and mathematician Vernor Vinge.~{ Vinge, "The Coming Technological Singularity." }~ The "singularity" is the point at which the speed of technical progress is faster than human comprehension of that progress (and, by implication, than human control over the course). It is a kind of cave-man parable, perhaps most beautifully rendered by Stanley Kubrik’s film 2001: A Space Odyssey (in particular, in the jump-cut early in the film that turns a hurled bone into a spinning space station, recapitulating the remarkable adventure of technology in two short seconds of an otherwise seemingly endless film). +={singularity+9;transhumanism:singularity and+4;time:singularity and+4;Vinge, Vernor} + +% ,{[pg 88]}, + +{ 2bits_02_01-100.png }image ~[* Illustration © 2005 Ray Kurzweil. Modifications © 2007 by C. Kelty. Original work licensed under a Creative Commons Attribution License: http://en.wikipedia.org/wiki/Image:PPTCountdowntoSingularityLog.jpg. ]~ + +In figure 1, on the left hand of the timeline, there is history, or rather, there is a string of technological inventions (by which is implied that previous inventions set the stage for later ones) spaced such that they produce a logarithmic curve that can look very much like the doomsday population curves that started to appear in the 1960s. Each invention is associated with a name or sometimes a nation. Beyond the edge of the graph to the right side is the future: history changes here from a series of inventions to an autonomous self-inventing technology associated not with individual inventors but with a complex system of evolutionary adaptation that includes technological as well as biological forms. It is a future in which "humans" are no longer necessary to the progress of science and technology: technology-as-extension-of-humans on the left, a Borg-like autonomous technical intelligence on the right. The fundamental ,{[pg 89]}, operation in constructing the "singularity" is the "reasoned extrapolation" familiar to the "hard science fiction" writer or the futurist. One takes present technology as the initial condition for future possibilities and extrapolates based on the (haphazardly handled) evidence of past technical speed-up and change. + +The position of the observer is always a bit uncertain, since he or she is naturally projected at the highest (or lowest, depending on your orientation) point of this curve, but one implication is clear: that the function or necessity of human reflection on the present will disappear at the same time that humans do, rendering enlightenment a quaint, but necessary, step on the route to superrational, transhuman immortality. + +Strangely, the notion that technical progress has acceleration seems to precede any sense of what the velocity of progress might mean in the first instance; technology is presumed to exist in absolute time—from the Big Bang to the heat death of the universe—and not in any relationship with human life or consciousness. The singularity is always described from the point of view of a god who is not God. The fact of technological speed-up is generally treated as the most obvious thing in the world, reinforced by the constant refrain in the media of the incredible pace of change in contemporary society. + +Why is the singularity important? Because it always implies that the absolute fact of technical acceleration—this knowing glance into the future—should order the kinds of interventions that occur in the present. It is not mute waiting or eschatological certainty that governs this attitude; rather, it is a mode of historical consciousness that privileges the inevitability of technological progress over the inevitability of human power. Only by looking into the future can one manipulate the present in a way that will be widely meaningful, an attitude that could be expressed as something like "Those who do not learn from the future are condemned to suffer in it." Since it is a philosophy based on the success of human rationality and ingenuity, rationality and ingenuity are still clearly essential in the future. They lead, however, to a kind of posthuman state of constant technological becoming which is inconceivable to the individual human mind—and can only be comprehended by a transcendental intelligence that is not God. + +Such is a fair description of some strands of transhumanism, and the reason I highlight them is to characterize the kinds of attitudes ,{[pg 90]}, toward technology-as-intervention and the ideas of moral and technical order that geeks can evince. On the far side of polymathy, geeks are too close to the machine to see a big picture or to think about imponderable philosophical issues; on the transhuman side, by contrast, one is constantly reassessing the arcane details of everyday technical change with respect to a vision of the whole—a vision of the evolution of technology and its relationship to the humans that (for the time being) must create and attempt to channel it. +={moral and technical order} + +My favorite transhumanist is Eugen Leitl (who is, in fact, an authentic transhumanist and has been vice-chair of the World Transhumanist Association). Eugen is Russian-born, lives in Munich, and once worked in a cryobiology research lab. He is well versed in chemistry, nanotechnology, artificial-intelligence (AI) research, computational- and network-complexity research, artificial organs, cryobiology, materials engineering, and science fiction. He writes, for example, +={artificial intelligence;Leitl, Eugene+8} + +_1 If you consider AI handcoded by humans, yes. However, given considerable computational resources (~cubic meter of computronium), and using suitable start population, you can coevolve machine intelligence on a time scale of much less than a year. After it achieves about a human level, it is potentially capable of entering an autofeedback loop. Given that even autoassembly-grade computronium is capable of running a human-grade intellect in a volume ranging from a sugar cube to an orange at a speed ranging from 10^4 . . . 10^6 it is easy to see that the autofeedback loop has explosive dynamics. + +_1 (I hope above is intelligible, I’ve been exposed to weird memes for far too long).~{ Eugen Leitl, e-mail to Silk-list mailing list, 16 May 2000, http://groups.yahoo.com/group/silk-list/message/2410. }~ + +Eugen is also a polymath (and an autodidact to boot), but in the conventional sense. Eugen’s polymathy is an avocational necessity: transhumanists need to keep up with all advances in technology and science in order to better assess what kinds of human-augmenting or human-obsolescing technologies are out there. It is not for work in this world that the transhumanist expands his or her knowledge, nor quite for the next, but for a "this world" yet to arrive. + +Eugen and I were introduced during the Napster debates of 2001, which seemed at the time to be a knock-down, drag-out conflagration, but Eugen has been involved in so many online flame wars that he probably experienced it as a mere blip in an otherwise constant struggle with less-evolved intelligences like mine. Nonetheless, ,{[pg 91]}, it was one of the more clarifying examples of how geeks think, and think differently, about technology, infrastructure, networks, and software. Transhumanism has no truck with old-fashioned humanism. +={Napster} + +group{ + + > >From: Ramu Narayan . . . + > >I don’t like the + > >notion of technology as an unstoppable force with a will of its own that + > >has nothing to do with the needs of real people. + +}group + +_1 [Eugen Leitl:] Emergent large-scale behaviour is nothing new. How do you intend to control individual behaviour of a large population of only partially rational agents? They don’t come with too many convenient behaviour-modifying hooks (pheromones as in social insects, but notice menarche-synch in females sharing quarters), and for a good reason. The few hooks we have (mob, war, politics, religion) have been notoriously abused, already. Analogous to apoptosis, metaindividuals may function using processes deletorious[sic] to its components (us).~{ Eugen Leitl, e-mail to Silk-list mailing list, 7 August 2000, http://groups.yahoo.com/group/silk-list/message/2932. }~ +={gender} + +Eugen’s understanding of what "technological progress" means is sufficiently complex to confound most of his interlocutors. For one surprising thing, it is not exactly inevitable. The manner in which Leitl argues with people is usually a kind of machine-gun prattle of coevolutionary, game-theoretic, cryptographic sorites. Eugen piles on the scientific and transhumanist reasoning, and his interlocutors slowly peel away from the discussion. But it isn’t craziness, hype, or half-digested popular science—Eugen generally knows his stuff—it just fits together in a way that almost no one else can quite grasp. Eugen sees the large-scale adoption and proliferation of technologies (particularly self-replicating molecular devices and evolutionary software algorithms) as a danger that transcends all possibility of control at the individual or state level. Billions of individual decisions do not "average" into one will, but instead produce complex dynamics and hang perilously on initial conditions. In discussing the possibility of the singularity, Eugen suggests, "It could literally be a science-fair project [that causes the singularity]." If Francis Bacon’s understanding of the relation between Man and Nature was that of master and possessor, Eugen’s is its radicalization: Man is a powerful but ultimately arbitrary force in the progress of Life-Intelligence. Man is fully incorporated into Nature in this story, ,{[pg 92]}, so much so that he dissolves into it. Eugen writes, when "life crosses over into this petri dish which is getting readied, things will become a lot more lively. . . . I hope we’ll make it." +={progress+7;time:initial conditions and+1;geeks: as moderns+3} + +% check "geeks as moderns, problem pinpointing + +For Eugen, the arguments about technology that the polymaths involve themselves in couldn’t be more parochial. They are important only insofar as they will set the "initial conditions" for the grand coevolutionary adventure of technology ahead of us. For the transhumanist, technology does not dissolve. Instead, it is the solution within which humans are dissolved. Suffering, allocation, decision making—all these are inessential to the ultimate outcome of technological progress; they are worldly affairs, even if they concern life and death, and as such, they can be either denounced or supported, but only with respect to fine-tuning the acceleration toward the singularity. For the transhumanist, one can’t fight the inevitability of technical evolution, but one certainly can contribute to it. Technical progress is thus both law-like and subject to intelligent manipulation; technical progress is inevitable, but only because of the power of massively parallel human curiosity. +={technology:as argument+1;usable pasts+6} + +% check on usable pasts, appears in conclusion + +Considered as one of the modes of thought present in this-worldly political discussion, the transhumanist (like the polymath) turns technology into a rhetorical argument. Technology is the more powerful political argument because "it works." It is pointless to argue "about" technology, but not pointless to argue through and with it. It is pointless to talk about whether stopping technology is good or bad, because someone will simply build a technology that will invalidate your argument. + +There is still a role for technical invention, but it is strongly distinguished from political, legal, cultural, or social interventions. For most transhumanists, there is no rhetoric here, no sophistry, just the pure truth of "it works": the pure, undeniable, unstoppable, and undeconstructable reality of technology. For the transhumanist attitude, the reality of "working code" has a reality that other assertions about the world do not. Extreme transhumanism replaces the life-world with the world of the computer, where bad (ethically bad) ideas won’t compile. Less-staunch versions of transhumanism simply allow the confusion to operate opportunistically: the progress of technology is unquestionable (omniscient), and only its effects on humans are worth investigating. + +The pure transhumanist, then, is a countermodern. The transhumanist despises the present for its intolerably slow descent into the ,{[pg 93]}, future of immortality and superhuman self-improvement, and fears destruction because of too much turbulent (and ignorant) human resistance. One need have no individual conception of the present, no reflection on or synthetic understanding of it. One only need contribute to it correctly. One might even go so far as to suggest that forms of reflection on the present that do not contribute to technical progress endanger the very future of life-intelligence. Curiosity and technical innovation are not historical features of Western science, but natural features of a human animal that has created its own conditions for development. Thus, the transhumanists’ historical consciousness consists largely of a timeline that makes ordered sense of our place on the progress toward the Singularity. + +The moral of the story is not just that technology determines history, however. Transhumanism is a radically antihumanist position in which human agency or will—if it even exists—is not ontologically distinct from the agency of machines and animals and life itself. Even if it is necessary to organize, do things, make choices, participate, build, hack, innovate, this does not amount to a belief in the ability of humans to control their destiny, individually or collectively. In the end, the transhumanist cannot quite pinpoint exactly what part of this story is inevitable—except perhaps the story itself. Technology does not develop without millions of distributed humans contributing to it; humans cannot evolve without the explicit human adoption of life-altering and identity-altering technologies; evolution cannot become inevitable without the manipulation of environments and struggles for fitness. As in the dilemma of Calvinism (wherein one cannot know if one is saved by one’s good works), the transhumanist must still create technology according to the particular and parochial demands of the day, but this by no means determines the eventual outcome of technological progress. It is a sentiment well articulated by Adam Ferguson and highlighted repeatedly by Friederich Hayek with respect to human society: "the result of human action, but not the execution of any human design."~{ Friedrich A. Hayek, Law, Legislation and Liberty, 1:20. }~ +={Calvinism;Hayek, Friedrich} + +2~ Conclusion + +To many observers, geeks exhibit a perhaps bewildering mix of liberalism, libertarianism, anarchism, idealism, and pragmatism, ,{[pg 94]}, yet tend to fall firmly into one or another constituted political category (liberal, conservative, socialist, capitalist, neoliberal, etc.). By showing how geeks make use of the Protestant Reformation as a usable past and how they occupy a spectrum of beliefs about progress, liberty, and intervention, I hope to resist this urge to classify. Geeks are an interesting case precisely because they are involved in the creation of new things that change the meaning of our constituted political categories. Their politics are mixed up and combined with the technical details of the Internet, Free Software, and the various and sundry organizations, laws, people, and practices that they deal with on a regular basis: operating systems and social systems. But such mixing does not make Geeks merely technoliberals or technoconservatives. Rather, it reveals how they think through the specific, historically unique situation of the Internet to the general problems of knowledge and power, liberty and enlightenment, progress and intervention. +={allegory, of Protestant Reformation;geeks+1} + +Geeks are not a kind of person: geeks are geeks only insofar as they come together in new, technically mediated forms of their own creation and in ways that are not easy to identify (not language, not culture, not markets, not nations, not telephone books or databases). While their affinity is very clearly constituted through the Internet, the Internet is not the only reason for that affinity. It is this collective affinity that I refer to as a recursive public. Because it is impossible to understand this affinity by trying to identify particular types of people, it is necessary to turn to historically specific sets of practices that form the substance of their affinity. Free Software is an exemplary case—perhaps the exemplar—of a recursive public. To understand Free Software through its changing practices not only gives better access to the life-world of the geek but also reveals how the structure of a recursive public comes into being and manages to persist and transform, how it can become a powerful form of life that extends its affinities beyond technophile geeks into the realms of ordinary life. +={affinity (of geeks)} + +:B~ Part II free software + +1~ 3. The Movement +={Free Software+55} + +Part II of Two Bits describes what Free Software is and where it came from, with each of its five chapters detailing the historical narrative of a particular kind of practice: creating a movement, sharing source code, conceptualizing openness or open systems, writing copyright (and copyleft) licenses, and coordinating collaborations. Taken together, the stories describe Free Software. The stories have their endpoint (or starting point, genealogically speaking) in the years 1998-99, when Free Software burst onto the scene: on the cover of Forbes magazine, as part of the dotcom boom, and in the boardrooms of venture-capital firms and corporations like IBM and Netscape. While the chapters that make up part II can be read discretely to understand the practices that are the sine qua non of Free Software, they can also be read continuously, as a meandering story of the history of software and networks stretching from the late 1950s to the present. +={Free Software: as experimental system+1;movement (component of Free Software)+3;practices:five components of Free Software} + +% ,{[pg 98]}, + +Rather than define what makes Free Software free or Open Source open, Two Bits treats the five practices as parts of a collective technical experimental system: each component has its own history, development, and temporality, but they come together as a package and emerge as a recognizable thing around 1998-99. As with any experimental system, changing the components changes the operation and outcomes of the whole. Free Software so conceived is a kind of experimental system: its practices can be adopted, adapted, and modulated in new contexts and new places, but it is one whose rules are collectively determined and frequently modified. It is possible to see in each of the five practices where choices about how to do Free Software reached, or surpassed, certain limits, but nonetheless remained part of a system whose identity finally firmed up in the period 1998-99 and after. +={experiment, collective technical} + +The first of these practices—the making of Free Software into a movement—is both the most immediately obvious and the most difficult to grasp. By the term movement I refer to the practice, among geeks, of arguing about and discussing the structure and meaning of Free Software: what it consists of, what it is for, and whether or not it is a movement. Some geeks call Free Software a movement, and some don’t; some talk about the ideology and goals of Free Software, and some don’t; some call it Free Software, while others call it Open Source. Amid all this argument, however, Free Software geeks recognize that they are all doing the same thing: the practice of creating a movement is the practice of talking about the meaning and necessity of the other four practices. It was in 1998-99 that geeks came to recognize that they were all doing the same thing and, almost immediately, to argue about why.~{ For instance, Richard Stallman writes, "The Free Software movement and the Open Source movement are like two political camps within the free software community. Radical groups in the 1960s developed a reputation for factionalism: organizations split because of disagreements on details of strategy, and then treated each other as enemies. Or at least, such is the ,{[pg 322]}, image people have of them, whether or not it was true. The relationship between the Free Software movement and the Open Source movement is just the opposite of that picture. We disagree on the basic principles, but agree more or less on the practical recommendations. So we can and do work together on many specific projects. We don’t think of the Open Source movement as an enemy. The enemy is proprietary software" ("Why ‘Free Software’ Is Better than ‘Open Source,’" GNU’s Not Unix! http://www.gnu.org/philosophy/free-software-for-freedom.html [accessed 9 July 2006]). By contrast, the Open Source Initiative characterizes the relationship as follows: "How is ‘open source’ related to ‘free software’? The Open Source Initiative is a marketing program for free software. It’s a pitch for ‘free software’ because it works, not because it’s the only right thing to do. We’re selling freedom on its merits" (http://www.opensource.org/advocacy/faq.php [accessed 9 July 2006]). There are a large number of definitions of Free Software: canonical definitions include Richard Stallman’s writings on the Free Software Foundation’s Web site, www.fsf.org, including the "Free Software Definition" and "Confusing Words and Phrases that Are Worth Avoiding." From the Open Source side there is the "Open Source Definition" (http://www.opensource.org/licenses/). Unaffiliated definitions can be found at www.freedomdefined.org. }~ + +One way to understand the movement is through the story of Netscape and the Mozilla Web browser (now known as Firefox). Not only does this story provide some context for the stories of geeks presented in part I—and I move here from direct participant observation to historical and archival research on a phenomenon that was occurring at roughly the same time—but it also contains all the elements necessary to understand Free Software. It is full of discussion and argument about the practices that make up Free Software: sharing source code, conceiving of openness, writing licenses, and coordinating collaborations. +={Firefox;Netscape+26;Netscape Navigator (application)+26} + +% ,{[pg 99]}, + +2~ Forking Free Software, 1997-2000 + +Free Software forked in 1998 when the term Open Source suddenly appeared (a term previously used only by the CIA to refer to unclassified sources of intelligence). The two terms resulted in two separate kinds of narratives: the first, regarding Free Software, stretched back into the 1980s, promoting software freedom and resistance to proprietary software "hoarding," as Richard Stallman, the head of the Free Software Foundation, refers to it; the second, regarding Open Source, was associated with the dotcom boom and the evangelism of the libertarian pro-business hacker Eric Raymond, who focused on the economic value and cost savings that Open Source Software represented, including the pragmatic (and polymathic) approach that governed the everyday use of Free Software in some of the largest online start-ups (Amazon, Yahoo!, HotWired, and others all "promoted" Free Software by using it to run their shops). +={Free Software:open source vs.+1;Free Software Foundation+1;Open Source:Free Software vs.;Raymond, Eric Steven;Stallman, Richard+1} + +A critical point in the emergence of Free Software occurred in 1998-99: new names, new narratives, but also new wealth and new stakes. "Open Source" was premised on dotcom promises of cost-cutting and "disintermediation" and various other schemes to make money on it (Cygnus Solutions, an early Free Software company, playfully tagged itself as "Making Free Software More Affordable"). VA Linux, for instance, which sold personal-computer systems pre-installed with Open Source operating systems, had the largest single initial public offering (IPO) of the stock-market bubble, seeing a 700 percent share-price increase in one day. "Free Software" by contrast fanned kindling flames of worry over intellectual-property expansionism and hitched itself to a nascent legal resistance to the 1998 Digital Millennium Copyright Act and Sonny Bono Copyright Term Extension Act. Prior to 1998, Free Software referred either to the Free Software Foundation (and the watchful, micromanaging eye of Stallman) or to one of thousands of different commercial, avocational, or university-research projects, processes, licenses, and ideologies that had a variety of names: sourceware, freeware, shareware, open software, public domain software, and so on. The term Open Source, by contrast, sought to encompass them all in one movement. +={Cygnus Solutions (corporation);Digital Millennium Copyright Act (DMCA);intellectual property;VA Linux (corporation)} + +The event that precipitated this attempted semantic coup d’état was the release of the source code for Netscape’s Communicator ,{[pg 100]}, Web browser. It’s tough to overestimate the importance of Netscape to the fortunes of Free Software. Netscape is justly famous for its 1995 IPO and its decision to offer its core product, Netscape Navigator, for free (meaning a compiled, binary version could be downloaded and installed "for zero dollars"). But Netscape is far more famous among geeks for giving away something else, in 1998: the source code to Netscape Communicator (née Navigator). Giving away the Navigator application endeared Netscape to customers and confused investors. Giving away the Communicator source code in 1998 endeared Netscape to geeks and confused investors; it was ignored by customers. +={geeks+3} + +Netscape is important from a number of perspectives. Businesspeople and investors knew Netscape as the pet project of the successful businessman Jim Clarke, who had founded the specialty computer manufacturer, Silicon Graphics Incorporated (SGI). To computer scientists and engineers, especially in the small university town of Champaign-Urbana, Illinois, Netscape was known as the highest bidder for the WWW team at the National Center for Supercomputing Applications (NCSA) at the University of Illinois. That team—Marc Andreessen, Rob McCool, Eric Bina, Jon Mittelhauser, Aleks Totic, and Chris Houck—had created Mosaic, the first and most fondly remembered "graphical browser" for surfing the World Wide Web. Netscape was thus first known as Mosaic Communications Corporation and switched its name only after legal threats from NCSA and a rival firm, Spyglass. Among geeks, Netscape was known as home to a number of Free Software hackers and advocates, most notably Jamie Zawinski, who had rather flamboyantly broken rank with the Free Software Foundation by forking the GNU EMACS code to create what was first known as Lucid Emacs and later as XEmacs. Zawinski would go on to lead the newly free Netscape browser project, now known as Mozilla. +={Andreessen, Marc+3;McCool, Rob;Mosaic (web browser)+3;Mozilla+23;National Center for Super Computing Applications (NCSA)+3;Zawinski, Jamie+5} + +Meanwhile, most regular computer users remember Netscape both as an emblem of the dotcom boom’s venture-fed insanity and as yet another of Microsoft’s victims. Although Netscape exploded onto the scene in 1995, offering a feature-rich browser that was an alternative to the bare-bones Mosaic browser, it soon began to lose ground to Microsoft, which relatively quickly adopted the strategy of giving away its browser, Internet Explorer, as if it were part of the Windows operating system; this was a practice that the U.S. Department of Justice eventually found to be in violation of ,{[pg 101]}, antitrust laws and for which Microsoft was convicted, but never punished. +={Justice, Department of;Microsoft:Internet Explorer+1} + +The nature of Netscape’s decision to release the source code differs based on which perspective it is seen from. It could appear to be a business plan modeled on the original success: give away your product and make money in the stock market. It could appear to be a strategic, last-gasp effort to outcompete Microsoft. It could also appear, and did appear to many geeks, to be an attempt to regain some of that "hacker-cred" it once had acquired by poaching the NCSA team, or even to be an attempt to "do the right thing" by making one of the world’s most useful tools into Free Software. But why would Netscape reach such a conclusion? By what reasoning would such a decision seem to be correct? The reasons for Netscape’s decision to "free the source" recapitulate the five core practices of Free Software—and provided key momentum for the new movement. + +!_ Sharing Source Code +Netscape’s decision to share its source code could only seem surprising in the context of the widespread practice of keeping source code secret; secrecy was a practice followed largely in order to prevent competitors from copying a program and competing with it, but also as a means to control the market itself. The World Wide Web that Andreessen’s team at NCSA had cut their teeth on was itself designed to be "platform independent" and accessible by any device on the network. In practice, however, this meant that someone needed to create "browsers" for each different computer or device. Mosaic was initially created for UNIX, using the Motif library of the X11 Window System—in short, a very specific kind of access. Netscape, by contrast, prided itself on "porting" Netscape Navigator to nearly all available computer architectures. Indeed, by 1997, plans were under way to create a version of the browser—written in Java, the programming language created by Sun Microsystems to "write once, run anywhere"—that would be completely platform independent. +={secrecy+6;Sun Microsystems;World Wide Web (www)} + +The Java-based Navigator (called Javagator, of course) created a problem, however, with respect to the practice of keeping source code secret. Whenever a program in Java was run, it created a set of "bytecodes" that were easy to reverse-engineer because they had to be transmitted from the server to the machine that ran the program and were thus visible to anyone who might know how and where to look. Netscape engineers flirted with the idea of deliberately ,{[pg 102]}, obfuscating these bytecodes to deter competitors from copying them. How can one compete, the logic goes, if anyone can copy your program and make their own ersatz version? + +Zawinski, among others, suggested that this was a bad idea: why not just share the source code and get people to help make it better? As a longtime participant in Free Software, Zawinski understood the potential benefits of receiving help from a huge pool of potential contributors. He urged his peers at Netscape to see the light. However, although he told them stories and showed them successes, he could never make the case that this was an intelligent business plan, only that it was an efficient software-engineering plan. From the perspective of management and investors, such a move seemed tantamount to simply giving away the intellectual property of the company itself. +={intellectual property} + +Frank Hecker, a sales manager, made the link between the developers and management: "It was obvious to [developers] why it was important. It wasn’t really clear from a senior management level why releasing the source code could be of use because nobody ever made the business case."~{ Moody, Rebel Code, 193. }~ Hecker penned a document called "Netscape Source Code as Netscape Product" and circulated it to various people, including Andreessen and Netscape CEO Jim Barksdale. As the title suggests, the business case was that the source code could also be a product, and in the context of Netscape, whose business model was "give it away and make it up on the stock market," such a proposal seemed less insane than it otherwise might have: "When Netscape first made Navigator available for unrestricted download over the Internet, many saw this as flying in the face of conventional wisdom for the commercial software business, and questioned how we could possibly make money ‘giving our software away.’ Now of course this strategy is seen in retrospect as a successful innovation that was a key factor in Netscape’s rapid growth, and rare is the software company today that does not emulate our strategy in one way or another. Among other things, this provokes the following question: What if we were to repeat this scenario, only this time with source code?"~{ Frank Hecker, quoted in Hamerly and Paquin, "Freeing the Source," 198. }~ +={Hecker, Frank+1} + +Under the influence of Hecker, Zawinski, and CTO Eric Hahn (who had also written various internal "heresy documents" suggesting similar approaches), Netscape eventually made the decision to share their source code with the outside world, a decision that resulted in a famous January 1998 press release describing the aims ,{[pg 103]}, and benefits of doing so. The decision, at that particular point in Netscape’s life, and in the midst of the dotcom boom, was certainly momentous, but it did not lead either to a financial windfall or to a suddenly superior product.~{ See Moody, Rebel Code, chap. 11, for a more detailed version of the story. }~ +={Hahn, Eric} + +!_ Conceptualizing Open Systems +Releasing the source code was, in a way, an attempt to regain the trust of the people who had first imagined the www. Tim Berners-Lee, the initial architect of the www, was always adamant that the protocol and all its implementations should be freely available (meaning either "in the public domain" or "released as Free Software"). Indeed, Berners-Lee had done just that with his first bare-bones implementations of the www, proudly declaring them to be in the public domain. +={Berners-Lee, Tim+1;Open Systems+2;public domain;World Wide Web (www)} + +Over the course of the 1990s, the "browser wars" caused both Netscape and Microsoft to stray far from this vision: each had implemented its own extensions and "features" to the browsers and servers, extensions not present in the protocol that Berners-Lee had created or in the subsequent standards created by the World Wide Web Consortium (W3C). Included in the implementations were various kinds of "evil" that could make browsers fail to work on certain operating systems or with certain kinds of servers. The "browser wars" repeated an open-systems battle from the 1980s, one in which the attempt to standardize a network operating system (UNIX) was stymied by competition and secrecy, at the same time that consortiums devoted to "openness" were forming in order to try to prevent the spread of evil. Despite the fact that both Microsoft and Netscape were members of the W3C, the noncompatibility of their browsers clearly represented the manipulation of the standards process in the name of competitive advantage. +={evil;Microsoft;World Wide Web consortium (w3c);standards: ownership of} + +Releasing the source code for Communicator was thus widely seen as perhaps the only way to bypass the poisoned well of competitively tangled, nonstandard browser implementations. An Open Source browser could be made to comply with the standards—if not by the immediate members involved with its creation, then by creating a "fork" of the program that was standards compliant—because of the rights of redistribution associated with an Open Source license. Open Source would be the solution to an open-systems problem that had never been solved because it had never confronted the issue of intellectual property directly. Free Software, by contrast, had a well-developed solution in the GNU General Public License, ,{[pg 104]}, also known as copyleft license, that would allow the software to remain free and revive hope for maintaining open standards. +={Copyleft licenses (component of Free Software)+4;General Public License (GPL)+3;intellectual property} + +!_ Writing Licenses +Herein lies the rub, however: Netscape was immediately embroiled in controversy among Free Software hackers because it chose to write its own bespoke licenses for distributing the source code. Rather than rely on one of the existing licenses, such as the GNU GPL or the Berkeley Systems Distribution (BSD) or MIT licenses, they created their own: the Netscape Public License (NPL) and the Mozilla Public License. The immediate concerns of Netscape had to do with their existing network of contracts and agreements with other, third-party developers—both those who had in the past contributed parts of the existing source code that Netscape might not have the rights to redistribute as Free Software, and those who were expecting in the future to buy and redistribute a commercial version. Existing Free Software licenses were either too permissive, giving to third parties rights that Netscape itself might not have, or too restrictive, binding Netscape to make source code freely available (the GPL) when it had already signed contracts with buyers of the nonfree code. +={BSD License;Mozilla Public License (MPL)+2;Netscape Public License (NPL)} + +It was a complex and specific business situation—a network of existing contracts and licensed code—that created the need for Netscape to write its own license. The NPL thus contained a clause that allowed Netscape special permission to relicense any particular contribution to the source code as a proprietary product in order to appease its third-party contracts; it essentially gave Netscape special rights that no other licensee would have. While this did not necessarily undermine the Free Software licenses—and it was certainly Netscape’s prerogative—it was contrary to the spirit of Free Software: it broke the "recursive public" into two halves. In order to appease Free Software geeks, Netscape wrote one license for existing code (the NPL) and a different license for new contributions: the Mozilla Public License. +={recursive public} + +Neither Stallman nor any other Free Software hacker was entirely happy with this situation. Stallman pointed out three flaws: "One flaw sends a bad philosophical message, another puts the free software community in a weak position, while the third creates a major practical problem within the free software community. Two of the flaws apply to the Mozilla Public License as well." He urged people ,{[pg 105]}, not to use the NPL. Similarly, Bruce Perens suggested, "Many companies have adopted a variation of the MPL [sic] for their own programs. This is unfortunate, because the NPL was designed for the specific business situation that Netscape was in at the time it was written, and is not necessarily appropriate for others to use. It should remain the license of Netscape and Mozilla, and others should use the GPL or the BSD or X licenses."~{ Bruce Perens, "The Open Source Definition," 184. }~ +={BSD License;Stallman, Richard;Perens, Bruce} + +Arguments about the fine details of licenses may seem scholastic, but the decision had a huge impact on the structure of the new product. As Steven Weber has pointed out, the choice of license tracks the organization of a product and can determine who and what kinds of contributions can be made to a project.~{ Steven Weber, The Success of Open Source. }~ It is not an idle choice; every new license is scrutinized with the same intensity or denounced with the same urgency. +={Weber, Steven} + +!_ Coordinating Collaborations +One of the selling points of Free Software, and especially of its marketing as Open Source, is that it leverages the work of thousands or hundreds of thousands of volunteer contributors across the Internet. Such a claim almost inevitably leads to spurious talk of "self-organizing" systems and emergent properties of distributed collaboration. The Netscape press release promised to "harness the creative power of thousands of programmers on the Internet by incorporating their best enhancements," and it quoted CEO Jim Barksdale as saying, "By giving away the source code for future versions, we can ignite the creative energies of the entire Net community and fuel unprecedented levels of innovation in the browser market."~{ "Netscape Announces Plans to Make Next-Generation Communicator Source Code Available Free on the Net," Netscape press release, 22 January 1998, http://wp.netscape.com/newsref/pr/newsrelease558.html (accessed 25 Sept 2007). }~ But as anyone who has ever tried to start or run a Free Software project knows, it never works out that way. +={coordination (component of Free Software)+6} + +Software engineering is a notoriously hard problem.~{ On the history of software development methodologies, see Mahoney, "The Histories of Computing(s)" and "The Roots of Software Engineering." }~ The halls of the software industry are lined with the warning corpses of dead software methodologies. Developing software in the dotcom boom was no different, except that the speed of release cycles and the velocity of funding (the "burn rate") was faster than ever before. Netscape’s in-house development methodologies were designed to meet these pressures, and as many who work in this field will attest, that method is some version of a semistructured, deadline-driven, caffeine- and smart-drink-fueled race to "ship."~{ Especially good descriptions of what this cycle is like can be found in Ullman, Close to the Machine and The Bug. }~ +={software development+2} + +Releasing the Mozilla code, therefore, required a system of coordination that would differ from the normal practice of in-house ,{[pg 106]}, software development by paid programmers. It needed to incorporate the contributions of outsiders—developers who didn’t work for Netscape. It also needed to entice people to contribute, since that was the bargain on which the decision to free the source was based, and to allow them to track their contributions, so they could verify that their contributions were included or rejected for legitimate reasons. In short, if any magical Open Source self-organization were to take place, it would require a thoroughly transparent, Internet-based coordination system. + +% no reference here to firefox or netscape, rather to mozilla + +At the outset, this meant practical things: obtaining the domain name mozilla.org; setting up (and in turn releasing the source code for) the version-control system (the Free Software standard cvs), the version-control interface (Bonsai), the "build system" that managed and displayed the various trees and (broken) branches of a complex software project (Tinderbox), and a bug-reporting system for tracking bugs submitted by users and developers (Bugzilla). It required an organizational system within the Mozilla project, in which paid developers would be assigned to check submissions from inside and outside, and maintainers or editors would be designated to look at and verify that these contributions should be used. +={bugs;Concurrent Versioning System (cvs);software tools} + +In the end, the release of the Mozilla source code was both a success and a failure. Its success was long in coming: by 2004, the Firefox Web browser, based on Mozilla, had started to creep up the charts of most popular browsers, and it has become one of the most visible and widely used Free Software applications. The failure, however, was more immediate: Mozilla failed to reap the massive benefits for Netscape that the 1995 give-away of Netscape Navigator had. Zawinski, in a public letter of resignation in April 1999 (one year after the release), expressed this sense of failure. He attributed Netscape’s decline after 1996 to the fact that it had "stopped innovating" and become too large to be creative, and described the decision to free the Mozilla source code as a return to this innovation: "[The announcement] was a beacon of hope to me. . . . [I]t was so crazy, it just might work. I took my cue and ran with it, registering the domain that night, designing the structure of the organization, writing the first version of the web site, and, along with my co-conspirators, explaining to room after room of Netscape employees and managers how free software worked, and what we had to do to make it work."~{ Jamie Zawinski, "resignation and postmortem," 31 March 1999, http://www.jwz.org/gruntle/nomo.html. }~ For Zawinski, the decision was both a chance for Netscape to return to its glory and an opportunity ,{[pg 107]}, to prove the power of Free Software: "I saw it as a chance for the code to actually prosper. By making it not be a Netscape project, but rather, be a public project to which Netscape was merely a contributor, the fact that Netscape was no longer capable of building products wouldn’t matter: the outsiders would show Netscape how it’s done. By putting control of the web browser into the hands of anyone who cared to step up to the task, we would ensure that those people would keep it going, out of their own self-interest."~{ Ibid. }~ +={Zawinski, Jamie+3;Firefox+1:see also Netscape Navigator;Netscape Navigator+1} + +% netscape navigator index link added + +But this promise didn’t come true—or, at least, it didn’t come true at the speed that Zawinski and others in the software world were used to. Zawinski offered various reasons: the project was primarily made up of Netscape employees and thus still appeared to be a Netscape thing; it was too large a project for outsiders to dive into and make small changes to; the code was too "crufty," that is, too complicated, overwritten, and unclean. Perhaps most important, though, the source code was not actually working: "We never distributed the source code to a working web browser, more importantly, to the web browser that people were actually using."~{ Ibid. }~ + +Netscape failed to entice. As Zawinski put it, "If someone were running a web browser, then stopped, added a simple new command to the source, recompiled, and had that same web browser plus their addition, they would be motivated to do this again, and possibly to tackle even larger projects."~{ Ibid. }~ For Zawinski, the failure to "ship" a working browser was the biggest failure, and he took pains to suggest that this failure was not an indictment of Free Software as such: "Let me assure you that whatever problems the Mozilla project is having are not because open source doesn’t work. Open source does work, but it is most definitely not a panacea. If there’s a cautionary tale here, it is that you can’t take a dying project, sprinkle it with the magic pixie dust of ‘open source,’ and have everything magically work out. Software is hard. The issues aren’t that simple."~{ Ibid. }~ + +!_ Fomenting Movements +The period from 1 April 1998, when the Mozilla source code was first released, to 1 April 1999, when Zawinski announced its failure, couldn’t have been a headier, more exciting time for participants in Free Software. Netscape’s decision to release the source code was a tremendous opportunity for geeks involved in Free Software. It came in the midst of the rollicking dotcom bubble. It also came in the midst of the widespread adoption of ,{[pg 108]}, key Free Software tools: the Linux operating system for servers, the Apache Web server for Web pages, the perl and python scripting languages for building quick Internet applications, and a number of other lower-level tools like Bind (an implementation of the DNS protocol) or sendmail for e-mail. +={movement (component of Free Software)+24;Apache (Free Software project);Domain Name System (DNS);Linux (Free Software project)} + +Perhaps most important, Netscape’s decision came in a period of fevered and intense self-reflection among people who had been involved in Free Software in some way, stretching back to the mid-1980s. Eric Raymond’s article "The Cathedral and The Bazaar," delivered at the Linux Kongress in 1997 and the O’Reilly Perl Conference the same year, had started a buzz among Free Software hackers. It was cited by Frank Hecker and Eric Hahn at Netscape as one of the sources for their thinking about the decision to free Mozilla; Raymond and Bruce Perens had both been asked to consult with Netscape on Free Software strategy. In April of the same year Tim O’Reilly, a publisher of handbooks for Free Software, organized a conference called the Freeware Summit. +={Freeware summit+5;Hahn, Eric;Hecker, Frank;O’Reilly, Tim;O’Reilly Press+1;Perens, Bruce;perl (programming language);Raymond, Eric Steven;Cathedral and the Bazaar} + +The Freeware Summit’s very name indicated some of the concern about definition and direction. Stallman, despite his obvious centrality, but also because of it, was not invited to the Freeware Summit, and the Free Software Foundation was not held up as the core philosophical guide of this event. Rather, according to the press release distributed after the meeting, "The meeting’s purpose was to facilitate a high-level discussion of the successes and challenges facing the developers. While this type of software has often been called ‘freeware’ or ‘free software’ in the past, the developers agreed that commercial development of the software is part of the picture, and that the terms ‘open source’ or ‘sourceware’ best describe the development method they support."~{ "Open Source Pioneers Meet in Historic Summit," press release, 14 April 1998, O’Reilly Press, http://press.oreilly.com/pub/pr/796. }~ +={Open Source:"Open Source Definition"+1;Stallman, Richard;Free Software Foundation} + +It was at this summit that Raymond’s suggestion of "Open Source" as an alternative name was first publicly debated.~{ See Hamerly and Paquin, "Freeing the Source." The story is elegantly related in Moody, Rebel Code, 182-204. Raymond gives Christine Petersen of the Foresight Institute credit for the term open source. }~ Shortly thereafter, Raymond and Perens created the Open Source Initiative and penned "The Open Source Definition." All of this self-reflection was intended to capitalize on the waves of attention being directed at Free Software in the wake of Netscape’s announcement. +={Open Source Initiative;Raymond, Eric Steven} + +The motivations for these changes came from a variety of sources—ranging from a desire to be included in the dotcom boom to a powerful (ideological) resistance to being ideological. Linus Torvalds loudly proclaimed that the reason to do Free Software was because it was "fun"; others insisted that it made better business ,{[pg 109]}, sense or that the stability of infrastructures like the Internet depended on a robust ability to improve them from any direction. But none of them questioned how Free Software got done or proposed to change it. +={Torvalds, Linus} + +Raymond’s paper "The Cathedral and the Bazaar" quickly became the most widely told story of how Open Source works and why it is important; it emphasizes the centrality of novel forms of coordination over the role of novel copyright licenses or practices of sharing source code. "The Cathedral and the Bazaar" reports Raymond’s experiments with Free Software (the bazaar model) and reflects on the difference between it and methodologies adopted by industry (the cathedral model). The paper does not truck with talk of freedom and has no denunciations of software hoarding à la Stallman. Significantly, it also has no discussion of issues of licensing. Being a hacker, however, Raymond did give his paper a "revision-history," which proudly displays revision 1.29, 9 February 1998: "Changed ‘free software’ to ‘open source.’"~{ From Raymond, The Cathedral and the Bazaar. The changelog is available online only: http://www.catb.org/~esr/writings/cathedral-bazaar/cathedral-bazaar/. }~ +={Stallman, Richard+3;Raymond, Eric Steven+3;Cathedral and the Bazaar+3;Software development+7} + +Raymond was determined to reject the philosophy of liberty that Stallman and the Free Software Foundation represented, but not in order to create a political movement of his own. Rather, Raymond (and the others at the Freeware Summit) sought to cash in on the rising tide of the Internet economy by turning the creation of Free Software into something that made more sense to investors, venture capitalists, and the stock-buying public. To Raymond, Stallman and the Free Software Foundation represented not freedom or liberty, but a kind of dogmatic, impossible communism. As Raymond was a committed libertarian, one might expect his core beliefs in the necessity of strong property rights to conflict with the strange communalism of Free Software—and, indeed, his rhetoric was focused on pragmatic, business-minded, profit-driven, and market-oriented uses of Free Software. For Raymond, the essentially interesting component of Free Software was not its enhancement of human liberty, but the innovation in software production that it represented (the "development model"). It was clear that Free Software achieved something amazing through a clever inversion of strong property rights, an inversion which could be expected to bring massive revenue in some other form, either through cost-cutting or, Netscape-style, through the stock market. +={Free Software Foundation;intellectual property+1;libertarianism} + +Raymond wanted the business world and the mainstream industry to recognize Free Software’s potential, but he felt that Stallman’s ,{[pg 110]}, rhetoric was getting in the way. Stallman’s insistence, for example, on calling corporate intellectual-property protection of software "hoarding" was doing more damage than good in terms of Free Software’s acceptance among businesses, as a practice, if not exactly a product. + +Raymond’s papers channeled the frustration of an entire generation of Free Software hackers who may or may not have shared Stallman’s dogmatic philosophical stance, but who nonetheless wanted to participate in the creation of Free Software. Raymond’s paper, the Netscape announcement, and the Freeware Summit all played into a palpable anxiety: that in the midst of the single largest creation of paper wealth in U.S. history, those being enriched through Free Software and the Internet were not those who built it, who maintained it, or who got it. +={hackers+4;Netscape+1} + +The Internet giveaway was a conflict of propriety: hackers and geeks who had built the software that made it work, under the sign of making it free for all, were seeing that software generate untold wealth for people who had not built it (and furthermore, who had no intention of keeping it free for all). Underlying the creation of wealth was a commitment to a kind of permanent technical freedom—a moral order—not shared by those who were reaping the most profit. This anxiety regarding the expropriation of work (even if it had been a labor of love) was ramified by Netscape’s announcement. +={moral and technical order} + +All through 1998 and 1999, buzz around Open Source built. Little-known companies such as Red Hat, VA Linux, Cygnus, Slackware, and SuSe, which had been providing Free Software support and services to customers, suddenly entered media and business consciousness. Articles in the mainstream press circulated throughout the spring and summer of 1998, often attempting to make sense of the name change and whether it meant a corresponding change in practice. A front-cover article in Forbes, which featured photos of Stallman, Larry Wall, Brian Behlendorf, and Torvalds (figure 2), was noncommittal, cycling between Free Software, Open Source, and Freeware.~{ Josh McHugh, "For the Love of Hacking," Forbes, 10 August 1998, 94-100. }~ +={Behlendorf, Brian+2;Cygnus Solutions (corporation);dotcom era+4;Red Hat (corporation);VA Linux (corporation)+3;Wall, Larry;Stallman, Richard+2;Torvalds, Linus} + +{ 2bits_03_02-100.png }image ~[* "Peace, Love and Software," cover of Forbes, 10 August 1998. Used with permission of Forbes and Nathaniel Welch. ]~ + +By early 1999, O’Reilly Press published Open Sources: Voices from the Open Source Revolution, a hastily written but widely read book. It included a number of articles—this time including one by Stallman—that cobbled together the first widely available public history of Free Software, both the practice and the technologies ,{[pg 111]}, involved. Kirk McKusick’s article detailed the history of important technologies like the BSD version of UNIX, while an article by Brian Behlendorf, of Apache, detailed the practical challenges of running Free Software projects. Raymond provided a history of hackers and a self-aggrandizing article about his own importance in creating the movement, while Stallman’s contribution told his own version of the rise of Free Software. +={Apache (Free Software project);Berkeley Systems Distribution (BSD) (version of UNIX);Open Sources;O’Reilly Press;Raymond, Eric Steven+1;Raymond, Eric Steven+1;usable pasts} + +By December 1999, the buzz had reached a fever pitch. When VA Linux, a legitimate company which actually made something real—computers with Linux installed on them—went public, its shares’ value gained 700 percent in one day and was the single ,{[pg 112]}, most valuable initial public offering of the era. VA Linux took the unconventional step of allowing contributors to the Linux kernel to buy into the stock before the IPO, thus bringing at least a partial set of these contributors into the mainstream Ponzi scheme of the Internet dotcom economy. Those who managed to sell their stock ended up benefiting from the boom, whether or not their contributions to Free Software truly merited it. In a roundabout way, Raymond, O’Reilly, Perens, and others behind the name change had achieved recognition for the central role of Free Software in the success of the Internet—and now its true name could be known: Open Source. +={Linux (Free Software project);Open Source:Free Software vs.+11} + +Yet nothing much changed in terms of the way things actually got done. Sharing source code, conceiving openness, writing licenses, coordinating projects—all these continued as before with no significant differences between those flashing the heroic mantle of freedom and those donning the pragmatic tunic of methodology. Now, however, stories proliferated; definitions, distinctions, details, and detractions filled the ether of the Internet, ranging from the philosophical commitments of Free Software to the parables of science as the "original open source" software. Free Software proponents refined their message concerning rights, while Open Source advocates refined their claims of political agnosticism or nonideological commitments to "fun." All these stories served to create movements, to evangelize and advocate and, as Eugen Leitl would say, to "corrupt young minds" and convert them to the cause. The fact that there are different narratives for identical practices is an advantageous fact: regardless of why people think they are doing what they are doing, they are all nonetheless contributing to the same mysterious thing. +={Leitl, Eugene} + +2~ A Movement? + +To most onlookers, Free Software and Open Source seem to be overwhelmed with frenzied argument; the flame wars and disputes, online and off, seem to dominate everything. To attend a conference where geeks—especially high-profile geeks like Raymond, Stallman, and Torvalds—are present, one might suspect that the very detailed practices of Free Software are overseen by the brow-beating, histrionic antics of a few charismatic leaders and that ideological commitments result in divergent, incompatible, and affect-laden ,{[pg 113]}, opposition which must of necessity take specific and incompatible forms. Strangely, this is far from the case: all this sound and fury doesn’t much change what people do, even if it is a requirement of apprenticeship. It truly is all over but for the shouting. +={Raymond, Eric Steven;Stallman, Richard;Torvalds, Linus;Free Software:open source vs.+8;practices+4} + +According to most of the scholarly literature, the function of a movement is to narrate the shared goals and to recruit new members. But is this what happens in Free Software or Open Source?~{ On social movements—the closest analog, developed long ago—see Gerlach and Hine, People, Power, Change, and Freeman and Johnson, Waves of Protest. However, the Free Software and Open Source Movements do not have "causes" of the kind that conventional movements do, other than the perpetuation of Free and Open Source Software (see Coleman, "Political Agnosticism"; Chan, "Coding Free Software"). Similarly, there is no single development methodology that would cover only Open Source. Advocates of Open Source are all too willing to exclude those individuals or organizations who follow the same "development methodology" but do not use a Free Software license—such as Microsoft’s oft-mocked "shared-source" program. The list of licenses approved by both the Free Software Foundation and the Open Source Initiative is substantially the same. Further, the Debian Free Software Guidelines and the "Open Source Definition" are almost identical (compare http://www.gnu.org/philosophy/license-list.html with http://www.opensource.org/licenses/ [both accessed 30 June 2006]). }~ To begin with, movement is an awkward word; not all participants would define their participation this way. Richard Stallman suggests that Free Software is social movement, while Open Source is a development methodology. Similarly some Open Source proponents see it as a pragmatic methodology and Free Software as a dogmatic philosophy. While there are specific entities like the Free Software Foundation and the Open Source Initiative, they do not comprise all Free Software or Open Source. Free Software and Open Source are neither corporations nor organizations nor consortia (for there are no organizations to consort); they are neither national, subnational, nor international; they are not "collectives" because no membership is required or assumed—indeed to hear someone assert "I belong" to Free Software or Open Source would sound absurd to anyone who does. Neither are they shady bands of hackers, crackers, or thieves meeting in the dead of night, which is to say that they are not an "informal" organization, because there is no formal equivalent to mimic or annul. Nor are they quite a crowd, for a crowd can attract participants who have no idea what the goal of the crowd is; also, crowds are temporary, while movements extend over time. It may be that movement is the best term of the lot, but unlike social movements, whose organization and momentum are fueled by shared causes or broken by ideological dispute, Free Software and Open Source share practices first, and ideologies second. It is this fact that is the strongest confirmation that they are a recursive public, a form of public that is as concerned with the material practical means of becoming public as it is with any given public debate. +={affinity (of geeks)+1;movement (component of Free Software):function of+3;social movement, theories of;Software development+1} + +The movement, as a practice of argument and discussion, is thus centered around core agreements about the other four kinds of practices. The discussion and argument have a specific function: to tie together divergent practices according to a wide consensus which tries to capture the why of Free Software. Why is it different from normal software development? Why is it necessary? Why now? ,{[pg 114]}, Why do people do it? Why do people use it? Can it be preserved and enhanced? None of these questions address the how: how should source code circulate? How should a license be written? Who should be in charge? All of these "hows" change slowly and experimentally through the careful modulation of the practices, but the "whys" are turbulent and often distracting. Nonetheless, people engaged in Free Software—users, developers, supporters, and observers—could hardly remain silent on this point, despite the frequent demand to just "shut up and show me the code." "Figuring out" Free Software also requires a practice of reflecting on what is central to it and what is outside of it. +={figuring out+2} + +The movement, as a practice of discussion and argument, is made up of stories. It is a practice of storytelling: affect- and intellect-laden lore that orients existing participants toward a particular problem, contests other histories, parries attacks from outside, and draws in new recruits.~{ It is, in the terms of Actor Network Theory, a process of "enrollment" in which participants find ways to rhetorically align—and to disalign—their interests. It does not constitute the substance of their interest, however. See Latour, Science in Action; Callon, "Some Elements of a Sociology of Translation." }~ This includes proselytism and evangelism (and the usable pasts of protestant reformations, singularities, rebellion and iconoclasm are often salient here), whether for the reform of intellectual-property law or for the adoption of Linux in the trenches of corporate America. It includes both heartfelt allegiance in the name of social justice as well as political agnosticism stripped of all ideology.~{ Coleman, "Political Agnosticism." }~ Every time Free Software is introduced to someone, discussed in the media, analyzed in a scholarly work, or installed in a workplace, a story of either Free Software or Open Source is used to explain its purpose, its momentum, and its temporality. At the extremes are the prophets and proselytes themselves: Eric Raymond describes Open Source as an evolutionarily necessary outcome of the natural tendency of human societies toward economies of abundance, while Richard Stallman describes it as a defense of the fundamental freedoms of creativity and speech, using a variety of philosophical theories of liberty, justice, and the defense of freedom.~{ See, respectively, Raymond, The Cathedral and the Bazaar, and Williams, Free as in Freedom. }~ Even scholarly analyses must begin with a potted history drawn from the self-narration of geeks who make or advocate free software.~{ For example, Castells, The Internet Galaxy, and Weber, The Success of Open Source both tell versions of the same story of origins and development. }~ Indeed, as a methodological aside, one reason it is so easy to track such stories and narratives is because geeks like to tell and, more important, like to archive such stories—to create Web pages, definitions, encyclopedia entries, dictionaries, and mini-histories and to save every scrap of correspondence, every fight, and every resolution related to their activities. This "archival hubris" yields a very peculiar and specific kind of fieldsite: one in which a kind ,{[pg 115]}, of "as-it-happens" ethnographic observation is possible not only through "being there" in the moment but also by being there in the massive, proliferating archives of moments past. Understanding the movement as a changing entity requires constantly glancing back at its future promises and the conditions of their making. +={Actor Network Theory;allegory, of Protestant Reformation;ethnography+1;geeks:self-representation+1;practices:"archival hubris"|stories as;Raymond, Eric Steven;Stallman, Richard} + +Stories of the movement are also stories of a recursive public. The fact that movement isn’t quite the right word is evidence of a kind of grasping, a figuring out of why these practices make sense to all these geeks, in this place and time; it is a practice that is not so different from my own ethnographic engagement with it. Note that both Free Software and Open Source tell stories of movement(s): they are not divided by a commercial-noncommercial line, even if they are divided by ill-defined and hazy notions of their ultimate goals. The problem of a recursive public (or, in an alternate language, a recursive market) as a social imaginary of moral and technical order is common to both of them as part of their practices. Thus, stories about "the movement" are detailed stories about the technical and moral order that geeks inhabit, and they are bound up with the functions and fates of the Internet. Often these stories are themselves practices of inclusion and exclusion (e.g., "this license is not a Free Software license" or "that software is not an open system"); sometimes the stories are normative definitions about how Free Software should look. But they are, always, stories that reveal the shared moral and technical imaginations that make up Free Software as a recursive public. +={moral and technical order;recursive public;social imaginary} + +2~ Conclusion + +Before 1998, there was no movement. There was the Free Software Foundation, with its peculiar goals, and a very wide array of other projects, people, software, and ideas. Then, all of a sudden, in the heat of the dotcom boom, Free Software was a movement. Suddenly, it was a problem, a danger, a job, a calling, a dogma, a solution, a philosophy, a liberation, a methodology, a business plan, a success, and an alternative. Suddenly, it was Open Source or Free Software, and it became necessary to choose sides. After 1998, debates about definition exploded; denunciations and manifestos and journalistic hagiography proliferated. Ironically, the creation of two names allowed people to identify one thing, for ,{[pg 116]}, these two names referred to identical practices, licenses, tools, and organizations. Free Software and Open Source shared everything "material," but differed vocally and at great length with respect to ideology. Stallman was denounced as a kook, a communist, an idealist, and a dogmatic holding back the successful adoption of Open Source by business; Raymond and users of "open source" were charged with selling out the ideals of freedom and autonomy, with the dilution of the principles and the promise of Free Software, as well as with being stooges of capitalist domination. Meanwhile, both groups proceeded to create objects—principally software—using tools that they agreed on, concepts of openness that they agreed on, licenses that they agreed on, and organizational schemes that they agreed on. Yet never was there fiercer debate about the definition of Free Software. +={Raymond, Eric Steven;Stallman, Richard;usable pasts} + +On the one hand, the Free Software Foundation privileges the liberty and creativity of individual geeks, geeks engaged in practices of self-fashioning through the creation of software. It gives precedence to the liberal claim that without freedom of expression, individuals are robbed of their ability to self-determine. On the other hand, Open Source privileges organizations and processes, that is, geeks who are engaged in building businesses, nonprofit organizations, or governmental and public organizations of some form or another. It gives precedence to the pragmatist (or polymathic) view that getting things done requires flexible principles and negotiation, and that the public practice of building and running things should be separate from the private practice of ethical and political beliefs. Both narratives give geeks ways of making sense of a practice that they share in almost all of its details; both narratives give geeks a way to understand how Free Software or Open Source Software is different from the mainstream, proprietary software development that dominates their horizons. The narratives turn the haphazard participation and sharing that existed before 1998 into meaningful, goal-directed practices in the present, turning a class-in-itself into a class-for-itself, to use a terminology for the most part unwelcome among geeks. +={geeks} + +If two radically opposed ideologies can support people engaged in identical practices, then it seems obvious that the real space of politics and contestation is at the level of these practices and their emergence. These practices emerge as a response to a reorientation of power and knowledge, a reorientation somewhat impervious to ,{[pg 117]}, conventional narratives of freedom and liberty, or to pragmatic claims of methodological necessity or market-driven innovation. Were these conventional narratives sufficient, the practices would be merely bureaucratic affairs, rather than the radical transformations they are. +={reorientation of power and knowledge} + +1~ 4. Sharing Source Code + +% ,{[pg 118]}, + +Free Software would be nothing without shared source code. The idea is built into the very name "Open Source," and it is a requirement of all Free Software licenses that source code be open to view, not "welded shut." Perhaps ironically, source code is the most material of the five components of Free Software; it is both an expressive medium, like writing or speech, and a tool that performs concrete actions. It is a mnemonic that translates between the illegible electron-speed doings of our machines and our lingering ability to partially understand and control them as human agents. Many Free Software programmers and advocates suggest that "information wants to be free" and that sharing is a natural condition of human life, but I argue something contrary: sharing produces its own kind of moral and technical order, that is, "information makes people want freedom" and how they want it is related to how that information is created and circulated. In this chapter I explore the ,{[pg 119]}, twisted and contingent history of how source code and its sharing have come to take the technical, legal, and pedagogical forms they have today, and how the norms of sharing have come to seem so natural to geeks. +={moral and technical order;sharing source code (component of Free Software)+50;pedagogy:operating systems and+2} + +Source code is essential to Free Software because of the historically specific ways in which it has come to be shared, "ported," and "forked." Nothing about the nature of source code requires that it be shared, either by corporations for whom secrecy and jealous protection are the norm or by academics and geeks for whom source code is usually only one expression, or implementation, of a greater idea worth sharing. However, in the last thirty years, norms of sharing source code—technical, legal, and pedagogical norms—have developed into a seemingly natural practice. They emerged through attempts to make software into a product, such as IBM’s 1968 "unbundling" of software and hardware, through attempts to define and control it legally through trade secret, copyright, and patent law, and through attempts to teach engineers how to understand and to create more software. +={implementation of software;Secrecy+7;unbundling;Intellectual property;International Business Machines (IBM)} + +The story of the norms of sharing source code is, not by accident, also the history of the UNIX operating system.~{ "Sharing" source code is not the only kind of sharing among geeks (e.g., informal sharing to communicate ideas), and UNIX is not the only ,{[pg 324]}, shared software. Other examples that exhibit this kind of proliferation (e.g., the LISP programming language, the TeX text-formatting system) are as ubiquitous as UNIX today. The inverse of my argument here is that selling produces a different kind of order: many products that existed in much larger numbers than UNIX have since disappeared because they were never ported or forked; they are now part of dead-computer museums and collections, if they have survived at all. }~ The UNIX operating system is a monstrous academic-corporate hybrid, an experiment in portability and sharing whose impact is widely and reverently acknowledged by geeks, but underappreciated more generally. The story of UNIX demonstrates the details of how source code has come to be shared, technically, legally, and pedagogically. In technical terms UNIX and the programming language C in which it was written demonstrated several key ideas in operating-systems theory and practice, and they led to the widespread "porting" of UNIX to virtually every kind of hardware available in the 1970s, all around the world. In legal terms UNIX’s owner, AT&T, licensed it widely and liberally, in both binary and source-code form; the legal definition of UNIX as a product, however, was not the same as the technical definition of UNIX as an evolving experiment in portable operating systems—a tension that has continued throughout its lifetime. In pedagogical terms UNIX became the very paradigm of an "operating system" and was thereby ported not only in the technical sense from one machine to another, but from machines to minds, as computer-science students learning the meaning of "operating system" studied the details of the quasi-legally shared UNIX source code.~{ The story of UNIX has not been told, and yet it has been told hundreds of thousands of times. Every hacker, programmer, computer scientist, and geek tells a version of UNIX history—a usable past. Thus, the sources for this chapter include these stories, heard and recorded throughout my fieldwork, but also easily accessible in academic work on Free Software, which enthusiastically participates in this potted-history retailing. See, for example, Steven Weber, The Success of Open Source; Castells, The Internet Galaxy; Himanen, The Hacker Ethic; Benkler, The Wealth of Networks. To date there is but one detailed history of UNIX—A Quarter Century of UNIX, by Peter Salus—which I rely on extensively. Matt Ratto’s dissertation, "The Pressure of Openness," also contains an excellent analytic history of the events told in this chapter. }~ +={operating systems, history of+40;programming languages+46;UNIX operating system+3;AT&T+2;C (programming language);programming+11} + +% ,{[pg 120]}, + +The proliferation of UNIX was also a hybrid commercial-academic undertaking: it was neither a "public domain" object shared solely among academics, nor was it a conventional commercial product. Proliferation occurred through novel forms of academic sharing as well as through licensing schemes constrained by the peculiar status of AT&T, a regulated monopoly forbidden to enter the computer and software industry before 1984. Thus proliferation was not mere replication: it was not the sale of copies of UNIX, but a complex web of shared and re-shared chunks of source code, and the reimplementation of an elegant and simple conceptual scheme. As UNIX proliferated, it was stabilized in multiple ways: by academics seeking to keep it whole and self-compatible through contributions of source code; by lawyers at AT&T seeking to define boundaries that mapped onto laws, licenses, versions, and regulations; and by professors seeking to define it as an exemplar of the core concepts of operating-system theory. In all these ways, UNIX was a kind of primal recursive public, drawing together people for whom the meaning of their affiliation was the use, modification, and stabilization of UNIX. +={public domain;recursive public:precursors of;monopoly;proliferation of software+1} + +The obverse of proliferation is differentiation: forking. UNIX is admired for its integrity as a conceptual thing and despised (or marveled at) for its truly tangled genealogical tree of ports and forks: new versions of UNIX, some based directly on the source code, some not, some licensed directly from AT&T, some sublicensed or completely independent. +={differentiation of software} + +Forking, like random mutation, has had both good and bad effects; on the one hand, it ultimately created versions of UNIX that were not compatible with themselves (a kind of autoimmune response), but it also allowed the merger of UNIX and the Arpanet, creating a situation wherein UNIX operating systems came to be not only the paradigm of operating systems but also the paradigm of networked computers, through its intersection with the development of the TCP/IP protocols that are at the core of the Internet.~{ The intersection of UNIX and TCP/IP occurred around 1980 and led to the famous switch from the Network Control Protocol (NCP) to the Transmission Control Protocol/Internet Protocol that occurred on 1 January 1983 (see Salus, Casting the Net). }~ By the mid-1980s, UNIX was a kind of obligatory passage point for anyone interested in networking, operating systems, the Internet, and especially, modes of creating, sharing, and modifying source code—so much so that UNIX has become known among geeks not just as an operating system but as a philosophy, an answer to a very old question in new garb: how shall we live, among a new world of machines, software, and networks? +={Arpanet (network);protocols: distinguished from standards and implementation;Open Systems Interconnection (OSI):TCP/IP;TCP/IP (Transmission Control Protocol/Internet Protocol);UNIX operating system: relationship to Arpanet;UNIX philosophy} + +% ,{[pg 121]}, + +2~ Before Source + +In the early days of computing machinery, there was no such thing as source code. Alan Turing purportedly liked to talk to the machine in binary. Grace Hopper, who invented an early compiler, worked as close to the Harvard Mark I as she could get: flipping switches and plugging and unplugging relays that made up the "code" of what the machine would do. Such mechanical and meticulous work hardly merits the terms reading and writing; there were no GOTO statements, no line numbers, only calculations that had to be translated from the pseudo-mathematical writing of engineers and human computers to a physical or mechanical configuration.~{ Light, "When Computers Were Women"; Grier, When Computers Were Human. }~ Writing and reading source code and programming languages was a long, slow development that became relatively widespread only by the mid-1970s. So-called higher-level languages began to appear in the late 1950s: FORTRAN, COBOL, Algol, and the "compilers" which allowed for programs written in them to be transformed into the illegible mechanical and valvular representations of the machine. It was in this era that the terms source language and target language emerged to designate the activity of translating higher to lower level languages.~{ There is a large and growing scholarly history of software: Wexelblat, History of Programming Languages and Bergin and Gibson, History of Programming Languages 2 are collected papers by historians and participants. Key works in history include Campbell-Kelly, From Airline Reservations to Sonic the Hedgehog; Akera and Nebeker, From 0 to 1; Hashagen, Keil-Slawik, and Norberg, History of Computing—Software Issues; Donald A. MacKenzie, Mechanizing Proof. Michael Mahoney has written by far the most about the early history of software; his relevant works include "The Roots of Software Engineering," "The Structures of Computation," "In Our Own Image," and "Finding a History for Software Engineering." On UNIX in particular, there is shockingly little historical work. Martin Campbell-Kelly and William Aspray devote a mere two pages in their general history Computer. As early as 1978, Ken Thompson and Dennis Ritchie were reflecting on the "history" of UNIX in "The UNIX Time-Sharing System: A Retrospective." Ritchie maintains a Web site that contains a valuable collection of early documents and his own reminiscences (http://www.cs.bell-labs.com/who/dmr/ ,{[pg 325]}, ). Mahoney has also conducted interviews with the main participants in the development of UNIX at Bell Labs. These interviews have not been published anywhere, but are drawn on as background in this chapter (interviews are in Mahoney’s personal files). }~ +={FORTRAN (programming language);Hopper, Grace;Turing, Alan+2;translation of source code+5;sharing source code (component of Free Software):before Software+5;source code:translation of+5} + +There is a certain irony about the computer, not often noted: the unrivaled power of the computer, if the ubiquitous claims are believed, rests on its general programmability; it can be made to do any calculation, in principle. The so-called universal Turing machine provides the mathematical proof.~{ Turing, "On Computable Numbers." See also Davis, Engines of Logic, for a basic explanation. }~ Despite the abstract power of such certainty, however, we do not live in the world of The Computer—we live in a world of computers. The hardware systems that manufacturers created from the 1950s onward were so specific and idiosyncratic that it was inconceivable that one might write a program for one machine and then simply run it on another. "Programming" became a bespoke practice, tailored to each new machine, and while programmers of a particular machine may well have shared programs with each other, they would not have seen much point in sharing with users of a different machine. Likewise, computer scientists shared mathematical descriptions of algorithms and ideas for automation with as much enthusiasm as corporations jealously guarded theirs, but this sharing, or secrecy, did not extend to the sharing of the program itself. The need to "rewrite" a program for each machine was not just a historical accident, but ,{[pg 122]}, was determined by the needs of designers and engineers and the vicissitudes of the market for such expensive machines.~{ Sharing programs makes sense in this period only in terms of user groups such as SHARE (IBM) and USE (DEC). These groups were indeed sharing source code and sharing programs they had written (see Akera, "Volunteerism and the Fruits of Collaboration"), but they were constituted around specific machines and manufacturers; brand loyalty and customization were familiar pursuits, but sharing source code across dissimilar computers was not. }~ + +In the good old days of computers-the-size-of-rooms, the languages that humans used to program computers were mnemonics; they did not exist in the computer, but on a piece of paper or a specially designed code sheet. The code sheet gave humans who were not Alan Turing a way to keep track of, to share with other humans, and to think systematically about the invisible light-speed calculations of a complicated device. Such mnemonics needed to be "coded" on punch cards or tape; if engineers conferred, they conferred over sheets of paper that matched up with wires, relays, and switches—or, later, printouts of the various machine-specific codes that represented program and data. + +With the introduction of programming languages, the distinction between a "source" language and a "target" language entered the practice: source languages were "translated" into the illegible target language of the machine. Such higher-level source languages were still mnemonics of sorts—they were certainly easier for humans to read and write, mostly on yellowing tablets of paper or special code sheets—but they were also structured enough that a source language could be input into a computer and translated into a target language which the designers of the hardware had specified. Inputting commands and cards and source code required a series of actions specific to each machine: a particular card reader or, later, a keypunch with a particular "editor" for entering the commands. Properly input and translated source code provided the machine with an assembled binary program that would, in fact, run (calculate, operate, control). It was a separation, an abstraction that allowed for a certain division of labor between the ingenious human authors and the fast and mechanical translating machines. +={text editors+1} + +Even after the invention of programming languages, programming "on" a computer—sitting at a glowing screen and hacking through the night—was still a long time in coming. For example, only by about 1969 was it possible to sit at a keyboard, write source code, instruct the computer to compile it, then run the program—all without leaving the keyboard—an activity that was all but unimaginable in the early days of "batch processing."~{ See Waldrop, The Dream Machine, 142-47. }~ Very few programmers worked in such a fashion before the mid-1970s, when text editors that allowed programmers to see the text on a screen rather ,{[pg 123]}, than on a piece of paper started to proliferate.~{ A large number of editors were created in the 1970s; Richard Stallman’s EMACS and Bill Joy’s vi remain the most well known. Douglas Engelbart is somewhat too handsomely credited with the creation of the interactive computer, but the work of Butler Lampson and Peter Deutsch in Berkeley, as well as that of the Multics team, Ken Thompson, and others on early on-screen editors is surely more substantial in terms of the fundamental ideas and problems of manipulating text files on a screen. This story is largely undocumented, save for in the computer-science literature itself. On Engelbart, see Bardini, Bootstrapping. }~ We are, by now, so familiar with the image of the man or woman sitting at a screen interacting with this device that it is nearly impossible to imagine how such a seemingly obvious practice was achieved in the first place—through the slow accumulation of the tools and techniques for working on a new kind of writing—and how that practice exploded into a Babel of languages and machines that betrayed the promise of the general-purpose computing machine. +={proliferation of software+2;source code:batch processing;standards:programming languages+3} + +The proliferation of different machines with different architectures drove a desire, among academics especially, for the standardization of programming languages, not so much because any single language was better than another, but because it seemed necessary to most engineers and computer users to share an emerging corpus of algorithms, solutions, and techniques of all kinds, necessary to avoid reinventing the wheel with each new machine. Algol, a streamlined language suited to algorithmic and algebraic representations, emerged in the early 1960s as a candidate for international standardization. Other languages competed on different strengths: FORTRAN and COBOL for general business use; LISP for symbolic processing. At the same time, the desire for a standard "higher-level" language necessitated a bestiary of translating programs: compilers, parsers, lexical analyzers, and other tools designed to transform the higher-level (human-readable) language into a machine-specific lower-level language, that is, machine language, assembly language, and ultimately the mystical zeroes and ones that course through our machines. The idea of a standard language and the necessity of devising specific tools for translation are the origin of the problem of portability: the ability to move software—not just good ideas, but actual programs, written in a standard language—from one machine to another. +={COBOL (programming language);FORTRAN (programming language);LISP (programming language);portability, of operating systems+8} + +A standard source language was seen as a way to counteract the proliferation of different machines with subtly different architectures. Portable source code would allow programmers to imagine their programs as ships, stopping in at ports of call, docking on different platforms, but remaining essentially mobile and unchanged by these port-calls. Portable source code became the Esperanto of humans who had wrought their own Babel of tribal hardware machines. +={source code+7} + +Meanwhile, for the computer industry in the 1960s, portable source code was largely a moot point. Software and hardware were ,{[pg 124]}, two sides of single, extremely expensive coin—no one, except engineers, cared what language the code was in, so long as it performed the task at hand for the customer. Each new machine needed to be different, faster, and, at first, bigger, and then smaller, than the last. The urge to differentiate machines from each other was not driven by academic experiment or aesthetic purity, but by a demand for marketability, competitive advantage, and the transformation of machines and software into products. Each machine had to do something really well, and it needed to be developed in secret, in order to beat out the designs and innovations of competitors. In the 1950s and 1960s the software was a core component of this marketable object; it was not something that in itself was differentiated or separately distributed—until IBM’s famous decision in 1968 to "unbundle" software and hardware. +={unbundling+2} + +Before the 1970s, employees of a computer corporation wrote software in-house. The machine was the product, and the software was just an extra line-item on the invoice. IBM was not the first to conceive of software as an independent product with its own market, however. Two companies, Informatics and Applied Data Research, had explored the possibilities of a separate market in software.~{ See Campbell-Kelly, From Airline Reservations to Sonic the Hedgehog. }~ Informatics, in particular, developed the first commercially successful software product, a business-management system called Mark IV, which in 1967 cost $30,000. Informatics’ president Walter Bauer "later recalled that potential buyers were ‘astounded’ by the price of Mark IV. In a world accustomed to free software the price of $30,000 was indeed high."~{ Ibid., 107. }~ +={Applied Data Research (corporation);Informatics (corporation)} + +IBM’s unbundling decision marked a watershed, the point at which "portable" source code became a conceivable idea, if not a practical reality, to many in the industry.~{ Campbell-Kelly and Aspray, Computer, 203-5. }~ Rather than providing a complete package of hardware and software, IBM decided to differentiate its products: to sell software and hardware separately to consumers.~{ Ultimately, the Department of Justice case against IBM used bundling as evidence of monopolistic behavior, in addition to claims about the creation of so-called Plug Compatible Machines, devices that were reverse-engineered by meticulously constructing both the mechanical interface and the software that would communicate with IBM mainframes. See Franklin M. Fischer, Folded, Spindled, and Mutilated; Brock, The Second Information Revolution. }~ But portability was not simply a technical issue; it was a political-economic one as well. IBM’s decision was driven both by its desire to create IBM software that ran on all IBM machines (a central goal of the famous OS/360 project overseen and diagnosed by Frederick Brooks) and as response to an antitrust suit filed by the U.S. Department of Justice.~{ The story of this project and the lessons Brooks learned are the subject of one of the most famous software-development handbooks, The Mythical Man-Month, by Frederick Brooks. }~ The antitrust suit included as part of its claims the suggestion that the close tying of software and hardware represented a form of monopolistic behavior, and it prompted IBM to consider strategies to "unbundle" its product. +={antitrust;Brooks, Frederick;Justice, Department of;monopoly} + +% ,{[pg 125]}, + +Portability in the business world meant something specific, however. Even if software could be made portable at a technical level—transferable between two different IBM machines—this was certainly no guarantee that it would be portable between customers. One company’s accounting program, for example, may not suit another’s practices. Portability was therefore hindered both by the diversity of machine architectures and by the diversity of business practices and organization. IBM and other manufacturers therefore saw no benefit to standardizing source code, as it could only provide an advantage to competitors.~{ The computer industry has always relied heavily on trade secret, much less so on patent and copyright. Trade secret also produces its own form of order, access, and circulation, which was carried over into the early software industry as well. See Kidder, The Soul of a New Machine for a classic account of secrecy and competition in the computer industry. }~ + +Portability was thus not simply a technical problem—the problem of running one program on multiple architectures—but also a kind of political-economic problem. The meaning of product was not always the same as the meaning of hardware or software, but was usually some combination of the two. At that early stage, the outlines of a contest over the meaning of portable or shareable source code are visible, both in the technical challenges of creating high-level languages and in the political-economic challenges that corporations faced in creating distinctive proprietary products. + +2~ The UNIX Time-Sharing System +={UNIX operating system:history of+18} + +Set against this backdrop, the invention, success, and proliferation of the UNIX operating system seems quite monstrous, an aberration of both academic and commercial practice that should have failed in both realms, instead of becoming the most widely used portable operating system in history and the very paradigm of an "operating system" in general. The story of UNIX demonstrates how portability became a reality and how the particular practice of sharing UNIX source code became a kind of de facto standard in its wake. + +UNIX was first written in 1969 by Ken Thompson and Dennis Ritchie at Bell Telephone Labs in Murray Hill, New Jersey. UNIX was the dénouement of the MIT project Multics, which Bell Labs had funded in part and to which Ken Thompson had been assigned. Multics was one of the earliest complete time-sharing operating systems, a demonstration platform for a number of early innovations in time-sharing (multiple simultaneous users on one computer).~{ On time sharing, see Lee et al., "Project MAC." Multics makes an appearance in nearly all histories of computing, the best resource by far being Tom van Vleck’s Web site http://www.multicians.org/. }~ By 1968, Bell Labs had pulled its support—including Ken Thompson—from the project and placed him back in Murray Hill, where he and ,{[pg 126]}, Dennis Ritchie were stuck without a machine, without any money, and without a project. They were specialists in operating systems, languages, and machine architecture in a research group that had no funding or mandate to pursue these areas. Through the creative use of some discarded equipment, and in relative isolation from the rest of the lab, Thompson and Ritchie created, in the space of about two years, a complete operating system, a programming language called C, and a host of tools that are still in extremely wide use today. The name UNIX (briefly, UNICS) was, among other things, a puerile pun: a castrated Multics. +={C (programming language);Multics+1;Ritchie, Dennis+19;Thompson, Ken+16} + +The absence of an economic or corporate mandate for Thompson’s and Ritchie’s creativity and labor was not unusual for Bell Labs; researchers were free to work on just about anything, so long as it possessed some kind of vague relation to the interests of AT&T. However, the lack of funding for a more powerful machine did restrict the kind of work Thompson and Ritchie could accomplish. In particular, it influenced the design of the system, which was oriented toward a super-slim control unit (a kernel) that governed the basic operation of the machine and an expandable suite of small, independent tools, each of which did one thing well and which could be strung together to accomplish more complex and powerful tasks.~{ Some widely admired technical innovations (many of which were borrowed from Multics) include: the hierarchical file system, the command shell for interacting with the system; the decision to treat everything, including external devices, as the same kind of entity (a file), the "pipe" operator which allowed the output of one tool to be "piped" as input to another tool, facilitating the easy creation of complex tasks from simple tools. }~ With the help of Joseph Ossana, Douglas McIlroy, and others, Thompson and Ritchie eventually managed to agitate for a new PDP-11/20 based not on the technical merits of the UNIX operating system itself, but on its potential applications, in particular, those of the text-preparation group, who were interested in developing tools for formatting, typesetting, and printing, primarily for the purpose of creating patent applications, which was, for Bell Labs, and for AT&T more generally, obviously a laudable goal.~{ Salus, A Quarter Century of UNIX, 33-37. }~ +={AT&T+14;McIlroy, Douglas} + +UNIX was unique for many technical reasons, but also for a specific economic reason: it was never quite academic and never quite commercial. Martin Campbell-Kelly notes that UNIX was a "non-proprietary operating system of major significance."~{ Campbell-Kelly, From Airline Reservations to Sonic the Hedgehog, 143. }~ Kelly’s use of "non-proprietary" is not surprising, but it is incorrect. Although business-speak regularly opposed open to proprietary throughout the 1980s and early 1990s (and UNIX was definitely the former), Kelly’s slip marks clearly the confusion between software ownership and software distribution that permeates both popular and academic understandings. UNIX was indeed proprietary—it was copyrighted and wholly owned by Bell Labs and in turn by Western Electric ,{[pg 127]}, and AT&T—but it was not exactly commercialized or marketed by them. Instead, AT&T allowed individuals and corporations to install UNIX and to create UNIX-like derivatives for very low licensing fees. Until about 1982, UNIX was licensed to academics very widely for a very small sum: usually royalty-free with a minimal service charge (from about $150 to $800).~{ Ritchie’s Web site contains a copy of a 1974 license (http://cm.bell-labs.com/cm/cs/who/dmr/licenses.html) and a series of ads that exemplify the uneasy positioning of UNIX as a commercial product (http://cm.bell-labs.com/cm/cs/who/dmr/unixad.html). According to Don Libes and Sandy Ressler, "The original licenses were source licenses. . . . [C]ommercial institutions paid fees on the order of $20,000. If you owned more than one machine, you had to buy binary licenses for every additional machine [i.e., you were not allowed to copy the source and install it] you wanted to install UNIX on. They were fairly pricey at $8000, considering you couldn’t resell them. On the other hand, educational institutions could buy source licenses for several hundred dollars—just enough to cover Bell Labs’ administrative overhead and the cost of the tapes" (Life with UNIX, 20-21). }~ The conditions of this license allowed researchers to do what they liked with the software so long as they kept it secret: they could not distribute or use it outside of their university labs (or use it to create any commercial product or process), nor publish any part of it. As a result, throughout the 1970s UNIX was developed both by Thompson and Ritchie inside Bell Labs and by users around the world in a relatively informal manner. Bell Labs followed such a liberal policy both because it was one of a small handful of industry-academic research and development centers and because AT&T was a government monopoly that provided phone service to the country and was therefore forbidden to directly enter the computer software market.~{ According to Salus, this licensing practice was also a direct result of Judge Thomas Meaney’s 1956 antitrust consent decree which required AT&T to reveal and to license its patents for nominal fees (A Quarter Century of UNIX, 56); see also Brock, The Second Information Revolution, 116-20. }~ +={AT&T:Bell Labratories+13;licensing, of UNIX+6;proprietary systems: open vs.;monopoly} + +Being on the border of business and academia meant that UNIX was, on the one hand, shielded from the demands of management and markets, allowing it to achieve the conceptual integrity that made it so appealing to designers and academics. On the other, it also meant that AT&T treated it as a potential product in the emerging software industry, which included new legal questions from a changing intellectual-property regime, novel forms of marketing and distribution, and new methods of developing, supporting, and distributing software. + +Despite this borderline status, UNIX was a phenomenal success. The reasons why UNIX was so popular are manifold; it was widely admired aesthetically, for its size, and for its clever design and tools. But the fact that it spread so widely and quickly is testament also to the existing community of eager computer scientists and engineers (and a few amateurs) onto which it was bootstrapped, users for whom a powerful, flexible, low-cost, modifiable, and fast operating system was a revelation of sorts. It was an obvious alternative to the complex, poorly documented, buggy operating systems that routinely shipped standard with the machines that universities and research organizations purchased. "It worked," in other words. + +A key feature of the popularity of UNIX was the inclusion of the source code. When Bell Labs licensed UNIX, they usually provided a tape that contained the documentation (i.e., documentation that ,{[pg 128]}, was part of the system, not a paper technical manual external to it), a binary version of the software, and the source code for the software. The practice of distributing the source code encouraged people to maintain it, extend it, document it—and to contribute those changes to Thompson and Ritchie as well. By doing so, users developed an interest in maintaining and supporting the project precisely because it gave them an opportunity and the tools to use their computer creatively and flexibly. Such a globally distributed community of users organized primarily by their interest in maintaining an operating system is a precursor to the recursive public, albeit confined to the world of computer scientists and researchers with access to still relatively expensive machines. As such, UNIX was not only a widely shared piece of quasi-commercial software (i.e., distributed in some form other than through a price-based retail market), but also the first to systematically include the source code as part of that distribution as well, thus appealing more to academics and engineers.~{ Even in computer science, source code was rarely formally shared, and more likely presented in the form of theorems and proofs, or in various idealized higher-level languages such as Donald Knuth’s MIX language for presenting algorithms (Knuth, The Art of Computer Programming). Snippets of actual source code are much more likely to be found in printed form in handbooks, manuals, how-to guides, and other professional publications aimed at training programmers. }~ +={recursive public:precursors of} + +Throughout the 1970s, the low licensing fees, the inclusion of the source code, and its conceptual integrity meant that UNIX was ported to a remarkable number of other machines. In many ways, academics found it just as appealing, if not more, to be involved in the creation and improvement of a cutting-edge system by licensing and porting the software themselves, rather than by having it provided to them, without the source code, by a company. Peter Salus, for instance, suggests that people experienced the lack of support from Bell Labs as a kind of spur to develop and share their own fixes. The means by which source code was shared, and the norms and practices of sharing, porting, forking, and modifying source code were developed in this period as part of the development of UNIX itself—the technical design of the system facilitates and in some cases mirrors the norms and practices of sharing that developed: operating systems and social systems.~{ The simultaneous development of the operating system and the norms for creating, sharing, documenting, and extending it are often referred to as the "UNIX philosophy." It includes the central idea that one should build on the ideas (software) of others (see Gancarz, The Unix Philosophy and Linux and the UNIX Philosophy). See also Raymond, The Art of UNIX Programming. }~ +={Salus, Peter+6} + +2~ Sharing UNIX + +Over the course of 1974-77 the spread and porting of UNIX was phenomenal for an operating system that had no formal system of distribution and no official support from the company that owned it, and that evolved in a piecemeal way through the contributions ,{[pg 129]}, of people from around the world. By 1975, a user’s group had developed: USENIX.~{ Bell Labs threatened the nascent UNIX NEWS newsletter with trademark infringement, so "USENIX" was a concession that harkened back to the original USE users’ group for DEC machines, but avoided explicitly using the name UNIX. Libes and Ressler, Life with UNIX, 9. }~ UNIX had spread to Canada, Europe, Australia, and Japan, and a number of new tools and applications were being both independently circulated and, significantly, included in the frequent releases by Bell Labs itself. All during this time, AT&T’s licensing department sought to find a balance between allowing this circulation and innovation to continue, and attempting to maintain trade-secret status for the software. UNIX was, by 1980, without a doubt the most widely and deeply understood trade secret in computing history. +={Free Software:passim;software tools+2;trade secret law;Usenix (user group)} + +The manner in which the circulation of and contribution to UNIX occurred is not well documented, but it includes both technical and pedagogical forms of sharing. On the technical side, distribution took a number of forms, both in resistance to AT&T’s attempts to control it and facilitated by its unusually liberal licensing of the software. On the pedagogical side, UNIX quickly became a paradigmatic object for computer-science students precisely because it was a working operating system that included the source code and that was simple enough to explore in a semester or two. +={sharing source code (component of Free Software):pedagogical aspects} + +In A Quarter Century of UNIX Salus provides a couple of key stories (from Ken Thompson and Lou Katz) about how exactly the technical sharing of UNIX worked, how sharing, porting, and forking can be distinguished, and how it was neither strictly legal nor deliberately illegal in this context. First, from Ken Thompson: "The first thing to realize is that the outside world ran on releases of UNIX (V4, V5, V6, V7) but we did not. Our view was a continuum. V5 was what we had at some point in time and was probably out of date simply by the activity required to put it in shape to export. After V6, I was preparing to go to Berkeley to teach for a year. I was putting together a system to take. Since it was almost a release, I made a diff with V6 [a tape containing only the differences between the last release and the one Ken was taking with him]. On the way to Berkeley I stopped by Urbana-Champaign to keep an eye on Greg Chesson. . . . I left the diff tape there and I told him that I wouldn’t mind if it got around."~{ Salus, A Quarter Century of Unix, 138. }~ +={diff (software tool)+2;Katz, Lou+3;sharing source code (component of Free Software):legal aspects+4|technical aspects+5} + +The need for a magnetic tape to "get around" marks the difference between the 1970s and the present: the distribution of software involved both the material transport of media and the digital copying of information. The desire to distribute bug fixes (the "diff " tape) resonates with the future emergence of Free Software: the ,{[pg 130]}, fact that others had fixed problems and contributed them back to Thompson and Ritchie produced an obligation to see that the fixes were shared as widely as possible, so that they in turn might be ported to new machines. Bell Labs, on the other hand, would have seen this through the lens of software development, requiring a new release, contract renegotiation, and a new license fee for a new version. Thompson’s notion of a "continuum," rather than a series of releases also marks the difference between the idea of an evolving common set of objects stewarded by multiple people in far-flung locales and the idea of a shrink-wrapped "productized" software package that was gaining ascendance as an economic commodity at the same time. When Thompson says "the outside world," he is referring not only to people outside of Bell Labs but to the way the world was seen from within Bell Labs by the lawyers and marketers who would create a new version. For the lawyers, the circulation of source code was a problem because it needed to be stabilized, not so much for commercial reasons as for legal ones—one license for one piece of software. Distributing updates, fixes, and especially new tools and additions written by people who were not employed by Bell Labs scrambled the legal clarity even while it strengthened the technical quality. Lou Katz makes this explicit. + +_1 A large number of bug fixes was collected, and rather than issue them one at a time, a collection tape ("the 50 fixes") was put together by Ken [the same "diff tape," presumably]. Some of the fixes were quite important, though I don’t remember any in particular. I suspect that a significant fraction of the fixes were actually done by non-Bell people. Ken tried to send it out, but the lawyers kept stalling and stalling and stalling. Finally, in complete disgust, someone "found a tape on Mountain Avenue" [the location of Bell Labs] which had the fixes. When the lawyers found out about it, they called every licensee and threatened them with dire consequences if they didn’t destroy the tape, after trying to find out how they got the tape. I would guess that no one would actually tell them how they came by the tape (I didn’t).~{ Ibid., emphasis added. }~ + +Distributing the fixes involved not just a power struggle between the engineers and management, but was in fact clearly motivated by the fact that, as Katz says, "a significant fraction of the fixes were done by non-Bell people." This meant two things: first, that there was an obvious incentive to return the updated system to these ,{[pg 131]}, people and to others; second, that it was not obvious that AT&T actually owned or could claim rights over these fixes—or, if they did, they needed to cover their legal tracks, which perhaps in part explains the stalling and threatening of the lawyers, who may have been buying time to make a "legal" version, with the proper permissions. + +The struggle should be seen not as one between the rebel forces of UNIX development and the evil empire of lawyers and managers, but as a struggle between two modes of stabilizing the object known as UNIX. For the lawyers, stability implied finding ways to make UNIX look like a product that would meet the existing legal framework and the peculiar demands of being a regulated monopoly unable to freely compete with other computer manufacturers; the ownership of bits and pieces, ideas and contributions had to be strictly accountable. For the programmers, stability came through redistributing the most up-to-date operating system and sharing all innovations with all users so that new innovations might also be portable. The lawyers saw urgency in making UNIX legally stable; the engineers saw urgency in making UNIX technically stable and compatible with itself, that is, to prevent the forking of UNIX, the death knell for portability. The tension between achieving legal stability of the object and promoting its technical portability and stability is one that has repeated throughout the life of UNIX and its derivatives—and that has ramifications in other areas as well. +={ontology:of UNIX operating system+2} + +The identity and boundaries of UNIX were thus intricately formed through its sharing and distribution. Sharing produced its own form of moral and technical order. Troubling questions emerged immediately: were the versions that had been fixed, extended, and expanded still UNIX, and hence still under the control of AT&T? Or were the differences great enough that something else (not-UNIX) was emerging? If a tape full of fixes, contributed by non-Bell employees, was circulated to people who had licensed UNIX, and those fixes changed the system, was it still UNIX? Was it still UNIX in a legal sense or in a technical sense or both? While these questions might seem relatively scholastic, the history of the development of UNIX suggests something far more interesting: just about every possible modification has been made, legally and technically, but the concept of UNIX has remained remarkably stable. +={moral and technical order} + +% ,{[pg 132]}, + +2~ Porting UNIX + +Technical portability accounts for only part of UNIX’s success. As a pedagogical resource, UNIX quickly became an indispensable tool for academics around the world. As it was installed and improved, it was taught and learned. The fact that UNIX spread first to university computer-science departments, and not to businesses, government, or nongovernmental organizations, meant that it also became part of the core pedagogical practice of a generation of programmers and computer scientists; over the course of the 1970s and 1980s, UNIX came to exemplify the very concept of an operating system, especially time-shared, multi-user operating systems. Two stories describe the porting of UNIX from machines to minds and illustrate the practice as it developed and how it intersected with the technical and legal attempts to stabilize UNIX as an object: the story of John Lions’s Commentary on Unix 6th Edition and the story of Andrew Tanenbaum’s Minix. +={Lions, John+10;Tanenbaum, Andrew+1;UNIX philosophy+1} + +The development of a pedagogical UNIX lent a new stability to the concept of UNIX as opposed to its stability as a body of source code or as a legal entity. The porting of UNIX was so successful that even in cases where a ported version of UNIX shares none of the same source code as the original, it is still considered UNIX. The monstrous and promiscuous nature of UNIX is most clear in the stories of Lions and Tanenbaum, especially when contrasted with the commercial, legal, and technical integrity of something like Microsoft Windows, which generally exists in only a small number of forms (NT, ME, XP, 95, 98, etc.), possessing carefully controlled source code, immured in legal protection, and distributed only through sales and service packs to customers or personal-computer manufacturers. While Windows is much more widely used than UNIX, it is far from having become a paradigmatic pedagogical object; its integrity is predominantly legal, not technical or pedagogical. Or, in pedagogical terms, Windows is to fish as UNIX is to fishing lessons. +={Microsoft:Windows operating system;sharing source code (component of Free Software):pedagogical aspects+9;UNIX operating system:Windows operating system vs.} + +Lions’s Commentary is also known as "the most photocopied document in computer science." Lions was a researcher and senior lecturer at the University of New South Wales in the early 1970s; after reading the first paper by Ritchie and Thompson on UNIX, he convinced his colleagues to purchase a license from AT&T.~{ Ken Thompson and Dennis Ritchie, "The Unix Operating System," Bell Systems Technical Journal (1974). }~ Lions, like many researchers, was impressed by the quality of the system, and he was, like all of the UNIX users of that period, intimately ,{[pg 133]}, familiar with the UNIX source code—a necessity in order to install, run, or repair it. Lions began using the system to teach his classes on operating systems, and in the course of doing so he produced a textbook of sorts, which consisted of the entire source code of UNIX version 6 (V6), along with elaborate, line-by-line commentary and explanation. The value of this textbook can hardly be underestimated. Access to machines and software that could be used to understand how a real system worked was very limited: "Real computers with real operating systems were locked up in machine rooms and committed to processing twenty four hours a day. UNIX changed that."~{ Greg Rose, quoted in Lions, Commentary, n.p. }~ Berny Goodheart, in an appreciation of Lions’s Commentary, reiterated this sense of the practical usefulness of the source code and commentary: "It is important to understand the significance of John’s work at that time: for students studying computer science in the 1970s, complex issues such as process scheduling, security, synchronization, file systems and other concepts were beyond normal comprehension and were extremely difficult to teach—there simply wasn’t anything available with enough accessibility for students to use as a case study. Instead a student’s discipline in computer science was earned by punching holes in cards, collecting fan-fold paper printouts, and so on. Basically, a computer operating system in that era was considered to be a huge chunk of inaccessible proprietary code."~{ Lions, Commentary, n.p. }~ +={intellectual property+3} + +Lions’s commentary was a unique document in the world of computer science, containing a kind of key to learning about a central component of the computer, one that very few people would have had access to in the 1970s. It shows how UNIX was ported not only to machines (which were scarce) but also to the minds of young researchers and student programmers (which were plentiful). Several generations of both academic computer scientists and students who went on to work for computer or software corporations were trained on photocopies of UNIX source code, with a whiff of toner and illicit circulation: a distributed operating system in the textual sense. + +Unfortunately, Commentary was also legally restricted in its distribution. AT&T and Western Electric, in hopes that they could maintain trade-secret status for UNIX, allowed only very limited circulation of the book. At first, Lions was given permission to distribute single copies only to people who already possessed a license for UNIX V6; later Bell Labs itself would distribute Commentary ,{[pg 134]}, briefly, but only to licensed users, and not for sale, distribution, or copying. Nonetheless, nearly everyone seems to have possessed a dog-eared, nth-generation copy. Peter Reintjes writes, "We soon came into possession of what looked like a fifth generation photocopy and someone who shall remain nameless spent all night in the copier room spawning a sixth, an act expressly forbidden by a carefully worded disclaimer on the first page. Four remarkable things were happening at the same time. One, we had discovered the first piece of software that would inspire rather than annoy us; two, we had acquired what amounted to a literary criticism of that computer software; three, we were making the single most significant advancement of our education in computer science by actually reading an entire operating system; and four, we were breaking the law."~{ Ibid. }~ +={trade secret law+1} + +Thus, these generations of computer-science students and academics shared a secret—a trade secret become open secret. Every student who learned the essentials of the UNIX operating system from a photocopy of Lions’s commentary, also learned about AT&T’s attempt to control its legal distribution on the front cover of their textbook. The parallel development of photocopying has a nice resonance here; together with home cassette taping of music and the introduction of the video-cassette recorder, photocopying helped drive the changes to copyright law adopted in 1976. +={copyright:changes in} + +Thirty years later, and long after the source code in it had been completely replaced, Lions’s Commentary is still widely admired by geeks. Even though Free Software has come full circle in providing students with an actual operating system that can be legally studied, taught, copied, and implemented, the kind of "literary criticism" that Lions’s work represents is still extremely rare; even reading obsolete code with clear commentary is one of the few ways to truly understand the design elements and clever implementations that made the UNIX operating system so different from its predecessors and even many of its successors, few, if any of which have been so successfully ported to the minds of so many students. +={design+2} + +Lions’s Commentary contributed to the creation of a worldwide community of people whose connection to each other was formed by a body of source code, both in its implemented form and in its textual, photocopied form. This nascent recursive public not only understood itself as belonging to a technical elite which was constituted by its creation, understanding, and promotion of a particular ,{[pg 135]}, technical tool, but also recognized itself as "breaking the law," a community constituted in opposition to forms of power that governed the circulation, distribution, modification, and creation of the very tools they were learning to make as part of their vocation. The material connection shared around the world by UNIX-loving geeks to their source code is not a mere technical experience, but a social and legal one as well. +={recursive public+6} + +Lions was not the only researcher to recognize that teaching the source code was the swiftest route to comprehension. The other story of the circulation of source code concerns Andrew Tanenbaum, a well-respected computer scientist and an author of standard textbooks on computer architecture, operating systems, and networking.~{ Tanenbaum’s two most famous textbooks are Operating Systems and Computer Networks, which have seen three and four editions respectively. }~ In the 1970s Tanenbaum had also used UNIX as a teaching tool in classes at the Vrije Universiteit, in Amsterdam. Because the source code was distributed with the binary code, he could have his students explore directly the implementations of the system, and he often used the source code and the Lions book in his classes. But, according to his Operating Systems: Design and Implementation (1987), "When AT&T released Version 7 [ca. 1979], it began to realize that UNIX was a valuable commercial product, so it issued Version 7 with a license that prohibited the source code from being studied in courses, in order to avoid endangering its status as a trade secret. Many universities complied by simply dropping the study of UNIX, and teaching only theory" (13). For Tanenbaum, this was an unacceptable alternative—but so, apparently, was continuing to break the law by teaching UNIX in his courses. And so he proceeded to create a completely new UNIX-like operating system that used not a single line of AT&T source code. He called his creation Minix. It was a stripped-down version intended to run on personal computers (IBM PCs), and to be distributed along with the textbook Operating Systems, published by Prentice Hall.~{ Tanenbaum was not the only person to follow this route. The other acknowledged giant in the computer-science textbook world, Douglas Comer, created Xinu and Xinu-PC (UNIX spelled backwards) in Operating Systems Design in 1984. }~ +={Minix (operating system)+2;Tanenbaum, Andrew: Minix and+5;textbooks:on operating systems and networks+1;UNIX operating system: as commercial product} + +Minix became as widely used in the 1980s as a teaching tool as Lions’s source code had been in the 1970s. According to Tanenbaum, the Usenet group comp.os.minix had reached 40,000 members by the late 1980s, and he was receiving constant suggestions for changes and improvements to the operating system. His own commitment to teaching meant that he incorporated few of these suggestions, an effort to keep the system simple enough to be printed in a textbook and understood by undergraduates. Minix ,{[pg 136]}, was freely available as source code, and it was a fully functioning operating system, even a potential alternative to UNIX that would run on a personal computer. Here was a clear example of the conceptual integrity of UNIX being communicated to another generation of computer-science students: Tanenbaum’s textbook is not called "UNIX Operating Systems"—it is called Operating Systems. The clear implication is that UNIX represented the clearest example of the principles that should guide the creation of any operating system: it was, for all intents and purposes, state of the art even twenty years after it was first conceived. +={ontology:of UNIX operating system} + +Minix was not commercial software, but nor was it Free Software. It was copyrighted and controlled by Tanenbaum’s publisher, Prentice Hall. Because it used no AT&T source code, Minix was also legally independent, a legal object of its own. The fact that it was intended to be legally distinct from, yet conceptually true to UNIX is a clear indication of the kinds of tensions that govern the creation and sharing of source code. The ironic apotheosis of Minix as the pedagogical gold standard for studying UNIX came in 1991-92, when a young Linus Torvalds created a "fork" of Minix, also rewritten from scratch, that would go on to become the paradigmatic piece of Free Software: Linux. Tanenbaum’s purpose for Minix was that it remain a pedagogically useful operating system—small, concise, and illustrative—whereas Torvalds wanted to extend and expand his version of Minix to take full advantage of the kinds of hardware being produced in the 1990s. Both, however, were committed to source-code visibility and sharing as the swiftest route to complete comprehension of operating-systems principles. +={Linux (Free Software project)|origins in Minix} + +2~ Forking UNIX +={forking+13} + +Tanenbaum’s need to produce Minix was driven by a desire to share the source code of UNIX with students, a desire AT&T was manifestly uncomfortable with and which threatened the trade-secret status of their property. The fact that Minix might be called a fork of UNIX is a key aspect of the political economy of operating systems and social systems. Forking generally refers to the creation of new, modified source code from an original base of source code, resulting in two distinct programs with the same parent. Whereas the modification of an engine results only in a modified engine, the ,{[pg 137]}, modification of source code implies differentiation and reproduction, because of the ease with which it can be copied. +={Minix (operating system)+1;sharing source code (component of Free Software)+15;trade secret law+1} + +How could Minix—a complete rewrite—still be considered the same object? Considered solely from the perspective of trade-secret law, the two objects were distinct, though from the perspective of copyright there was perhaps a case for infringement, although AT&T did not rely on copyright as much as on trade secret. From a technical perspective, the functions and processes that the software accomplishes are the same, but the means by which they are coded to do so are different. And from a pedagogical standpoint, the two are identical—they exemplify certain core features of an operating system (file-system structure, memory paging, process management)—all the rest is optimization, or bells and whistles. Understanding the nature of forking requires also that UNIX be understood from a social perspective, that is, from the perspective of an operating system created and modified by user-developers around the world according to particular and partial demands. It forms the basis for the emergence of a robust recursive public. + +One of the more important instances of the forking of UNIX’s perambulatory source code and the developing community of UNIX co-developers is the story of the Berkeley Software Distribution and its incorporation of the TCP/IP protocols. In 1975 Ken Thompson took a sabbatical in his hometown of Berkeley, California, where he helped members of the computer-science department with their installations of UNIX, arriving with V6 and the "50 bug fixes" diff tape. Ken had begun work on a compiler for the Pascal programming language that would run on UNIX, and this work was taken up by two young graduate students: Bill Joy and Chuck Hartley. (Joy would later co-found Sun Microsystems, one of the most successful UNIX-based workstation companies in the history of the industry.) +={diff (software tool);Joy, Bill+9;Sun Microsystems;Thompson, Ken+1;Pascal (programming language)+2;protocols: distinguished from standards and implementation;Open Systems Interconnection (OSI):TCP/IP+6;TCP/IP (Transmission Control Protocol/Internet Protocol):included in BSD+6} + +Joy, above nearly all others, enthusiastically participated in the informal distribution of source code. With a popular and well-built Pascal system, and a new text editor called ex (later vi), he created the Berkeley Software Distribution (BSD), a set of tools that could be used in combination with the UNIX operating system. They were extensions to the original UNIX operating system, but not a complete, rewritten version that might replace it. By all accounts, Joy served as a kind of one-man software-distribution house, making tapes and posting them, taking orders and cashing checks—all in ,{[pg 138]}, addition to creating software.~{ McKusick, "Twenty Years of Berkeley Unix," 32. }~ UNIX users around the world soon learned of this valuable set of extensions to the system, and before long, many were differentiating between AT&T UNIX and BSD UNIX. +={AT&T:version of UNIX+1;Berkeley Systems Distribution (BSD) (version of UNIX)+9;differentiation of software;text editors+1;UNIX operating system:relationship to Arpanet+7;vi (text editor)+1} + +According to Don Libes, Bell Labs allowed Berkeley to distribute its extensions to UNIX so long as the recipients also had a license from Bell Labs for the original UNIX (an arrangement similar to the one that governed Lions’s Commentary).~{ Libes and Ressler, Life with UNIX, 16-17. }~ From about 1976 until about 1981, BSD slowly became an independent distribution—indeed, a complete version of UNIX—well-known for the vi editor and the Pascal compiler, but also for the addition of virtual memory and its implementation on DEC’s VAX machines.~{ A recent court case between the Utah-based SCO—the current owner of the legal rights to the original UNIX source code—and IBM raised yet again the question of how much of the original UNIX source code exists in the BSD distribution. SCO alleges that IBM (and Linus Torvalds) inserted SCO-owned UNIX source code into the Linux kernel. However, the incredibly circuitous route of the "original" source code makes these claims hard to ferret out: it was developed at Bell Labs, licensed to multiple universities, used as a basis for BSD, sold to an earlier version of the company SCO (then known as the Santa Cruz Operation), which created a version called Xenix in cooperation with Microsoft. See the diagram by Eric Lévénez at http://www.levenez.com/unix/. For more detail on this case, see www.groklaw.com. }~ It should be clear that the unusual quasi-commercial status of AT&T’s UNIX allowed for this situation in a way that a fully commercial computer corporation would never have allowed. Consider, for instance, the fact that many UNIX users—students at a university, for instance—could not essentially know whether they were using an AT&T product or something called BSD UNIX created at Berkeley. The operating system functioned in the same way and, except for the presence of copyright notices that occasionally flashed on the screen, did not make any show of asserting its brand identity (that would come later, in the 1980s). Whereas a commercial computer manufacturer would have allowed something like BSD only if it were incorporated into and distributed as a single, marketable, and identifiable product with a clever name, AT&T turned something of a blind eye to the proliferation and spread of AT&T UNIX and the result were forks in the project: distinct bodies of source code, each an instance of something called UNIX. + +As BSD developed, it gained different kinds of functionality than the UNIX from which it was spawned. The most significant development was the inclusion of code that allowed it to connect computers to the Arpanet, using the TCP/IP protocols designed by Vinton Cerf and Robert Kahn. The TCP/IP protocols were a key feature of the Arpanet, overseen by the Information Processing and Techniques Office (IPTO) of the Defense Advanced Research Projects Agency (DARPA) from its inception in 1967 until about 1977. The goal of the protocols was to allow different networks, each with its own machines and administrative boundaries, to be connected to each other.~{ See Vinton G. Cerf and Robert Kahn, "A Protocol for Packet Network Interconnection." For the history, see Abbate, Inventing the Internet; Norberg and O’Neill, A History of the Information Techniques Processing Office. Also see chapters 1 and 5 herein for more detail on the role of these protocols and the RFC process. }~ Although there is a common heritage—in the form of J. C. R. Licklider—which ties the imagination of the time-sharing operating ,{[pg 139]}, system to the creation of the "galactic network," the Arpanet initially developed completely independent of UNIX.~{ Waldrop, The Dream Machine, chaps. 5 and 6. }~ As a time-sharing operating system, UNIX was meant to allow the sharing of resources on a single computer, whether mainframe or minicomputer, but it was not initially intended to be connected to a network of other computers running UNIX, as is the case today.~{ The exception being a not unimportant tool called Unix to Unix Copy Protocol, or uucp, which was widely used to transmit data by phone and formed the bases for the creation of the Usenet. See Hauben and Hauben, Netizens. }~ The goal of Arpanet, by contrast, was explicitly to achieve the sharing of resources located on diverse machines across diverse networks. +={Arpanet (network)+7;Cerf, Vinton;Defense Advanced Research Projects Agency (DARPA)+7;Kahn, Robert;Licklider, J. C. R.} + +To achieve the benefits of TCP/IP, the resources needed to be implemented in all of the different operating systems that were connected to the Arpanet—whatever operating system and machine happened to be in use at each of the nodes. However, by 1977, the original machines used on the network were outdated and increasingly difficult to maintain and, according to Kirk McKusick, the greatest expense was that of porting the old protocol software to new machines. Hence, IPTO decided to pursue in part a strategy of achieving coordination at the operating-system level, and they chose UNIX as one of the core platforms on which to standardize. In short, they had seen the light of portability. In about 1978 IPTO granted a contract to Bolt, Beranek, and Newman (BBN), one of the original Arpanet contractors, to integrate the TCP/IP protocols into the UNIX operating system. +={Bolt, Beranek, and Newman (BBN)} + +But then something odd happened, according to Salus: "An initial prototype was done by BBN and given to Berkeley. Bill [Joy] immediately started hacking on it because it would only run an Ethernet at about 56K/sec utilizing 100% of the CPU on a 750. . . . Bill lobotomized the code and increased its performance to on the order of 700KB/sec. This caused some consternation with BBN when they came in with their ‘finished’ version, and Bill wouldn’t accept it. There were battles for years after, about which version would be in the system. The Berkeley version ultimately won."~{ Salus, A Quarter Century of UNIX, 161. }~ +={Salus, Peter} + +Although it is not clear, it appears BBN intended to give Joy the code in order to include it in his BSD version of UNIX for distribution, and that Joy and collaborators intended to cooperate with Rob Gurwitz of BBN on a final implementation, but Berkeley insisted on "improving" the code to make it perform more to their needs, and BBN apparently dissented from this.~{ TCP/IP Digest 1.6 (11 November 1981) contains Joy’s explanation of Berkeley’s intentions (Message-ID: { anews.aucbvax.5236 }http://groups.google.com/groups?selm=anews.aucbvax.5236 ). }~ One result of this scuffle between BSD and BBN was a genuine fork: two bodies of code that did the same thing, competing with each other to become the standard UNIX implementation of TCP/IP. Here, then, was a ,{[pg 140]}, case of sharing source code that led to the creation of different versions of software—sharing without collaboration. Some sites used the BBN code, some used the Berkeley code. + +Forking, however, does not imply permanent divergence, and the continual improvement, porting, and sharing of software can have odd consequences when forks occur. On the one hand, there are particular pieces of source code: they must be identifiable and exact, and prepended with a copyright notice, as was the case of the Berkeley code, which was famously and vigorously policed by the University of California regents, who allowed for a very liberal distribution of BSD code on the condition that the copyright notice was retained. On the other hand, there are particular named collections of code that work together (e.g., UNIX™, or DARPA-approved UNIX, or later, Certified Open Source [sm]) and are often identified by a trademark symbol intended, legally speaking, to differentiate products, not to assert ownership of particular instances of a product. +={BSD License+2;Copyleft licenses (component of Free Software);intellectual property+2;trademark law} + +The odd consequence is this: Bill Joy’s specific TCP/IP code was incorporated not only into BSD UNIX, but also into other versions of UNIX, including the UNIX distributed by AT&T (which had originally licensed UNIX to Berkeley) with the Berkeley copyright notice removed. This bizarre, tangled bank of licenses and code resulted in a famous suit and countersuit between AT&T and Berkeley, in which the intricacies of this situation were sorted out.~{ See Andrew Leonard, "BSD Unix: Power to the People, from the Code," Salon, 16 May 2000, http://archive.salon.com/tech/fsp/2000/05/16/chapter_2_part_one/. }~ An innocent bystander, expecting UNIX to be a single thing, might be surprised to find that it takes different forms for reasons that are all but impossible to identify, but the cause of which is clear: different versions of sharing in conflict with one another; different moral and technical imaginations of order that result in complex entanglements of value and code. +={moral and technical order+5} + +The BSD fork of UNIX (and the subfork of TCP/IP) was only one of many to come. By the early 1980s, a proliferation of UNIX forks had emerged and would be followed shortly by a very robust commercialization. At the same time, the circulation of source code started to slow, as corporations began to compete by adding features and creating hardware specifically designed to run UNIX (such as the Sun Sparc workstation and the Solaris operating system, the result of Joy’s commercialization of BSD in the 1980s). The question of how to make all of these versions work together eventually became the subject of the open-systems discussions that would dominate the workstation and networking sectors of the computer ,{[pg 141]}, market from the early 1980s to 1993, when the dual success of Windows NT and the arrival of the Internet into public consciousness changed the fortunes of the UNIX industry. +={Microsoft:Windows operating system;Solaris (operating system);Sparc (computer workstation)} + +A second, and more important, effect of the struggle between BBN and BSD was simply the widespread adoption of the TCP/IP protocols. An estimated 98 percent of computer-science departments in the United States and many such departments around the world incorporated the TCP/IP protocols into their UNIX systems and gained instant access to Arpanet.~{ Norberg and O’Neill, A History of the Information Techniques Processing Office, 184-85. They cite Comer, Internetworking with TCP/IP, 6 for the figure. }~ The fact that this occurred when it did is important: a few years later, during the era of the commercialization of UNIX, these protocols might very well not have been widely implemented (or more likely implemented in incompatible, nonstandard forms) by manufacturers, whereas before 1983, university computer scientists saw every benefit in doing so if it meant they could easily connect to the largest single computer network on the planet. The large, already functioning, relatively standard implementation of TCP/IP on UNIX (and the ability to look at the source code) gave these protocols a tremendous advantage in terms of their survival and success as the basis of a global and singular network. + +2~ Conclusion + +The UNIX operating system is not just a technical achievement; it is the creation of a set of norms for sharing source code in an unusual environment: quasi-commercial, quasi-academic, networked, and planetwide. Sharing UNIX source code has taken three basic forms: porting source code (transferring it from one machine to another); teaching source code, or "porting" it to students in a pedagogical setting where the use of an actual working operating system vastly facilitates the teaching of theory and concepts; and forking source code (modifying the existing source code to do something new or different). This play of proliferation and differentiation is essential to the remarkably stable identity of UNIX, but that identity exists in multiple forms: technical (as a functioning, self-compatible operating system), legal (as a license-circumscribed version subject to intellectual property and commercial law), and pedagogical (as a conceptual exemplar, the paradigm of an operating system). Source code shared in this manner is essentially unlike any other kind of ,{[pg 142]}, source code in the world of computers, whether academic or commercial. It raises troubling questions about standardization, about control and audit, and about legitimacy that haunts not only UNIX but the Internet and its various "open" protocols as well. +={differentiation of software+1;ontology: of UNIX operating system+1;pedagogy: operating systems and+1;proliferation of software+1;openness (component of Free Software);standards processes} + +Sharing source code in Free Software looks the way it does today because of UNIX. But UNIX looks the way it does not because of the inventive genius of Thompson and Ritchie, or the marketing and management brilliance of AT&T, but because sharing produces its own kind of order: operating systems and social systems. The fact that geeks are wont to speak of "the UNIX philosophy" means that UNIX is not just an operating system but a way of organizing the complex relations of life and work through technical means; a way of charting and breaching the boundaries between the academic, the aesthetic, and the commercial; a way of implementing ideas of a moral and technical order. What’s more, as source code comes to include more and more of the activities of everyday communication and creation—as it comes to replace writing and supplement thinking—the genealogy of its portability and the history of its forking will illuminate the kinds of order emerging in practices and technologies far removed from operating systems—but tied intimately to the UNIX philosophy. +={Ritchie, Dennis;Thompson, Ken;UNIX philosophy} + +1~ 5. Conceiving Open Systems +={Open Systems+99;openness (component of Free Software)+28} + +% ,{[pg 143]}, + +_1 The great thing about standards is that there are so many to choose from.~{ Quoted in Libes and Ressler, Life with UNIX, 67, and also in Critchley and Batty, Open Systems, 17. I first heard it in an interview with Sean Doyle in 1998. }~ +={standards+2} + +Openness is an unruly concept. While free tends toward ambiguity (free as in speech, or free as in beer?), open tends toward obfuscation. Everyone claims to be open, everyone has something to share, everyone agrees that being open is the obvious thing to do—after all, openness is the other half of "open source"—but for all its obviousness, being "open" is perhaps the most complex component of Free Software. It is never quite clear whether being open is a means or an end. Worse, the opposite of open in this case (specifically, "open systems") is not closed, but "proprietary"—signaling the complicated imbrication of the technical, the legal, and the commercial. +={proprietary systems:open vs.+2} + +In this chapter I tell the story of the contest over the meaning of "open systems" from 1980 to 1993, a contest to create a simultaneously moral and technical infrastructure within the computer ,{[pg 144]}, industry.~{ Moral in this usage signals the "moral and social order" I explored through the concept of social imaginaries in chapter 1. Or, in the Scottish Enlightenment sense of Adam Smith, it points to the right organization and relations of exchange among humans. }~ The infrastructure in question includes technical components—the UNIX operating system and the TCP/IP protocols of the Internet as open systems—but it also includes "moral" components, including the demand for structures of fair and open competition, antimonopoly and open markets, and open-standards processes for high-tech networked computers and software in the 1980s.~{ There is, of course, a relatively robust discourse of open systems in biology, sociology, systems theory, and cybernetics; however, that meaning of open systems is more or less completely distinct from what openness and open systems came to mean in the computer industry in the period book-ended by the arrivals of the personal computer and the explosion of the Internet (ca. 1980-93). One relevant overlap between these two meanings can be found in the work of Carl Hewitt at the MIT Media Lab and in the interest in "agorics" taken by K. Eric Drexler, Bernardo Huberman, and Mark S. Miller. See Huberman, The Ecology of Computation. }~ By moral, I mean imaginations of the proper order of collective political and commercial action; referring to much more than simply how individuals should act, moral signifies a vision of how economy and society should be ordered collectively. +={infrastructure;moral and technical order+3;monopoly+1;} + +The open-systems story is also a story of the blind spot of open systems—in that blind spot is intellectual property. The story reveals a tension between incompatible moral-technical orders: on the one hand, the promise of multiple manufacturers and corporations creating interoperable components and selling them in an open, heterogeneous market; on the other, an intellectual-property system that encouraged jealous guarding and secrecy, and granted monopoly status to source code, designs, and ideas in order to differentiate products and promote competition. The tension proved irresolvable: without shared source code, for instance, interoperable operating systems are impossible. Without interoperable operating systems, internetworking and portable applications are impossible. Without portable applications that can run on any system, open markets are impossible. Without open markets, monopoly power reigns. +={intellectual property;interoperability+21;openness (component of Free Software):intellectual property and} + +Standardization was at the heart of the contest, but by whom and by what means was never resolved. The dream of open systems, pursued in an entirely unregulated industry, resulted in a complicated experiment in novel forms of standardization and cooperation. The creation of a "standard" operating system based on UNIX is the story of a failure, a kind of "figuring out" gone haywire, which resulted in huge consortia of computer manufacturers attempting to work together and compete with each other at the same time. Meanwhile, the successful creation of a "standard" networking protocol—known as the Open Systems Interconnection Reference Model (OSI)—is a story of failure that hides a larger success; OSI was eclipsed in the same period by the rapid and ad hoc adoption of the Transmission Control Protocol/Internet Protocol (TCP/IP), which used a radically different standardization process and which succeeded for a number of surprising reasons, allowing the Internet ,{[pg 145]}, to take the form it did in the 1990s and ultimately exemplifying the moral-technical imaginary of a recursive public—and one at the heart of the practices of Free Software. +={figuring out;Open Systems Interconnection (OSI), as reference model;Openness (component of Free Software):standardization and;protocols:Open Systems Interconnection (OSI)|TCP/IP;standards organizations;TCP/IP (Transmission Control Protocol/Internet Protocol)} + +The conceiving of openness, which is the central plot of these two stories, has become an essential component of the contemporary practice and power of Free Software. These early battles created a kind of widespread readiness for Free Software in the 1990s, a recognition of Free Software as a removal of open systems’ blind spot, as much as an exploitation of its power. The geek ideal of openness and a moral-technical order (the one that made Napster so significant an event) was forged in the era of open systems; without this concrete historical conception of how to maintain openness in technical and moral terms, the recursive public of geeks would be just another hierarchical closed organization—a corporation manqué—and not an independent public serving as a check on the kinds of destructive power that dominated the open-systems contest. +={Napster} + +2~ Hopelessly Plural + +Big iron, silos, legacy systems, turnkey systems, dinosaurs, mainframes: with the benefit of hindsight, the computer industry of the 1960s to the 1980s appears to be backward and closed, to have literally painted itself into a corner, as an early Intel advertisement suggests (figure 3). Contemporary observers who show disgust and impatience with the form that computers took in this era are without fail supporters of open systems and opponents of proprietary systems that "lock in" customers to specific vendors and create artificial demands for support, integration, and management of resources. Open systems (were it allowed to flourish) would solve all these problems. +={Intel (corporation)+2;proprietary systems: lock-in and;mainframes+4} + +Given the promise of a "general-purpose computer," it should seem ironic at best that open systems needed to be created. But the general-purpose computer never came into being. We do not live in the world of The Computer, but in a world of computers: myriad, incompatible, specific machines. The design of specialized machines (or "architectures") was, and still is, key to a competitive industry in computers. It required CPUs and components and associated software that could be clearly qualified and marketed ,{[pg 146]}, ,{[pg 147]}, as distinct products: the DEC PDP-11 or the IBM 360 or the CDC 6600. On the Fordist model of automobile production, the computer industry’s mission was to render desired functions (scientific calculation, bookkeeping, reservations management) in a large box with a button on it (or a very large number of buttons on increasingly smaller boxes). Despite the theoretical possibility, such computers were not designed to do anything, but, rather, to do specific kinds of calculations exceedingly well. They were objects customized to particular markets. +={Digital Equipment Corporation (corporation)+1;International Business Machines (IBM)+1} + +{ 2bits_05_03-100.png }image ~[* Open systems is the solution to painting yourself into a corner. Intel advertisement, Wall Street Journal, 30 May 1984. ]~ + +% image placed under paragraph + +The marketing strategy was therefore extremely stable from about 1955 to about 1980: identify customers with computing needs, build a computer to serve them, provide them with all of the equipment, software, support, or peripherals they need to do the job—and charge a large amount. Organizationally speaking, it was an industry dominated by "IBM and the seven dwarfs": Hewlett-Packard, Honeywell, Control Data, General Electric, NCR, RCA, Univac, and Burroughs, with a few upstarts like DEC in the wings. + +By the 1980s, however, a certain inversion had happened. Computers had become smaller and faster; there were more and more of them, and it was becoming increasingly clear to the "big iron" manufacturers that what was most valuable to users was the information they generated, not the machines that did the generating. Such a realization, so the story goes, leads to a demand for interchangeability, interoperability, information sharing, and networking. It also presents the nightmarish problems of conversion between a bewildering, heterogeneous, and rapidly growing array of hardware, software, protocols, and systems. As one conference paper on the subject of evaluating open systems put it, "At some point a large enterprise will look around and see a huge amount of equipment and software that will not work together. Most importantly, the information stored on these diverse platforms is not being shared, leading to unnecessary duplication and lost profit."~{ Keves, "Open Systems Formal Evaluation Process," 87. }~ +={microcomputers+2} + +Open systems emerged in the 1980s as the name of the solution to this problem: an approach to the design of systems that, if all participants were to adopt it, would lead to widely interoperable, integrated machines that could send, store, process, and receive the user’s information. In marketing and public-relations terms, it would provide "seamless integration." +={standards:as form of competition+1} + +In theory, open systems was simply a question of standards adoption. For instance, if all the manufacturers of UNIX systems could ,{[pg 148]}, be convinced to adopt the same basic standard for the operating system, then seamless integration would naturally follow as all the various applications could be written once to run on any variant UNIX system, regardless of which company made it. In reality, such a standard was far from obvious, difficult to create, and even more difficult to enforce. As such, the meaning of open systems was "hopelessly plural," and the term came to mean an incredibly diverse array of things. + +"Openness" is precisely the kind of concept that wavers between end and means. Is openness good in itself, or is openness a means to achieve something else—and if so what? Who wants to achieve openness, and for what purpose? Is openness a goal? Or is it a means by which a different goal—say, "interoperability" or "integration"—is achieved? Whose goals are these, and who sets them? Are the goals of corporations different from or at odds with the goals of university researchers or government officials? Are there large central visions to which the activities of all are ultimately subordinate? +={openness (component of Free Software):goals of} + +Between 1980 and 1993, no person or company or computer industry consortium explicitly set openness as the goal that organizations, corporations, or programmers should aim at, but, by the same token, hardly anyone dissented from the demand for openness. As such, it appears clearly as a kind of cultural imperative, reflecting a longstanding social imaginary with roots in liberal democratic notions, versions of a free market and ideals of the free exchange of knowledge, but confronting changed technical conditions that bring the moral ideas of order into relief, and into question. +={social imaginary} + +In the 1980s everyone seemed to want some kind of openness, whether among manufacturers or customers, from General Motors to the armed forces.~{ General Motors stirred strong interest in open systems by creating, in 1985, its Manufacturing Automation Protocol (MAP), which was built on UNIX. At the time, General Motors was the second-largest purchaser of computer equipment after the government. The Department of Defense and the U.S. Air Force also adopted and required POSIX-compliant UNIX systems early on. }~ The debates, both rhetorical and technical, about the meaning of open systems have produced a slough of writings, largely directed at corporate IT managers and CIOs. For instance, Terry A. Critchley and K. C. Batty, the authors of Open Systems: The Reality (1993), claim to have collected over a hundred definitions of open systems. The definitions stress different aspects—from interoperability of heterogeneous machines, to compatibility of different applications, to portability of operating systems, to legitimate standards with open-interface definitions—including those that privilege ideologies of a free market, as does Bill Gates’s definition: "There’s nothing more open than the PC market. . . . [U]sers can choose the latest and greatest software." The range ,{[pg 149]}, of meanings was huge and oriented along multiple axes: what, to whom, how, and so on. Open systems could mean that source code was open to view or that only the specifications or interfaces were; it could mean "available to certain third parties" or "available to everyone, including competitors"; it could mean self-publishing, well-defined interfaces and application programming interfaces (APIs), or it could mean sticking to standards set by governments and professional societies. To cynics, it simply meant that the marketing department liked the word open and used it a lot. +={General Motors (GM)} + +One part of the definition, however, was both consistent and extremely important: the opposite of an "open system" was not a "closed system" but a "proprietary system." In industries other than networking and computing the word proprietary will most likely have a positive valence, as in "our exclusive proprietary technology." But in the context of computers and networks such a usage became anathema in the 1980s and 1990s; what customers reportedly wanted was a system that worked nicely with other systems, and that system had to be by definition open since no single company could provide all of the possible needs of a modern business or government agency. And even if it could, it shouldn’t be allowed to. For instance, "In the beginning was the word and the word was ‘proprietary.’ IBM showed the way, purveying machines that existed in splendid isolation. They could not be operated using programs written for any other computer; they could not communicate with the machines of competitors. If your company started out buying computers of various sizes from the International Business Machines Corporation because it was the biggest and best, you soon found yourself locked as securely to Big Blue as a manacled wretch in a medieval dungeon. When an IBM rival unveiled a technologically advanced product, you could only sigh; it might be years before the new technology showed up in the IBM line."~{ Paul Fusco, "The Gospel According to Joy," New York Times, 27 March 1988, Sunday Magazine, 28. }~ +={Joy, Bill+1;Openness (component of Free Software):proprietary vs.+2;openness (component of Free Software):definition of+7} + +With the exception of IBM (and to some extent its closest competitors: Hewlett-Packard, Burroughs, and Unisys), computer corporations in the 1980s sought to distance themselves from such "medieval" proprietary solutions (such talk also echoes that of usable pasts of the Protestant Reformation often used by geeks). New firms like Sun and Apollo deliberately berated the IBM model. Bill Joy reportedly called one of IBM’s new releases in the 1980s a "grazing dinosaur ‘with a truck outside pumping its bodily fluids through it.’"~{ "Dinosaur" entry, The Jargon File, http://catb.org/jargon/html/D/dinosaur.html. }~ +={allegory, of Protestant Reformation;Protestant Reformation;usable pasts} + +% ,{[pg 150]}, + +Open systems was never a simple solution though: all that complexity in hardware, software, components, and peripherals could only be solved by pushing hard for standards—even for a single standard. Or, to put it differently, during the 1980s, everyone agreed that open systems was a great idea, but no one agreed on which open systems. As one of the anonymous speakers in Open Systems: The Reality puts it, "It took me a long time to understand what (the industry) meant by open vs. proprietary, but I finally figured it out. From the perspective of any one supplier, open meant ‘our products.’ Proprietary meant ‘everyone else’s products.’"~{ Crichtley and Batty, Open Systems, 10. }~ +={openness (component of Free Software):closure vs.+8;Open Systems: intellectual property and+8} + +For most supporters of open systems, the opposition between open and proprietary had a certain moral force: it indicated that corporations providing the latter were dangerously close to being evil, immoral, perhaps even criminal monopolists. Adrian Gropper and Sean Doyle, the principals in Amicas, an Internet teleradiology company, for instance, routinely referred to the large proprietary healthcare-information systems they confronted in these terms: open systems are the way of light, not dark. Although there are no doubt arguments for closed systems—security, privacy, robustness, control—the demand for interoperability does not mean that such closure will be sacrificed.~{ An excellent counterpoint here is Paul Edwards’s The Closed World, which clearly demonstrates the appeal of a thoroughly and hierarchically controlled system such as the Semi-Automated Ground Environment (SAGE) of the Department of Defense against the emergence of more "green world" models of openness. }~ Closure was also a choice. That is, open systems was an issue of sovereignty, involving the right, in a moral sense, of a customer to control a technical order hemmed in by firm standards that allowed customers to combine a number of different pieces of hardware and software purchased in an open market and to control the configuration themselves—not enforced openness, but the right to decide oneself on whether and how to be open or closed. +={Amicas (corporation);Doyle, Sean;Evil;Gropper, Adrian;moral and technical order+1;Monopoly} + +The open-systems idea of moral order conflicts, however, with an idea of moral order represented by intellectual property: the right, encoded in law, to assert ownership over and control particular bits of source code, software, and hardware. The call for and the market in open systems were never imagined as being opposed to intellectual property as such, even if the opposition between open and proprietary seemed to indicate a kind of subterranean recognition of the role of intellectual property. The issue was never explicitly broached. Of the hundred definitions in Open Systems, only one definition comes close to including legal issues: "Speaker at Interop ’90 (paraphrased and maybe apocryphal): ‘If you ask to gain access to a technology and the response you get back is a price list, then ,{[pg 151]}, that technology is "open." If what you get back is a letter from a lawyer, then it’s not "open."’"~{ Crichtley and Batty, Open Systems, 13. }~ +={intellectual property+6} + +Openness here is not equated with freedom to copy and modify, but with the freedom to buy access to any aspect of a system without signing a contract, a nondisclosure agreement, or any other legal document besides a check. The ground rules of competition are unchallenged: the existing system of intellectual property—a system that was expanded and strengthened in this period—was a sine qua non of competition. +={standards:as form of competition+1} + +Openness understood in this manner means an open market in which it is possible to buy standardized things which are neither obscure nor secret, but can be examined and judged—a "commodity" market, where products have functions, where quality is comparable and forms the basis for vigorous competition. What this notion implies is freedom from monopoly control by corporations over products, a freedom that is nearly impossible to maintain when the entire industry is structured around the monopoly control of intellectual property through trade secret, patent, or copyright. The blind spot hides the contradiction between an industry imagined on the model of manufacturing distinct and tangible products, and the reality of an industry that wavers somewhere between service and product, dealing in intangible intellectual property whose boundaries and identity are in fact defined by how they are exchanged, circulated, and shared, as in the case of the proliferation and differentiation of the UNIX operating system. +={monopoly+3;standards+4} + +There was no disagreement about the necessity of intellectual property in the computer industry of the 1980s, and there was no perceived contradiction in the demands for openness. Indeed, openness could only make sense if it were built on top of a stable system of intellectual property that allowed competitors to maintain clear definitions of the boundaries of their products. But the creation of interoperable components seemed to demand a relaxation of the secrecy and guardedness necessary to "protect" intellectual property. Indeed, for some observers, the problem of openness created the opportunity for the worst kinds of cynical logic, as in this example from Regis McKenna’s Who’s Afraid of Big Blue? +={McKenna, Regis+1} + +_1 Users want open environments, so the vendors had better comply. In fact, it is a good idea to support new standards early. That way, you can help control the development of standards. Moreover, you can ,{[pg 152]}, take credit for driving the standard. Supporting standards is a way to demonstrate that you’re on the side of users. On the other hand, companies cannot compete on the basis of standards alone. Companies that live by standards can die by standards. Other companies, adhering to the same standards, could win on the basis of superior manufacturing technology. If companies do nothing but adhere to standards, then all computers will become commodities, and nobody will be able to make any money. Thus, companies must keep something proprietary, something to differentiate their products.~{ McKenna, Who’s Afraid of Big Blue? 178, emphasis added. McKenna goes on to suggest that computer companies can differentiate themselves by adding services, better interfaces, or higher reliability—ironically similar to arguments that the Open Source Initiative would make ten years later. }~ + +By such an account, open systems would be tantamount to economic regression, a state of pure competition on the basis of manufacturing superiority, and not on the basis of the competitive advantage granted by the monopoly of intellectual property, the clear hallmark of a high-tech industry.~{ Richard Stallman, echoing the image of medieval manacled wretches, characterized the blind spot thus: "Unix does not give the user any more legal freedom than Windows does. What they mean by ‘open systems’ is that you can mix and match components, so you can decide to have, say, a Sun chain on your right leg and some other company’s chain on your left leg, and maybe some third company’s chain on your right arm, and this is supposed to be better than having to choose to have Sun chains on all your limbs, or Microsoft chains on all your limbs. You know, I don’t care whose chains are on each limb. What I want is not to be chained by anyone" ("Richard Stallman: High School Misfit, Symbol of Free Software, MacArthur-certified Genius," interview by Michael Gross, Cambridge, Mass., 1999, 5, http://www.mgross.com/MoreThgsChng/interviews/stallman1.html). }~ It was an irresolvable tension between the desire for a cooperative, market-based infrastructure and the structure of an intellectual-property system ill-suited to the technical realities within which companies and customers operated—a tension revealing the reorientation of knowledge and power with respect to creation, dissemination, and modification of knowledge. +={modifiability+1;reorientation of power and knowledge} + +From the perspective of intellectual property, ideas, designs, and source code are everything—if a company were to release the source code, and allow other vendors to build on it, then what exactly would they be left to sell? Open systems did not mean anything like free, open-source, or public-domain computing. But the fact that competition required some form of collaboration was obvious as well: standard software and network systems were needed; standard markets were needed; standard norms of innovation within the constraints of standards were needed. In short, the challenge was not just the creation of competitive products but the creation of a standard infrastructure, dealing with the technical questions of availability, modifiability, and reusability of components, and the moral questions of the proper organization of competition and collaboration across diverse domains: engineers, academics, the computer industry, and the industries it computerized. What follows is the story of how UNIX entered the open-systems fray, a story in which the tension between the conceiving of openness and the demands of intellectual property is revealed. +={availability: open systems and;collaboration: competition vs.;modifiability;Source code+2} + +% ,{[pg 153]}, + +2~ Open Systems One: Operating Systems +={UNIX operating system:history of+37|Open Systems and+37|standardization and+37} + +In 1980 UNIX was by all accounts the most obvious choice for a standard operating system for a reason that seemed simple at the outset: it ran on more than one kind of hardware. It had been installed on DEC machines and IBM machines and Intel processors and Motorola processors—a fact exciting to many professional programmers, university computer scientists, and system administrators, many of whom also considered UNIX to be the best designed of the available operating systems. + +There was a problem, however (there always is): UNIX belonged to AT&T, and AT&T had licensed it to multiple manufacturers over the years, in addition to allowing the source code to circulate more or less with abandon throughout the world and to be ported to a wide variety of different machine architectures. Such proliferation, albeit haphazard, was a dream come true: a single, interoperable operating system running on all kinds of hardware. Unfortunately, proliferation would also undo that dream, because it meant that as the markets for workstations and operating systems heated up, the existing versions of UNIX hardened into distinct and incompatible versions with different features and interfaces. By the mid 1980s, there were multiple competing efforts to standardize UNIX, an endeavour that eventually went haywire, resulting in the so-called UNIX wars, in which "gangs" of vendors (some on both sides of the battle) teamed up to promote competing standards. The story of how this happened is instructive, for it is a story that has been reiterated several times in the computer industry.~{ A similar story can be told about the emergence, in the late 1960s and early 1970s, of manufacturers of "plug-compatible" devices, peripherals that plugged into IBM machines (see Takahashi, "The Rise and Fall of the Plug Compatible Manufacturers"). Similarly, in the 1990s the story of browser compatibility and the World Wide Web Consortium (W3C) standards is another recapitulation. }~ +={standards:as form of competition+7} + +As a hybrid commercial-academic system, UNIX never entered the market as a single thing. It was licensed in various ways to different people, both academic and commercial, and contained additions and tools and other features that may or may not have originated at (or been returned to) Bell Labs. By the early 1980s, the Berkeley Software Distribution was in fact competing with the AT&T version, even though BSD was a sublicensee—and it was not the only one. By the late 1970s and early 1980s, a number of corporations had licensed UNIX from AT&T for use on new machines. Microsoft licensed it (and called it Xenix, rather than licensing the name UNIX as well) to be installed on Intel-based machines. IBM, Unisys, Amdahl, Sun, DEC, and Hewlett-Packard all followed suit and ,{[pg 154]}, created their own versions and names: HP-UX, A/UX, AIX, Ultrix, and so on. Given the ground rules of trade secrecy and intellectual property, each of these licensed versions needed to be made legally distinct—if they were to compete with each other. Even if "UNIX" remained conceptually pure in an academic or pedagogical sense, every manufacturer would nonetheless have to tweak, to extend, to optimize in order to differentiate. After all, "if companies do nothing but adhere to standards, then all computers will become commodities, and nobody will be able to make any money."~{ McKenna, Who’s Afraid of Big Blue? 178. }~ +={AT&T:version of UNIX;portability, of operating systems+4;UNIX wars;workstations} + +It was thus unlikely that any of these corporations would contribute the changes they made to UNIX back into a common pool, and certainly not back to AT&T which subsequent to the 1984 divestiture finally released their own commercial version of UNIX, called UNIX System V. Very quickly, the promising "open" UNIX of the 1970s became a slough of alternative operating systems, each incompatible with the next thanks to the addition of market-differentiating features and hardware-specific tweaks. According to Pamela Gray, "By the mid-1980s, there were more than 100 versions in active use" centered around the three market leaders, AT&T’s System V, Microsoft/SCO Xenix, and the BSD.~{ Pamela Gray, Open Systems. }~ By 1984, the differences in systems had become significant—as in the case of the BSD additions of the TCP/IP protocols, the vi editor, and the Pascal compiler—and created not only differentiation in terms of quality but also incompatibility at both the software and networking levels. +={AT&T:divestiture in 1984;Open Systems:operating systems and+32} + +Different systems of course had different user communities, based on who was the customer of whom. Eric Raymond suggests that in the mid-1980s, independent hackers, programmers, and computer scientists largely followed the fortunes of BSD: "The divide was roughly between longhairs and shorthairs; programmers and technical people tended to line up with Berkeley and BSD, more business-oriented types with AT&T and System V. The longhairs, repeating a theme from Unix’s early days ten years before, liked to see themselves as rebels against a corporate empire; one of the small companies put out a poster showing an X-wing-like space fighter marked "BSD" speeding away from a huge AT&T ‘death star’ logo left broken and in flames."~{ Eric Raymond, "Origins and History of Unix, 1969-1995," The Art of UNIX Programming, http://www.faqs.org/docs/artu/ch02s01.html#id2880014. }~ +={Raymond, Eric Steven;UNIX operating system:allegiance to versions of+1} + +So even though UNIX had become the standard operating system of choice for time-sharing, multi-user, high-performance computers by the mid-1980s, there was no such thing as UNIX. Competitors ,{[pg 155]}, in the UNIX market could hardly expect the owner of the system, AT&T, to standardize it and compete with them at the same time, and the rest of the systems were in some legal sense still derivations from the original AT&T system. Indeed, in its licensing pamphlets, AT&T even insisted that UNIX was not a noun, but an adjective, as in "the UNIX system."~{ Libes and Ressler, Life with UNIX, 22. Also noted in Tanenbaum, "The UNIX Marketplace in 1987," 419. }~ +={UNIX operating system:as part of speech} + +The dawning realization that the proliferation of systems was not only spreading UNIX around the world but also spreading it thin and breaking it apart led to a series of increasingly startling and high-profile attempts to "standardize" UNIX. Given that the three major branches (BSD, which would become the industry darling as Sun’s Solaris operating system; Microsoft, and later SCO Xenix; and AT&T’s System V) all emerged from the same AT&T and Berkeley work done largely by Thompson, Ritchie, and Joy, one would think that standardization would be a snap. It was anything but. +={SCO (corporation);Solaris (operating system)} + +2~ Figuring Out Goes Haywire +={figuring out+1} + +Figuring out the moral and technical order of open systems went haywire around 1986-88, when there were no fewer than four competing international standards, represented by huge consortia of computer manufacturers (many of whom belonged to multiple consortia): POSIX, the X/Open consortium, the Open Software Foundation, and UNIX International. The blind spot of open systems had much to do with this crazy outcome: academics, industry, and government could not find ways to agree on standardization. One goal of standardization was to afford customers choice; another was to allow competition unconstrained by "artificial" means. A standard body of source code was impossible; a standard "interface definition" was open to too much interpretation; government and academic standards were too complex and expensive; no particular corporation’s standard could be trusted (because they could not be trusted to reveal it in advance of their own innovations); and worst of all, customers kept buying, and vendors kept shipping, and the world was increasingly filled with diversity, not standardization. +={moral and technical order;Open Software Foundation (OSF);POSIX (standard);standards:interface definition as+6;X/Open Consortium;UNIX International} + +UNIX proliferated quickly because of porting, leading to multiple instances of an operating system with substantially similar source code shared by academics and licensed by AT&T. But it differentiated ,{[pg 156]}, just as quickly because of forking, as particular features were added to different ports. Some features were reincorporated into the "main" branch—the one Thompson and Ritchie worked on—but the bulk of these mutations spread in a haphazard way, shared through users directly or implemented in newly formed commercial versions. Some features were just that, features, but others could extend the system in ways that might make an application possible on one version, but not on another. +={differentiation of software+1;proliferation of software+1} + +The proliferation and differentiation of UNIX, the operating system, had peculiar effects on the emerging market for UNIX, the product: technical issues entailed design and organizational issues. The original UNIX looked the way it did because of the very peculiar structure of the organization that created and sustained UNIX: Bell Labs and the worldwide community of users and developers. The newly formed competitors, conceiving of UNIX as a product distinct from the original UNIX, adopted it precisely because of its portability and because of the promise of open systems as an alternative to "big iron" mainframes. But as UNIX was funneled into existing corporations with their own design and organizational structures, it started to become incompatible with itself, and the desire for competition in open systems necessitated efforts at UNIX standardization. +={standards organizations+26} + +The first step in the standardization of open systems and UNIX was the creation of what was called an "interface definition," a standard that enumerated the minimum set of functions that any version of UNIX should support at the interface level, meaning that any programmer who wrote an application could expect to interact with any version of UNIX on any machine in the same way and get the same response from the machine (regardless of the specific implementation of the operating system or the source code that was used). Interface definitions, and extensions to them, were ideally to be published and freely available. + +The interface definition was a standard that emphasized portability, not at the source-code or operating-system level, but at the application level, allowing applications built on any version of UNIX to be installed and run on any other. The push for such a standard came first from a UNIX user group founded in 1980 by Bob Marsh and called, after the convention of file hierarchies in the UNIX interface, "/usr/group" (later renamed Uniforum). The 1984 /usr/group standard defined a set of system calls, which, however, "was ,{[pg 157]}, immediately ignored and, for all practical purposes, useless."~{ Libes and Ressler, Life with UNIX, 67. }~ It seemed the field was changing too fast and UNIX proliferating and innovating too widely for such a standard to work. +={user groups+1:/usr/group+4} + +The /usr/group standard nevertheless provided a starting point for more traditional standards organizations—the Institute of Electrical and Electronics Engineers (IEEE) and the American National Standards Institute (ANSI)—to take on the task. Both institutions took the /usr/group standard as a basis for what would be called IEEE P1003 Portable Operating System Interface for Computer Environments (POSIX). Over the next three years, from 1984 to 1987, POSIX would work diligently at providing a standard interface definition for UNIX. +={American National Standards Institute (ANSI)+1;Institute of Electrical and Electronics Engineers (IEEE)+3;POSIX (standard)+1} + +Alongside this development, the AT&T version of UNIX became the basis for a different standard, the System V Interface Definition (SVID), which attempted to standardize a set of functions similar but not identical to the /usr/group and POSIX standards. Thus emerged two competing definitions for a standard interface to a system that was rapidly proliferating into hundreds of tiny operating-system fiefdoms.~{ A case might be made that a third definition, the ANSI standard for the C programming language, also covered similar ground, which of course it would have had to in order to allow applications written on one ,{[pg 330]}, operating system to be compiled and run on another (see Gray, Open Systems, 55-58; Libes and Ressler, Life with UNIX, 70-75). }~ The danger of AT&T setting the standard was not lost on any of the competing manufacturers. Even if they created a thoroughly open standard-interface definition, AT&T’s version of UNIX would be the first to implement it, and they would continually have privileged knowledge of any changes: if they sought to change the implementation, they could change the standard; if they received demands that the standard be changed, they could change their implementation before releasing the new standard. +={standards:as form of competition+24|implementation; System V Interface Definition (SVID)} + +In response to this threat, a third entrant into the standards race emerged: X/Open, which comprised a variety of European computer manufacturers (including AT&T!) and sought to develop a standard that encompassed both SVID and POSIX. The X/Open initiative grew out of European concern about the dominance of IBM and originally included Bull, Ericsson, ICL, Nixdorf, Olivetti, Philips, and Siemens. In keeping with a certain 1980s taste for the integration of European economic activity vis-à-vis the United States and Japan, these manufacturers banded together both to distribute a unified UNIX operating system in Europe (based initially on the BSD and Sun versions of UNIX) and to attempt to standardize it at the same time. +={Berkeley Systems Distribution (BSD) (version of UNIX);X/Open Consortium+20;International Business Machines (IBM)+2} + +X/Open represented a subtle transformation of standardization efforts and of the organizational definition of open systems. While ,{[pg 158]}, the /usr/group standard was developed by individuals who used UNIX, and the POSIX standard by an acknowledged professional society (IEEE), the X/Open group was a collective of computer corporations that had banded together to fund an independent entity to help further the cause of a standard UNIX. This paradoxical situation—of a need to share a standard among all the competitors and the need to keep the details of that standardized product secret to maintain an advantage—was one that many manufacturers, especially the Europeans with their long experience of IBM’s monopoly, understood as mutually destructive. Hence, the solution was to engage in a kind of organizational innovation, to create a new form of metacorporate structure that could strategically position itself as at least temporarily interested in collaboration with other firms, rather than in competition. Thus did stories and promises of open systems wend their way from the details of technical design to those of organizational design to the moral order of competition and collaboration, power and strategy. "Standards" became products that corporations sought to "sell" to their own industry through the intermediary of the consortium. +={collaboration:competition vs.+22;monopoly} + +In 1985 and 1986 the disarrayed state of UNIX was also frustrating to the major U.S. manufacturers, especially to Sun Microsystems, which had been founded on the creation of a market for UNIX-based "workstations," high-powered networked computers that could compete with mainframes and personal computers at the same time. Founded by Bill Joy, Vinod Khosla, and Andreas Bechtolsheim, Sun had very quickly become an extraordinarily successful computer company. The business pages and magazines were keen to understand whether workstations were viable competitors to PCs, in particular to those of IBM and Microsoft, and the de facto standard DOS operating system, for which a variety of extremely successful business-, personal-, and home-computer applications were written. +={Joy, Bill;Microsoft;Sun Microsystems+9;workstations+3} + +Sun seized on the anxiety around open systems, as is evident in the ad it ran during the summer of 1987 (figure 4). The ad plays subtly on two anxieties: the first is directed at the consumer and suggests that only with Sun can one actually achieve interoperability among all of one business’ computers, much less across a network or industry; the second is more subtle and plays to fears within the computer industry itself, the anxiety that Sun might merge with one ,{[pg 159]}, of the big corporations, AT&T or Unisys, and corner the market in open systems by producing the de facto standard. +={interoperability;mergers+2;Unisys+2} + +{ 2bits_05_04-100.png }image ~[* 4a and 4b. Open systems anxiety around mergers and compatibility. Sun Microsystems advertisement, Wall Street Journal, 9 July 1987. ]~ + +In fact, in October 1987 Sun announced that it had made a deal with AT&T. AT&T would distribute a workstation based on Sun’s SPARC line of workstations and would acquire 20 percent of Sun.~{ "AT&T Deal with Sun Seen," New York Times, 19 October 1987, D8. }~ As part of this announcement, Sun and AT&T made clear that they intended to merge two of the dominant versions of UNIX on the market: AT&T’s System V and the BSD-derived Solaris. This move clearly frightened the rest of the manufacturers interested in UNIX and open systems, as it suggested a kind of super-power alignment that would restructure (and potentially dominate) the market. A 1988 article in the New York Times quotes an industry analyst who characterizes the merger as "a matter of concern at the highest levels of every major computer company in the United States, and possibly the world," and it suggests that competing manufacturers "also fear that AT&T will gradually make Unix a proprietary product, usable only on AT&T or Sun machines."~{ Thomas C. Hayesdallas, "AT&T’s Unix Is a Hit at Last, and Other Companies Are Wary," New York Times, 24 February 1988, D8. }~ The industry anxiety was great enough that in March Unisys (a computer manufacturer, formerly Burroughs-Sperry) announced that it would work with AT&T and Sun to bring UNIX to its mainframes and to make its ,{[pg 160]}, business applications run on UNIX. Such a move was tantamount to Unisys admitting that there would be no future in proprietary high-end computing—the business on which it had hitherto built its reputation—unless it could be part of the consortium that could own the standard.~{ "Unisys Obtains Pacts for Unix Capabilities," New York Times, 10 March 1988, D4. }~ +={AT&T+7;Solaris (operating system)} + +In response to this perceived collusion a group of U.S. and European companies banded together to form another rival organization—one that partially overlapped with X/Open but now included IBM—this one called the Open Software Foundation. A nonprofit corporation, the foundation included IBM, Digital Equipment, Hewlett-Packard, Bull, Nixdorf, Siemens, and Apollo Computer (Sun’s most direct competitor in the workstation market). Their goal was explicitly to create a "competing standard" for UNIX that would be available on the hardware they manufactured (and based, according to some newspaper reports, on IBM’s AIX, which was to be called OSF/1). AT&T appeared at first to support the foundation, suggesting that if the Open Software Foundation could come up with a standard, then AT&T would make System V compatible with it. Thus, 1988 was the summer of open love. Every major computer manufacturer in the world was now part of some consortium or another, and some were part of two—each promoting a separate standard. +={X/Open Consortium} + +Of all the corporations, Sun did the most to brand itself as the originator of the open-systems concept. They made very broad claims for the success of open-systems standardization, as for instance in an ad from August 1988 (figure 5), which stated in part: +={openness (component of Free Software):proprietary vs.} + +_1 But what’s more, those sales confirm a broad acceptance of the whole idea behind Sun. + +_1 The Open Systems idea. Systems based on standards so universally accepted that they allow combinations of hardware and software from literally thousands of independent vendors. . . . So for the first time, you’re no longer locked into the company who made your computers. Even if it’s us. + +The ad goes on to suggest that "in a free market, the best products win out," even as Sun played both sides of every standardization battle, cooperating with both AT&T and with the Open Software Foundation. But by October of that year, it was clear to Sun that ,{[pg 161]}, ,{[pg 162]}, the idea hadn’t really become "so universal" just yet. In that month AT&T and Sun banded together with seventeen other manufacturers and formed a rival consortium: Unix International, a coalition of the willing that would back the AT&T UNIX System V version as the one true open standard. In a full-page advertisement from Halloween of 1988 (figure 6), run simultaneously in the New York Times, the Washington Post, and the Wall Street Journal, the rhetoric of achieved success remained, but now instead of "the Open Systems idea," it was "your demand for UNIX System V-based solutions that ushered in the era of open architecture." Instead of a standard for all open systems, it was a war of all against all, a war to assure customers that they had made, not the right choice of hardware or software, but the right choice of standard. +={UNIX International+3;UNIX wars+3} + +{ 2bits_05_05-100.png }image ~[* It pays to be open: Sun’s version of profitable and successful open systems. Sun Microsystems advertisement, New York Times, 2 August 1988. ]~ + +% image placed after paragraph + +The proliferation of standards and standards consortia is often referred to as the UNIX wars of the late 1980s, but the creation of such consortia did not indicate clearly drawn lines. Another metaphor that seems to have been very popular in the press at the time was that of "gang" warfare (no doubt helped along by the creation of another industry consortia informally called the Gang of Nine, which were involved in a dispute over whether MicroChannel or EISA buses should be installed in PCs). The idea of a number of companies forming gangs to fight with each other, Bloods-and-Crips style—or perhaps more Jets-and-Sharks style, minus the singing—was no doubt an appealing metaphor at the height of Los Angeles’s very real and high-profile gang warfare. But as one article in the New York Times pointed out, these were strange gangs: "Since ‘openness’ and ‘cooperation’ are the buzzwords behind these alliances, the gang often asks its enemy to join. Often the enemy does so, either so that it will not seem to be opposed to openness or to keep tabs on the group. IBM was invited to join the corporation for Open Systems, even though the clear if unstated motive of the group was to dilute IBM’s influence in the market. AT&T negotiated to join the Open Software Foundation, but the talks collapsed recently. Some companies find it completely consistent to be members of rival gangs. . . . About 10 companies are members of both the Open Software Foundation and its archrival Unix International."~{ Andrew Pollack, "Computer Gangs Stake Out Turf," New York Times, 13 December 1988, D1. See also Evelyn Richards, "Computer Firms Get a Taste of ‘Gang Warfare,’" Washington Post, 11 December 1988, K1; Brit Hume, "IBM, Once the Bully on the Block, Faces a Tough New PC Gang," Washington Post, 3 October 1988, E24. }~ +={openness (component of Free Software):standardization and} + +{ 2bits_05_06-100.png }image ~[* The UNIX Wars, Halloween 1988. UNIX International advertisement, Wall Street Journal and New York Times, 31 October 1988. ]~ + +% image placed above paragraph + +The proliferation of these consortia can be understood in various ways. One could argue that they emerged at a time—during the Reagan administration—when antitrust policing had diminished to ,{[pg 163]}, ,{[pg 164]}, the point where computer corporations did not see such collusion as a risky activity vis-à-vis antitrust policing. One could also argue that these consortia represented a recognition that the focus on hardware control (the meaning of proprietary) had been replaced with a focus on the control of the "open standard" by one or several manufacturers, that is, that competition was no longer based on superior products, but on "owning the standard." It is significant that the industry consortia quickly overwhelmed national efforts, such as the IEEE POSIX standard, in the media, an indication that no one was looking to government or nonprofits, or to university professional societies, to settle the dispute by declaring a standard, but rather to industry itself to hammer out a standard, de facto or otherwise. Yet another way to understand the emergence of these consortia is as a kind of mutual policing of the market, a kind of paranoid strategy of showing each other just enough to make sure that no one would leapfrog ahead and kill the existing, fragile competition. +={antitrust+2;standards:ownership of;Institute of Electrical and Electronics Engineers (IEEE)} + +What this proliferation of UNIX standards and consortia most clearly represents, however, is the blind spot of open systems: the difficulty of having collaboration and competition at the same time in the context of intellectual-property rules that incompletely capture the specific and unusual characteristics of software. For participants in this market, the structure of intellectual property was unassailable—without it, most participants assumed, innovation would cease and incentives disappear. Despite the fact that secrecy haunted the industry, its customers sought both openness and compatibility. These conflicting demands proved irresolvable. +={secrecy} + +2~ Denouement + +Ironically, the UNIX wars ended not with the emergence of a winner, but with the reassertion of proprietary computing: Microsoft Windows and Windows NT. Rather than open systems emerging victorious, ushering in the era of seamless integration of diverse components, the reverse occurred: Microsoft managed to grab a huge share of computer markets, both desktop and high-performance, by leveraging its brand, the ubiquity of DOS, and application-software developers’ dependence on the "Wintel" monster (Windows plus Intel chips). Microsoft triumphed, largely for the same reasons the open-systems dream failed: the legal structure of intellectual ,{[pg 165]}, property favored a strong corporate monopoly on a single, branded product over a weak array of "open" and competing components. There was no large gain to investors, or to corporations, from an industry of nice guys sharing the source code and making the components work together. Microsoft, on the other hand, had decided to do so internal to itself; it did not necessarily need to form consortia or standardize its operating systems, if it could leverage its dominance in the market to spread the operating system far and wide. It was, as standards observers like to say, the triumph of de facto standardization over de jure. It was a return to the manacled wretches of IBM’s monopoly—but with a new dungeon master. +={Intel (corporation);Microsoft:Windows operating system;Openness (component of Free Software):proprietary vs.;monopoly;openness (component of Free Software)+10} + +The denouement of the UNIX standards story was swift: AT&T sold its UNIX System Labs (including all of the original source and rights) to Novell in 1993, who sold it in turn to SCO two years later. Novell sold (or transferred) the trademark name UNIX™ to the X/Open group, which continued to fight for standardization, including a single universal UNIX specification. In 1996 X/Open and the Open Software Foundation merged to form the Open Group.~{ "What Is Unix?" The Unix System, http://www.unix.org/what_is_unix/history_timeline.html. }~ The Open Group eventually joined forces with IEEE to turn POSIX into a single UNIX specification in 2001. They continue to push the original vision of open systems, though they carefully avoid using the name or concept, referring instead to the trademarked mouthful "Boundaryless Information Flow" and employing an updated and newly inscrutable rhetoric: "Boundaryless Information Flow, a shorthand representation of ‘access to integrated information to support business process improvements’ represents a desired state of an enterprise’s infrastructure and is specific to the business needs of the organization."~{ "About the Open Group," The Open Group, http://www.opengroup.org/overview/vision-mission.htm. }~ +={AT&T;Novell;SCO (corporation)} + +The Open Group, as well as many other participants in the history of open systems, recognize the emergence of "open source" as a return to the now one true path of boundaryless information flow. Eric Raymond, of course, sees continuity and renewal (not least of which in his own participation in the Open Source movement) and in his Art of UNIX Programming says, "The Open Source movement is building on this stable foundation and is creating a resurgence of enthusiasm for the UNIX philosophy. In many ways Open Source can be seen as the true delivery of Open Systems that will ensure it continues to go from strength to strength."~{ "What Is Unix?" The Unix System, http://www.unix.org/what_is_unix/history_timeline.html. }~ +={Open Source} + +This continuity, of course, deliberately disavows the centrality of the legal component, just as Raymond and the Open Source ,{[pg 166]}, Initiative had in 1998. The distinction between a robust market in UNIX operating systems and a standard UNIX-based infrastructure on which other markets and other activities can take place still remains unclear to even those closest to the money and machines. It does not yet exist, and may well never come to. +={infrastructure+1} + +The growth of Free Software in the 1980s and 1990s depended on openness as a concept and component that was figured out during the UNIX wars. It was during these wars that the Free Software Foundation (and other groups, in different ways) began to recognize the centrality of the issue of intellectual property to the goal of creating an infrastructure for the successful creation of open systems.~{ Larry McVoy was an early voice, within Sun, arguing for solving the open-systems problem by turning to Free Software. Larry McVoy, "The Sourceware Operating System Proposal," 9 November 1993, http://www.bitmover.com/lm/papers/srcos.html. }~ The GNU (GNU’s Not Unix) project in particular, but also the X Windows system at MIT, the Remote Procedure Call and Network File System (NFS) systems created by Sun, and tools like sendmail and BIND were each in their own way experiments with alternative licensing arrangements and were circulating widely on a variety of the UNIX versions in the late 1980s. Thus, the experience of open systems, while technically a failure as far as UNIX was concerned, was nonetheless a profound learning experience for an entire generation of engineers, hackers, geeks, and entrepreneurs. Just as the UNIX operating system had a pedagogic life of its own, inculcating itself into the minds of engineers as the paradigm of an operating system, open systems had much the same effect, realizing an inchoate philosophy of openness, interconnection, compatibility, interoperability—in short, availability and modifiability—that was in conflict with intellectual-property structures as they existed. To put it in Freudian terms: the neurosis of open systems wasn’t cured, but the structure of its impossibility had become much clearer to everyone. UNIX, the operating system, did not disappear at all—but UNIX, the market, did. +={modifiability+5;availability: open systems and+5;Free software:components of;GNU (Gnu's Not Unix);interoperability;modifiability+4;pedagogy:operating systems and;X Windows} + +2~ Open Systems Two: Networks +={Open Systems:networks and+28} + +The struggle to standardize UNIX as a platform for open systems was not the only open-systems struggle; alongside the UNIX wars, another "religious war" was raging. The attempt to standardize networks—in particular, protocols for the inter-networking of multiple, diverse, and autonomous networks of computers—was also a key aspect of the open-systems story of the 1980s.~{ The distinction between a protocol, an implementation and a standard is important: Protocols are descriptions of the precise terms by which two computers can communicate (i.e., a dictionary and a handbook for communicating). An implementation is the creation of software that uses a protocol (i.e., actually does the communicating; thus two implementations using the same protocol should be able to share data. A standard defines which protocol should be used by which computers, for what purposes. It may or may not define the protocol, but will set limits on changes to that protocol. }~ The war ,{[pg 167]}, between the TCP/IP and OSI was also a story of failure and surprising success: the story of a successful standard with international approval (the OSI protocols) eclipsed by the experimental, military-funded TCP/IP, which exemplified an alternative and unusual standards process. The moral-technical orders expressed by OSI and TCP/IP are, like that of UNIX, on the border between government, university, and industry; they represent conflicting social imaginaries in which power and legitimacy are organized differently and, as a result, expressed differently in the technology. +={moral and technical order;Networks:protools for+3;Open Systems Interconnection (OSI), as reference model+27;protocols:Open Systems Interconnection (OSI)+27|TCP/IP;TCP/IP (Transmission Control Protocol/Internet Protocol)+27;religious wars+3;social imaginary;standards process+3} + +OSI and TCP/IP started with different goals: OSI was intended to satisfy everyone, to be the complete and comprehensive model against which all competing implementations would be validated; TCP/IP, by contrast, emphasized the easy and robust interconnection of diverse networks. TCP/IP is a protocol developed by bootstrapping between standard and implementation, a mode exemplified by the Requests for Comments system that developed alongside them as part of the Arpanet project. OSI was a "model" or reference standard developed by internationally respected standards organizations. +={Arpanet (network)+18;Request for Comments (RFC)} + +In the mid-1980s OSI was en route to being adopted internationally, but by 1993 it had been almost completely eclipsed by TCP/IP. The success of TCP/IP is significant for three reasons: (1) availability—TCP/IP was itself available via the network and development open to anyone, whereas OSI was a bureaucratically confined and expensive standard and participation was confined to state and corporate representatives, organized through ISO in Geneva; (2) modifiability—TCP/IP could be copied from an existing implementation (such as the BSD version of UNIX) and improved, whereas OSI was a complex standard that had few existing implementations available to copy; and (3) serendipity—new uses that took advantage of availability and modifiability sprouted, including the "killer app" that was the World Wide Web, which was built to function on existing TCP/IP-based networks, convincing many manufacturers to implement that protocol instead of, or in addition to, OSI. +={World Wide Web (www)} + +The success of TCP/IP over OSI was also significant because of the difference in the standardization processes that it exemplified. The OSI standard (like all official international standards) is conceived and published as an aid to industrial growth: it was imagined according to the ground rules of intellectual property and as an attempt to facilitate the expansion of markets in networking. ,{[pg 168]}, OSI would be a "vendor-neutral" standard: vendors would create their own, secret implementations that could be validated by OSI and thereby be expected to interoperate with other OSI-validated systems. By stark contrast, the TCP/IP protocols were not published (in any conventional sense), nor were the implementations validated by a legitimate international-standards organization; instead, the protocols are themselves represented by implementations that allow connection to the network itself (where the TCP/IP protocols and implementations are themselves made available). The fact that one can only join the network if one possesses or makes an implementation of the protocol is generally seen as the ultimate in validation: it works.~{ The advantages of such an unplanned and unpredictable network have come to be identified in hindsight as a design principle. See Gillespie, "Engineering a Principle" for an excellent analysis of the history of "end to end" or "stupid" networks. }~ In this sense, the struggle between TCP/IP and OSI is indicative of a very familiar twentieth-century struggle over the role and extent of government planning and regulation (versus entrepreneurial activity and individual freedom), perhaps best represented by the twin figures of Friedrich Hayek and Maynard Keynes. In this story, it is Hayek’s aversion to planning and the subsequent privileging of spontaneous order that eventually triumphs, not Keynes’s paternalistic view of the government as a neutral body that absorbs or encourages the swings of the market. +={Hayek, Friedrich;Keynes, John Maynard;standards:validation of} + +2~ Bootstrapping Networks + +The "religious war" between TCP/IP and OSI occurred in the context of intense competition among computer manufacturers and during a period of vibrant experimentation with computer networks worldwide. As with most developments in computing, IBM was one of the first manufacturers to introduce a networking system for its machines in the early 1970s: the System Network Architecture (SNA). DEC followed suit with Digital Network Architecture (DECnet or DNA), as did Univac with Distributed Communications Architecture (DCA), Burroughs with Burroughs Network Architecture (BNA), and others. These architectures were, like the proprietary operating systems of the same era, considered closed networks, networks that interconnected a centrally planned and specified number of machines of the same type or made by the same manufacturer. The goal of such networks was to make connections internal to a firm, even if that involved geographically widespread systems (e.g., from branch to headquarters). Networks were also to be products. +={Digital Equipment Corporation (corporation):DECNet;Networks: as products|varieties of+4} + +The 1970s and 1980s saw extraordinarily vibrant experimentation with academic, military, and commercial networks. Robert Metcalfe had developed Ethernet at Xerox PARC in the mid-1970s, and IBM later created a similar technology called "token ring." In the 1980s the military discovered that the Arpanet was being used predominantly by computer scientists and not just for military applications, and decided to break it into MILNET and CSNET.~{ William Broad, "Global Network Split as Safeguard," New York Times, 5 October 1983, A13. }~ Bulletin Board Services, which connected PCs to each other via modems to download files, appeared in the late 1970s. Out of this grew Tom Jennings’s very successful experiment called FidoNet.~{ See the incomparable BBS: The Documentary, DVD, directed by Jason Scott (Boston: Bovine Ignition Systems, 2005), http://www.bbsdocumentary.com/. }~ In the 1980s an existing social network of university faculty on the East Coast of the United States started a relatively successful network called BITNET (Because It’s There Network) in the mid-1980s.~{ Grier and Campbell, "A Social History of Bitnet and Listserv 1985-1991." }~ The Unix to Unix Copy Protocol (uucp), which initially enabled the Usenet, was developed in the late 1970s and widely used until the mid-1980s to connect UNIX computers together. In 1984 the NSF began a program to fund research in networking and created the first large backbones for NSFNet, successor to the CSNET and Arpanet.~{ On Usenet, see Hauben and Hauben, Netizens. See also Pfaffenberger, "‘A Standing Wave in the Web of Our Communications.’" }~ +={Sparc (computer workstation);Unix to Unix copy protocol (uucp);Usenet;Xerox PARC} + +In the 1970s telecommunications companies and spin-off start-ups experimented widely with what were called "videotex" systems, of which the most widely implemented and well-known is Minitel in France.~{ Schmidt and Werle, Coordinating Technology, chap. 7. }~ Such systems were designed for consumer users and often provided many of the now widespread services available on the Internet in a kind of embryonic form (from comparison shopping for cars, to directory services, to pornography).~{ See, for example, Martin, Viewdata and the Information Society. }~ By the late 1970s, videotex systems were in the process of being standardized by the Commité Consultative de Information, Technologie et Télécommunications (CCITT) at the International Telecommunications Union (ITU) in Geneva. These standards efforts would eventually be combined with work of the International Organization for Standardization (ISO) on OSI, which had originated from work done at Honeywell.~{ There is little information on the development of open systems; there is, however, a brief note from William Stallings, author of perhaps the most widely used textbook on networking, at "The Origins of OSI," http://williamstallings.com/Extras/OSI.html. }~ +={Commité Consultative de Information, Technologie et Télécommunications (CCITT);International Telecommunications Union (ITU)+6;Internet: early development+5;International Organization for Standardization (ISO)+4;regulation:telecommunications+3;telecommunications industry+5} + +One important feature united almost all of these experiments: the networks of the computer manufacturers were generally piggybacked, or bootstrapped, onto existing telecommunications infrastructures built by state-run or regulated monopoly telecommunications firms. This situation inevitably spelled grief, for telecommunications providers are highly regulated entities, while the computer industry has been almost totally unregulated from its ,{[pg 170]}, inception. Since an increasingly core part of the computer industry’s business involved transporting signals through telecommunications systems without being regulated to do so, the telecommunications industry naturally felt themselves at a disadvantage.~{ Brock, The Second Information Revolution is a good introductory source for this conflict, at least in its policy outlines. The Federal Communications Commission issued two decisions (known as "Computer 1" and "Computer 2") that attempted to deal with this conflict by trying to define what counted as voice communication and what as data. }~ Telecommunications companies were not slow to respond to the need for data communications, but their ability to experiment with products and practices outside the scope of telephony and telegraphy was often hindered by concerns about antitrust and monopoly.~{ Brock, The Second Information Revolution, chap. 10. }~ The unregulated computer industry, by contrast, saw the tentativeness of the telecommunications industry (or national PTTs) as either bureaucratic inertia or desperate attempts to maintain control and power over existing networks—though no computer manufacturer relished the idea of building their own physical network when so many already existed. +={antitrust} + +TCP/IP and OSI have become emblematic of the split between the worlds of telecommunications and computing; the metaphors of religious wars or of blood feuds and cold wars were common.~{ Drake, "The Internet Religious War." }~ A particularly arch account from this period is Carl Malamud’s Exploring the Internet: A Technical Travelogue, which documents Malamud’s (physical) visits to Internet sites around the globe, discussions (and beer) with networking researchers on technical details of the networks they have created, and his own typically geeky, occasionally offensive takes on cultural difference.~{ Malamud, Exploring the Internet; see also Michael M. J. Fischer, "Worlding Cyberspace." }~ A subtheme of the story is the religious war between Geneva (in particular the ITU) and the Internet: Malamud tells the story of asking the ITU to release its 19,000-page "blue book" of standards on the Internet, to facilitate its adoption and spread. +={Malmud, Carl+1;standards process+4} + +The resistance of the ITU and Malamud’s heroic if quixotic attempts are a parable of the moral-technical imaginaries of openness—and indeed, his story draws specifically on the usable past of Giordano Bruno.~{ The usable past of Giordano Bruno is invoked by Malamud to signal the heretical nature of his own commitment to openly publishing standards that ISO was opposed to releasing. Bruno’s fate at the hands of the Roman Inquisition hinged in some part on his acceptance of the Copernican cosmology, so he has been, like Galileo, a natural figure for revolutionary claims during the 1990s. }~ The "bruno" project demonstrates the gulf that exists between two models of legitimacy—those of ISO and the ITU—in which standards represent the legal and legitimate consensus of a regulated industry, approved by member nations, paid for and enforced by governments, and implemented and adhered to by corporations. +={Bruno, Giordano;Usable pasts;International Organization for Standardization (ISO)+3} + +Opposite ISO is the ad hoc, experimental style of Arpanet and Internet researchers, in which standards are freely available and implementations represent the mode of achieving consensus, rather than the outcome of the consensus. In reality, such a rhetorical ,{[pg 171]}, opposition is far from absolute: many ISO standards are used on the Internet, and ISO remains a powerful, legitimate standards organization. But the clash of established (telecommunications) and emergent (computer-networking) industries is an important context for understanding the struggle between OSI and TCP/IP. + +The need for standard networking protocols is unquestioned: interoperability is the bread and butter of a network. Nonetheless, the goals of the OSI and the TCP/IP protocols differed in important ways, with profound implications for the shape of that interoperability. OSI’s goals were completeness, control, and comprehensiveness. OSI grew out of the telecommunications industry, which had a long history of confronting the vicissitudes of linking up networks and facilitating communication around the world, a problem that required a strong process of consensus and negotiation among large, powerful, government-run entities, as well as among smaller manufacturers and providers. OSI’s feet were firmly planted in the international standardization organizations like OSI and the ITU (an organization as old as telecommunications itself, dating to the 1860s). +={interoperability+12} + +Even if they were oft-mocked as slow, bureaucratic, or cumbersome, the processes of ISO and ITU—based in consensus, international agreement, and thorough technical specification—are processes of unquestioned legitimacy. The representatives of nations and corporations who attend ISO and ITU standards discussions, and who design, write, and vote on these standards, are usually not bureaucrats, but engineers and managers directly concerned with the needs of their constituency. The consensus-oriented process means that ISO and ITU standards attempt to satisfy all members’ goals, and as such they tend to be very large, complex, and highly specific documents. They are generally sold to corporations and others who need to use them, rather than made freely available, a fact that until recently reflected their legitimacy, rather than lack thereof. + +TCP/IP, on the other hand, emerged from very different conditions.~{ Abbate, Inventing the Internet; Salus, Casting the Net; Galloway, Protocol; and Brock, The Second Information Revolution. For practitioner histories, see Kahn et al., "The Evolution of the Internet as a Global Information System"; Clark, "The Design Philosophy of the DARPA Internet Protocols." }~ These protocols were part of a Department of Defense-funded experimental research project: Arpanet. The initial Arpanet protocols (the Network Control Protocol, or NCP) were insufficient, and TCP/IP was an experiment in interconnecting two different "packet-switched networks": the ground-line-based Arpanet network and a radio-wave network called Packet Radio.~{ Kahn et al., "The Evolution of the Internet as a Global Information System," 134-140; Abbate, Inventing the Internet, 114-36. }~ The ,{[pg 172]}, problem facing the designers was not how to accommodate everyone, but merely how to solve a specific problem: interconnecting two technically diverse networks, each with autonomous administrative boundaries, but forcing neither of them to give up the system or the autonomy. +={Defense, Department of+11;Defense Advanced Research Projects Agency (DARPA)+1;packet-switching+1} + +Until the mid-1980s, the TCP/IP protocols were resolutely research-oriented, and not the object of mainstream commercial interest. Their development reflected a core set of goals shared by researchers and ultimately promoted by the central funding agency, the Department of Defense. The TCP/IP protocols are often referred to as enabling packet-switched networks, but this is only partially correct; the real innovation of this set of protocols was a design for an "inter-network," a system that would interconnect several diverse and autonomous networks (packet-switched or circuit-switched), without requiring them to be transformed, redesigned, or standardized—in short, by requiring only standardization of the intercommunication between networks, not standardization of the network itself. In the first paper describing the protocol Robert Kahn and Vint Cerf motivated the need for TCP/IP thus: "Even though many different and complex problems must be solved in the design of an individual packet-switching network, these problems are manifestly compounded when dissimilar networks are interconnected. Issues arise which may have no direct counterpart in an individual network and which strongly influence the way in which Internetwork communication can take place."~{ Kahn and Cerf, "A Protocol for Packet Network Intercommunication," 637. }~ +={Cerf, Vinton+2;Kahn, Robert;TCP/IP (Transmission Control Protocol/Internet Protocol):goals of+2} + +The explicit goal of TCP/IP was thus to share computer resources, not necessarily to connect two individuals or firms together, or to create a competitive market in networks or networking software. Sharing between different kinds of networks implied allowing the different networks to develop autonomously (as their creators and maintainers saw best), but without sacrificing the ability to continue sharing. Years later, David Clark, chief Internet engineer for several years in the 1980s, gave a much more explicit explanation of the goals that led to the TCP/IP protocols. In particular, he suggested that the main overarching goal was not just to share resources but "to develop an effective technique for multiplexed utilization of existing interconnected networks," and he more explicitly stated the issue of control that faced the designers: "Networks represent administrative boundaries of control, and it was an ambition of this project to come to grips with the problem of integrating a number ,{[pg 173]}, of separately administrated entities into a common utility."~{ Clark, "The Design Philosophy of the DARPA Internet Protocols," 54-55. }~ By placing the goal of expandability first, the TCP/IP protocols were designed with a specific kind of simplicity in mind: the test of the protocols’ success was simply the ability to connect. +={Clark,David} + +By setting different goals, TCP/IP and OSI thus differed in terms of technical details; but they also differed in terms of their context and legitimacy, one being a product of international-standards bodies, the other of military-funded research experiments. The technical and organizational differences imply different processes for standardization, and it is the peculiar nature of the so-called Requests for Comments (RFC) process that gave TCP/IP one of its most distinctive features. The RFC system is widely recognized as a unique and serendipitous outcome of the research process of Arpanet.~{ RFCs are archived in many places, but the official site is RFC Editor, http://www.rfc-editor.org/. }~ In a thirty-year retrospective (published, naturally, as an RFC: RFC 2555), Vint Cerf says, "Hiding in the history of the RFCs is the history of human institutions for achieving cooperative work." He goes on to describe their evolution over the years: "When the RFCs were first produced, they had an almost 19th century character to them—letters exchanged in public debating the merits of various design choices for protocols in the ARPANET. As email and bulletin boards emerged from the fertile fabric of the network, the far-flung participants in this historic dialog began to make increasing use of the online medium to carry out the discussion—reducing the need for documenting the debate in the RFCs and, in some respects, leaving historians somewhat impoverished in the process. RFCs slowly became conclusions rather than debates."~{ RFC Editor, RFC 2555, 6. }~ +={standards process;Request for Comments (RFC)+2} + +Increasingly, they also became part of a system of discussion and implementation in which participants created working software as part of an experiment in developing the standard, after which there was more discussion, then perhaps more implementation, and finally, a standard. The RFC process was a way to condense the process of standardization and validation into implementation; which is to say, the proof of open systems was in the successful connection of diverse networks, and the creation of a standard became a kind of ex post facto rubber-stamping of this demonstration. Any further improvement of the standard hinged on an improvement on the standard implementation because the standards that resulted were freely and widely available: "A user could request an RFC by email from his host computer and have it automatically delivered to his mailbox. . . . RFCs were also shared freely with official standards ,{[pg 174]}, bodies, manufacturers and vendors, other working groups, and universities. None of the RFCs were ever restricted or classified. This was no mean feat when you consider that they were being funded by DoD during the height of the Cold War."~{ Ibid., 11. }~ +={Software:implementation of;standards:implementation+9|validation of;Secrecy+1} + +The OSI protocols were not nearly so freely available. The ironic reversal—the transparency of a military-research program versus the opacity of a Geneva-based international-standards organization—goes a long way toward explaining the reasons why geeks might find the story of TCP/IP’s success to be so appealing. It is not that geeks are secretly militaristic, but that they delight in such surprising reversals, especially when those reversals exemplify the kind of ad hoc, clever solution to problems of coordination that the RFC process does. The RFC process is not the only alternative to a consensus-oriented model of standardization pioneered in the international organizations of Geneva, but it is a specific response to a reorientation of power and knowledge that was perhaps more "intuitively obvious" to the creators of Arpanet and the Internet, with its unusual design goals and context, than it would have been to the purveyors of telecommunications systems with over a hundred years of experience in connecting people in very specific and established ways. +={geeks;reorientation of power and knowledge;standards organizations} + +2~ Success as Failure + +By 1985, OSI was an official standard, one with widespread acceptance by engineers, by the government and military (the "GOSIP" standard), and by a number of manufacturers, the most significant of which was General Motors, with its Manufacturing Automation Protocol (MAP). In textbooks and handbooks of the late 1980s and early 1990s, OSI was routinely referred to as the inevitable standard—which is to say, it had widespread legitimacy as the standard that everyone should be implementing—but few implementations existed. Many of the textbooks on networking from the late 1980s, especially those slanted toward a theoretical introduction, give elaborate detail of the OSI reference model—a generation of students in networking was no doubt trained to understand the world in terms of OSI—but the ambivalence continued. Indeed, the most enduring legacy of the creation of the OSI protocols is not the protocols themselves (some of which, like ASN.1, are still ,{[pg 175]}, widely used today), but the pedagogical model: the "7 layer stack" that is as ubiquitous in networking classes and textbooks as UNIX is in operating-systems classes.~{ This can be clearly seen, for instance, by comparing the various editions of the main computer-networking textbooks: cf. Tanenbaum, Computer Networks, 1st ed. (1981), 2d ed. (1988), 3d ed. (1996), and 4th ed. (2003); Stallings, Data and Computer Communications, 1st ed. (1985), 2d ed. (1991), ,{[pg 332]}, 3d ed. (1994), 4th ed. (1997), and 5th ed. (2004); and Comer, Internetworking with TCP/IP (four editions between 1991 and 1999). }~ +={General Motors (GM)} + +But in the late 1980s, the ambivalence turned to confusion. With OSI widely recognized as the standard, TCP/IP began to show up in more and more actually existing systems. For example, in Computer Network Architectures and Protocols, Carl Sunshine says, "Now in the late 1980s, much of the battling seems over. CCITT and ISO have aligned their efforts, and the research community seems largely to have resigned itself to OSI." But immediately afterward he adds: "It is ironic that while a consensus has developed that OSI is indeed inevitable, the TCP/IP protocol suite has achieved widespread deployment, and now serves as a de facto interoperability standard. . . . It appears that the vendors were unable to bring OSI products to market quickly enough to satisfy the demand for interoperable systems, and TCP/IP were there to fill the need."~{ Sunshine, Computer Network Architectures and Protocols, 5. }~ +={Commité Consultative de Information, Technologie et Télécommunications (CCITT);pedagogy:network protocols and} + +The more implementations that appeared, the less secure the legitimate standard seemed to be. By many accounts the OSI specifications were difficult to implement, and the yearly networking-industry "Interop" conferences became a regular locale for the religious war between TCP/IP and OSI. The success of TCP/IP over OSI reflects the reorientation of knowledge and power to which Free Software is also a response. The reasons for the success are no doubt complex, but the significance of the success of TCP/IP illustrates three issues: availability, modifiability, and serendipity. + +!_ Availability +The TCP/IP standards themselves were free to anyone and available over TCP/IP networks, exemplifying one of the aspects of a recursive public: that the only test of participation in a TCP/IP-based internetwork is the fact that one possesses or has created a device that implements TCP/IP. Access to the network is contingent on the interoperability of the networks. The standards were not "published" in a conventional sense, but made available through the network itself, without any explicit intellectual property restrictions, and without any fees or restrictions on who could access them. By contrast, ISO standards are generally not circulated freely, but sold for relatively high prices, as a source of revenue, and under the general theory that only legitimate corporations or government agencies would need access to them. +={availability:open systems and+1;recursive public+3} + +% ,{[pg 176]}, + +Related to the availability of the standards is the fact that the standards process that governed TCP/IP was itself open to anyone, whether corporate, military or academic. The structure of governance of the Internet Engineering Task Force (the IETF) and the Internet Society (ISOC) allowed for anyone with the means available to attend the "working group" meetings that would decide on the standards that would be approved. Certainly this does not mean that the engineers and defense contractors responsible actively sought out corporate stakeholders or imagined the system to be "public" in any dramatic fashion; however, compared to the system in place at most standards bodies (in which members are usually required to be the representatives of corporations or governments), the IETF allowed individuals to participate qua individuals.~{ The structure of the IETF, the Internet Architecture Board, and the ISOC is detailed in Comer, Internetworking with TCP/IP, 8-13; also in Schmidt and Werle, Coordinating Technology, 53-58. }~ +={Internet Engineering Task Force (IETF);Internet Society (ISOC)} + +!_ Modifiability +Implementations of TCP/IP were widely available, bootstrapped from machine to machine along with the UNIX operating system and other tools (e.g., the implementation of TCP/IP in BSD 4.2, the BSD version of UNIX), generally including the source code. An existing implementation is a much more expressive and usable object than a specification for an implementation, and though ISO generally prepares reference implementations for such standards, in the case of OSI there were many fewer implementations to work with or build on. Because multiple implementations of TCP/IP already existed, it was easy to validate: did your (modified) implementation work with the other existing implementations? By contrast, OSI would provide independent validation, but the in situ validation through connection to other OSI networks was much harder to achieve, there being too few of them, or access being restricted. It is far easier to build on an existing implementation and to improve on it piecemeal, or even to rewrite it completely, using its faults as a template (so to speak), than it is to create an implementation based solely on a standard. The existence of the TCP/IP protocols in BSD 4.2 not only meant that people who installed that operating system could connect to the Internet easily, at a time when it was by no means standard to be able to do so, but it also meant that manufacturers or tinkerers could examine the implementation in BSD 4.2 as the basis for a modified, or entirely new, implementation. +={modifiability;Berkeley Systems Distribution (BSD) (version of UNIX);standards:validation of} + +!_ Serendipity +Perhaps most significant, the appearance of widespread and popular applications that were dependent on TCP/IP ,{[pg 177]}, gave those protocols an inertia that OSI, with relatively few such applications, did not have. The most important of these by far was the World Wide Web (the http protocol, the HTML mark-up language, and implementations of both servers, such as libwww, and clients, such as Mosaic and Netscape). The basic components of the Web were made to work on top of the TCP/IP networks, like other services that had already been designed (ftp, telnet, gopher, archie, etc.); thus, Tim Berners-Lee, who co-invented the World Wide Web, could also rely on the availability and openness of previous work for his own protocols. In addition, Berners-Lee and CERN (the European Organization for Nuclear Research) dedicated their work to the public domain more or less immediately, essentially allowing anyone to do anything they wished with the system they had cobbled together.~{ Message-ID: { 673c43e160cia758@sluvca.slu.edu. }http://groups.google.com/groups?selm=673c43e160cia758@sluvca.slu.edu See also Berners-Lee, Weaving the Web. }~ From the perspective of the tension between TCP/IP and OSI, the World Wide Web was thus what engineers call a "killer app," because its existence actually drove individuals and corporations to make decisions (in favor of TCP/IP) that it might not have made otherwise. +={Berners-Lee, Tim;Hypertext Transfer Protocol (http);Mosaic (web browser);Netscape Navigator (application);World Wide Web (www)} + +2~ Conclusion + +Openness and open systems are key to understanding the practices of Free Software: the open-systems battles of the 1980s set the context for Free Software, leaving in their wake a partially articulated infrastructure of operating systems, networks, and markets that resulted from figuring out open systems. The failure to create a standard UNIX operating system opened the door for Microsoft Windows NT, but it also set the stage for the emergence of the Linux-operating-system kernel to emerge and spread. The success of the TCP/IP protocols forced multiple competing networking schemes into a single standard—and a singular entity, the Internet—which carried with it a set of built-in goals that mirror the moral-technical order of Free Software. +={Linux (Free Software project);moral and technical order} + +This "infrastructure" is at once technical (protocols and standards and implementations) and moral (expressing ideas about the proper order and organization of commercial efforts to provide high-tech software, networks, and computing power). As with the invention of UNIX, the opposition commercial-noncommercial (or its doppelgangers public-private, profit-nonprofit, capitalist-socialist, etc.) ,{[pg 178]}, doesn’t capture the context. Constraints on the ability to collaborate, compete, or withdraw are in the making here through the technical and moral imaginations of the actors involved: from the corporate behemoths like IBM to (onetime) startups like Sun to the independent academics and amateurs and geeks with stakes in the new high-tech world of networks and software. +={geeks} + +The creation of a UNIX market failed. The creation of a legitimate international networking standard failed. But they were local failures only. They opened the doors to new forms of commercial practice (exemplified by Netscape and the dotcom boom) and new kinds of politicotechnical fractiousness (ICANN, IPv6, and "net neutrality"). But the blind spot of open systems—intellectual property—at the heart of these failures also provided the impetus for some geeks, entrepreneurs, and lawyers to start figuring out the legal and economic aspects of Free Software, and it initiated a vibrant experimentation with copyright licensing and with forms of innovative coordination and collaboration built on top of the rapidly spreading protocols of the Internet. +={Copyleft licenses (component of Free Software)} + +1~ 6. Writing Copyright Licenses +={Copyleft licenses (component of Free Software)+110;General Public License (GPL)+110;Stallman, Richard+110;intellectual property+110} + +% ,{[pg 179]}, + +_1 To protect your rights, we need to make restrictions that forbid anyone to deny you these rights or to ask you to surrender the rights. - Preamble to the GNU General Public License + +The use of novel, unconventional copyright licenses is, without a doubt, the most widely recognized and exquisitely refined component of Free Software. The GNU General Public License (GPL), written initially by Richard Stallman, is often referred to as a beautiful, clever, powerful "hack" of intellectual-property law—when it isn’t being denounced as a viral, infectious object threatening the very fabric of economy and society. The very fact that something so boring, so arcane, and so legalistic as a copyright license can become an object of both devotional reverence and bilious scorn means there is much more than fine print at stake. ,{[pg 180]}, + +By the beginning of the twenty-first century, there were hundreds of different Free Software licenses, each with subtle legal and technical differences, and an enormous legal literature to explain their details, motivation, and impact.~{ The legal literature on Free Software expands constantly and quickly, and it addresses a variety of different legal issues. Two excellent starting points are Vetter, "The Collaborative Integrity of Open-Source Software" and "‘Infectious’ Open Source Software." }~ Free Software licenses differ from conventional copyright licenses on software because they usually restrict only the terms of distribution, while so-called End User License Agreements (EULAs) that accompany most proprietary software restrict what users can do with the software. Ethnographically speaking, licenses show up everywhere in the field, and contemporary hackers are some of the most legally sophisticated non-lawyers in the world. Indeed, apprenticeship in the world of hacking is now impossible, as Gabriella Coleman has shown, without a long, deep study of intellectual-property law.~{ Coleman, "The Social Construction of Freedom." }~ +={Coleman, Gabriella;End User License Agreements (EULAs)} + +But how did it come to be this way? As with the example of sharing UNIX source code, Free Software licenses are often explained as a reaction to expanding intellectual-property laws and resistance to rapacious corporations. The text of the GPL itself begins deep in such assumptions: "The licenses for most software are designed to take away your freedom to share and change it."~{ "The GNU General Public Licence, Version 2.0," http://www.gnu.org/licenses/old-licenses/gpl-2.0.html. }~ But even if corporations are rapacious, sharing and modifying software are by no means natural human activities. The ideas of sharing and of common property and its relation to freedom must always be produced through specific practices of sharing, before being defended. The GPL is a precise example of how geeks fit together the practices of sharing and modifying software with the moral and technical orders—the social imaginaries—of freedom and autonomy. It is at once an exquisitely precise legal document and the expression of an idea of how software should be made available, shareable, and modifiable. +={practices;social imaginary;sharing source code (component of Free Software)} + +In this chapter I tell the story of the creation of the GPL, the first Free Software license, during a controversy over EMACS, a very widely used and respected piece of software; the controversy concerned the reuse of bits of copyrighted source code in a version of EMACS ported to UNIX. There are two reasons to retell this story carefully. The first is simply to articulate the details of the origin of the Free Software license itself, as a central component of Free Software, details that should be understood in the context of changing copyright law and the UNIX and open-systems struggles of the 1980s. Second, although the story of the GPL is also an oft-told story of the "hacker ethic," the GPL is not an "expression" of this ,{[pg 181]}, ethic, as if the ethic were genotype to a legal phenotype. Opposite the familiar story of ethics, I explain how the GPL was "figured out" in the controversy over EMACS, how it was formed in response to a complicated state of affairs, both legal and technical, and in a medium new to all the participants: the online mailing lists and discussion lists of Usenet and Arpanet.~{ All existing accounts of the hacker ethic come from two sources: from Stallman himself and from the colorful and compelling chapter about Stallman in Steven Levy’s Hackers. Both acknowledge a prehistory to the ethic. Levy draws it back in time to the MIT Tech Model Railroad Club of the 1950s, while Stallman is more likely to describe it as reaching back to the scientific revolution or earlier. The stories of early hackerdom at MIT are avowedly Edenic, and in them hackers live in a world of uncontested freedom and collegial competition—something like a writer’s commune without the alcohol or the brawling. There are stories about a printer whose software needed fixing but was only available under a nondisclosure agreement; about a requirement to use passwords (Stallman refused, chose as his password, and hacked the system to encourage others to do the same); about a programming war between different LISP machines; and about the replacement of the Incompatible Time-Sharing System with DEC’s TOPS-20 ("Twenex") operating system. These stories are oft-told usable pasts, but they are not representative. Commercial constraints have always been part of academic life in computer science and engineering: hardware and software were of necessity purchased from commercial manufacturers and often controlled by them, even if they offered "academic" or "educational" licenses. }~ +={EMACS (text editor)+105;Hacker ethic+1;Open Systems;Usenet;Arpanet (network);hackers: hacks and+7;ethnographic data:availability of|mailing lists and+1} + +The story of the creation of the GNU General Public License ultimately affirms the hacker ethic, not as a story of the ethical hacker genius, but as a historically specific event with a duration and a context, as something that emerges in response to the reorientation of knowledge and power, and through the active modulation of existing practices among both human and nonhuman actors. While hackers themselves might understand the hacker ethic as an unchanging set of moral norms, their practices belie this belief and demonstrate how ethics and norms can emerge suddenly and sharply, undergo repeated transformations, and bifurcate into ideologically distinct camps (Free Software vs. Open Source), even as the practices remain stable relative to them. The hacker ethic does not descend from the heights of philosophy like the categorical imperative—hackers have no Kant, nor do they want one. Rather, as Manuel Delanda has suggested, the philosophy of Free Software is the fact of Free Software itself, its practices and its things. If there is a hacker ethic, it is Free Software itself, it is the recursive public itself, which is much more than a list of norms.~{ Delanda, "Open Source." }~ By understanding it in this way, it becomes possible to track the proliferation and differentiation of the hacker ethic into new and surprising realms, instead of assuming its static universal persistence as a mere procedure that hackers execute. +={Delanda, Manuel;practices:five components of Free Software+2;Kant, Immanuel;recursive public;reorientation of power and knowledge} + +2~ Free Software Licenses, Once More with Feeling + +In lecturing on liberalism in 1935, John Dewey said the following of Jeremy Bentham: "He was, we might say, the first great muck-raker in the field of law . . . but he was more than that, whenever he saw a defect, he proposed a remedy. He was an inventor in law and administration, as much so as any contemporary in mechanical production."~{ Dewey, Liberalism and Social Action. }~ Dewey’s point was that the liberal reforms attributed to Bentham came not so much from his theories as from his direct involvement in administrative and legal reform—his experimentation. ,{[pg 182]}, Whether or not Bentham’s influence is best understood this way, it nonetheless captures an important component of liberal reform in Europe and America that is also a key component in the story of Free Software: that the route to achieving change is through direct experiment with the system of law and administration. +={Bentham, Jeremy+1;Dewey, John;experimentation:administrative reform as+1;figuring out} + +A similar story might be told of Richard Stallman, hacker hero and founder of the Free Software Foundation, creator of (among many other things) the GNU C Compiler and GNU EMACS, two of the most widely used and tested Free Software tools in the world. Stallman is routinely abused for holding what many perceive to be "dogmatic" or "intractable" ideological positions about freedom and the right of individuals to do what they please with software. While it is no doubt quite true that his speeches and writings clearly betray a certain fervor and fanaticism, it would be a mistake to assume that his speeches, ideas, or belligerent demands concerning word choice constitute the real substance of his reform. In fact, it is the software he has created and the licenses he has written and rewritten which are the key to his Bentham-like inventiveness. Unlike Bentham, however, Stallman is not a creator of law and administrative structure, but a hacker. +={GNU C Compiler (gcc)} + +Stallman’s GNU General Public License "hacks" the federal copyright law, as is often pointed out. It does this by taking advantage of the very strong rights granted by federal law to actually loosen the restrictions normally associated with ownership. Because the statutes grant owners strong powers to create restrictions, Stallman’s GPL contains the restriction that anybody can use the licensed material, for any purpose, so long as they subsequently offer the same restriction. Hacks (after which hackers are named) are clever solutions to problems or shortcomings in technology. Hacks are work-arounds, clever, shortest-path solutions that take advantage of characteristics of the system that may or may not have been obvious to the people who designed it. Hacks range from purely utilitarian to mischievously pointless, but they always depend on an existing system or tool through which they achieve their point. To call Free Software a hack is to point out that it would be nothing without the existence of intellectual-property law: it relies on the structure of U.S. copyright law (USC§17) in order to subvert it. Free Software licenses are, in a sense, immanent to copyright laws—there is nothing illegal or even legally arcane about what they accomplish—but there is nonetheless a kind of lingering sense ,{[pg 183]}, that this particular use of copyright was not how the law was intended to function. +={Copyleft licenses (component of Free Software):as hack of copyright law+1;Copyright+1} + +Like all software since the 1980 copyright amendments, Free Software is copyrightable—and what’s more, automatically copyrighted as it is written (there is no longer any requirement to register). Copyright law grants the author (or the employer of the author) a number of strong rights over the dispensation of what has been written: rights to copy, distribute, and change the work.~{ Copyright Act of 1976, Pub. L. No. 94-553, 90 Stat. 2541, enacted 19 October 1976; and Copyright Amendments, Pub. L. No. 96-517, 94 Stat. 3015, 3028 (amending §101 and §117, title 17, United States Code, regarding computer programs), enacted 12 December 1980. All amendments since 1976 are listed at http://www.copyright.gov/title17/92preface.html. }~ Free Software’s hack is to immediately make use of these rights in order to abrogate the rights the programmer has been given, thus granting all subsequent licensees rights to copy, distribute, modify, and use the copyrighted software. Some licenses, like the GPL, add the further restriction that every licensee must offer the same terms to any subsequent licensee, others make no such restriction on subsequent uses. Thus, while statutory law suggests that individuals need strong rights and grants them, Free Software licenses effectively annul them in favor of other activities, such as sharing, porting, and forking software. It is for this reason that they have earned the name "copyleft."~{ The history of the copyright and software is discussed in Litman, Digital Copyright; Cohen et al., Copyright in a Global Information Economy; and Merges, Menell, and Lemley, Intellectual Property in the New Technological Age. }~ +={Copyright:changes in|rights granted by} + +This is a convenient ex post facto description, however. Neither Stallman nor anyone else started out with the intention of hacking copyright law. The hack of the Free Software licenses was a response to a complicated controversy over a very important invention, a tool that in turn enabled an invention called EMACS. The story of the controversy is well-known among hackers and geeks, but not often told, and not in any rich detail, outside of these small circles.~{ See Wayner, Free for All; Moody, Rebel Code; and Williams, Free as in Freedom. Although this story could be told simply by interviewing Stallman and James Gosling, both of whom are still alive and active in the software world, I have chosen to tell it through a detailed analysis of the Usenet and Arpanet archives of the controversy. The trade-off is between a kind of incomplete, fly-on-the-wall access to a moment in history and the likely revisionist retellings of those who lived through it. All of the messages referenced here are cited by their "Message-ID," which should allow anyone interested to access the original messages through Google Groups (http://groups.google.com). }~ + +2~ EMACS, the Extensible, Customizable, Self-documenting, Real-time Display Editor +={text editors+13;EMACS (text editor):modularity and extensibility of+7} + +EMACS is a text editor; it is also something like a religion. As one of the two most famous text editors, it is frequently lauded by its devoted users and attacked by detractors who prefer its competitor (Bill Joy’s vi, also created in the late 1970s). EMACS is more than just a tool for writing text; for many programmers, it was (and still is) the principal interface to the operating system. For instance, it allows a programmer not only to write a program but also to debug it, to compile it, to run it, and to e-mail it to another user, ,{[pg 184]}, all from within the same interface. What’s more, it allows users to quickly and easily write extensions to EMACS itself, extensions that automate frequent tasks and in turn become core features of the software. It can do almost anything, but it can also frustrate almost anyone. The name itself is taken from its much admired extensibility: EMACS stands for "editing macros" because it allows programmers to quickly record a series of commands and bundle them into a macro that can be called with a simple key combination. In fact, it was one of the first editors (if not the first) to take advantage of keys like ctrl and meta, as in the now ubiquitous ctrl-S familiar to users of non-free word processors like Microsoft Word™. +={Joy, Bill;vi (text editor)} + +Appreciate the innovation represented by EMACS: before the UNIX-dominated minicomputer era, there were very few programs for directly manipulating text on a display. To conceive of source code as independent of a program running on a machine meant first conceiving of it as typed, printed, or hand-scrawled code which programmers would scrutinize in its more tangible, paper-based form. Editors that allowed programmers to display the code in front of them on a screen, to manipulate it directly, and to save changes to those files were an innovation of the mid- to late 1960s and were not widespread until the mid-1970s (and this only for bleeding-edge academics and computer corporations). Along with a few early editors, such as QED (originally created by Butler Lampson and Peter Deutsch, and rewritten for UNIX by Ken Thompson), one of the most famous of these was TECO (text editor and corrector), written by Dan Murphy for DEC’s PDP-1 computer in 1962-63. Over the years, TECO was transformed (ported and extended) to a wide variety of machines, including machines at Berkeley and MIT, and to other DEC hardware and operating systems. By the early 1970s, there was a version of TECO running on the Incompatible Time-sharing System (ITS), the system in use at MIT’s Artificial Intelligence (AI) Lab, and it formed the basis for EMACS. (Thus, EMACS was itself conceived of as a series of macros for a separate editor: Editing MACroS for TECO.) +={Artificial Intelligence Lab (AI Lab), at MIT+10;QED (text editor);TECO (text editor and programming language)+1} + +Like all projects on ITS at the AI Lab, many people contributed to the extension and maintenance of EMACS (including Guy Steele, Dave Moon, Richard Greenblatt, and Charles Frankston), but there is a clear recognition that Stallman made it what it was. The earliest AI Lab memo on EMACS, by Eugene Ciccarelli, says: "Finally, of all the people who have contributed to the development of EMACS, ,{[pg 185]}, and the TECO behind it, special mention and appreciation go to Richard M. Stallman. He not only gave TECO the power and generality it has, but brought together the good ideas of many different Teco-function packages, added a tremendous amount of new ideas and environment, and created EMACS. Personally one of the joys of my avocational life has been writing Teco/EMACS functions; what makes this fun and not painful is the rich set of tools to work with, all but a few of which have an ‘RMS’ chiseled somewhere on them."~{ Eugene Ciccarelli, "An Introduction to the EMACS Editor," MIT Artificial Intelligence Laboratory, AI Lab Memo no. 447, 1978, 2. }~ + +At this point, in 1978, EMACS lived largely on ITS, but its reputation soon spread, and it was ported to DEC’s TOPS-20 (Twenex) operating system and rewritten for Multics and the MIT’s LISP machine, on which it was called EINE (Eine Is Not EMACS), and which was followed by ZWEI (Zwei Was Eine Initially). +={Multics;proliferation of software+1} + +The proliferation of EMACS was both pleasing and frustrating to Stallman, since it meant that the work fragmented into different projects, each of them EMACS-like, rather than building on one core project, and in a 1981 report he said, "The proliferation of such superficial facsimiles of EMACS has an unfortunate confusing effect: their users, not knowing that they are using an imitation of EMACS and never having seen EMACS itself, are led to believe they are enjoying all the advantages of EMACS. Since any real-time display editor is a tremendous improvement over what they probably had before, they believe this readily. To prevent such confusion, we urge everyone to refer to a nonextensible imitation of EMACS as an ‘ersatz EMACS.’ "~{ Richard Stallman, "EMACS: The Extensible, Customizable Self-documenting Display Editor," MIT Artificial Intelligence Laboratory, AI Lab Memo no. 519a, 26 March 1981, 19. Also published as Richard M. Stallman, "EMACS: The Extensible, Customizable Self-documenting Display Editor," Proceedings of the ACM SIGPLAN SIGOA Symposium on Text Manipulation, 8-10 June (ACM, 1981), 147-56. }~ +={EMACS (text editor):ersatz versions} + +Thus, while EMACS in its specific form on ITS was a creation of Stallman, the idea of EMACS or of any "real-time display editor" was proliferating in different forms and on different machines. The porting of EMACS, like the porting of UNIX, was facilitated by both its conceptual design integrity and its widespread availability. +={design+1} + +The phrase "nonextensible imitation" captures the combination of design philosophy and moral philosophy that EMACS represented. Extensibility was not just a useful feature for the individual computer user; it was a way to make the improvements of each new user easily available equally to all by providing a standard way for users to add extensions and to learn how to use new extensions that were added (the "self-documenting" feature of the system). The program had a conceptual integrity that was compromised when it was copied imperfectly. EMACS has a modular, extensible design ,{[pg 186]}, that by its very nature invites users to contribute to it, to extend it, and to make it perform all manner of tasks—to literally copy and modify it, instead of imitating it. For Stallman, this was not only a fantastic design for a text editor, but an expression of the way he had always done things in the small-scale setting of the AI Lab. The story of Stallman’s moral commitments stresses his resistance to secrecy in software production, and EMACS is, both in its design and in Stallman’s distribution of it an example of this resistance. +={modifiability:EMACS and+12;moral and technical order+7;Secrecy} + +Not everyone shared Stallman’s sense of communal order, however. In order to facilitate the extension of EMACS through sharing, Stallman started something he called the "EMACS commune." At the end of the 1981 report—"EMACS: The Extensible, Customizable Self-documenting Display Editor," dated 26 March—he explained the terms of distribution for EMACS: "It is distributed on a basis of communal sharing, which means that all improvements must be given back to me to be incorporated and distributed. Those who are interested should contact me. Further information about how EMACS works is available in the same way."~{ Richard Stallman, "EMACS: The Extensible, Customizable Self-documenting Display Editor," MIT Artificial Intelligence Laboratory, AI Lab Memo no. 519a, 26 March 1981, 24. }~ +={EMACS commune+19} + +In another report, intended as a user’s manual for EMACS, Stallman gave more detailed and slightly more colorful instructions: + +_1 EMACS does not cost anything; instead, you are joining the EMACS software-sharing commune. The conditions of membership are that you must send back any improvements you make to EMACS, including any libraries you write, and that you must not redistribute the system except exactly as you got it, complete. (You can also distribute your customizations, separately.) Please do not attempt to get a copy of EMACS, for yourself or anyone else, by dumping it off of your local system. It is almost certain to be incomplete or inconsistent. It is pathetic to hear from sites that received incomplete copies lacking the sources [source code], asking me years later whether sources are available. (All sources are distributed, and should be on line at every site so that users can read them and copy code from them). If you wish to give away a copy of EMACS, copy a distribution tape from MIT, or mail me a tape and get a new one.~{ Richard M. Stallman, "EMACS Manual for ITS Users," MIT Artificial Intelligence Laboratory, AI Lab Memo no. 554, 22 October 1981, 163. }~ + +Because EMACS was so widely admired and respected, Stallman had a certain amount of power over this commune. If it had been an obscure, nonextensible tool, useful for a single purpose, no one would have heeded such demands, but because EMACS was by nature the kind of tool that was both useful for all kinds of tasks and ,{[pg 187]}, customizable for specific ones, Stallman was not the only person who benefited from this communal arrangement. Two disparate sites may well have needed the same macro extension, and therefore many could easily see the social benefit in returning extensions for inclusion, as well as in becoming a kind of co-developer of such a powerful system. As a result, the demands of the EMACS commune, while unusual and autocratic, were of obvious value to the flock. In terms of the concept of recursive public, EMACS was itself the tool through which it was possible for users to extend EMACS, the medium of their affinity; users had a natural incentive to share their contributions so that all might receive the maximum benefit. +={affinity (of geeks);recursive public} + +The terms of the EMACS distribution agreement were not quite legally binding; nothing compelled participation except Stallman’s reputation, his hectoring, or a user’s desire to reciprocate. On the one hand, Stallman had not yet chosen to, or been forced to, understand the details of the legal system, and so the EMACS commune was the next best thing. On the other hand, the state of intellectual-property law was in great flux at the time, and it was not clear to anyone, whether corporate or academic, exactly what kind of legal arrangements would be legitimate (the 1976 changes to copyright law were some of the most drastic in seventy years, and a 1980 amendment made software copyrightable, but no court cases had yet tested these changes). Stallman’s "agreement" was a set of informal rules that expressed the general sense of mutual aid that was a feature of both the design of the system and Stallman’s own experience at the AI Lab. It was an expression of the way Stallman expected others to behave, and his attempts to punish or shame people amounted to informal enforcement of these expectations. The small scale of the community worked in Stallman’s favor. +={Copyright:changes in 1976|changes in 1980} + +At its small scale, Stallman’s commune was confronting many of the same issues that haunted the open-systems debates emerging at the same time, issues of interoperability, source-code sharing, standardization, portability, and forking. In particular, Stallman was acutely aware of the blind spot of open systems: the conflict of moral-technical orders represented by intellectual property. While UNIX vendors left intellectual-property rules unchallenged and simply assumed that they were the essential ground rules of debate, Stallman made them the substance of his experiment and, like Bentham, became something of a legal muckraker as a result. +={Open Systems} + +% ,{[pg 188]}, + +Stallman’s communal model could not completely prevent the porting and forking of software. Despite Stallman’s request that imitators refer to their versions of EMACS as ersatz EMACS, few did. In the absence of legal threats over a trademarked term there was not much to stop people from calling their ports and forks EMACS, a problem of success not unlike that of Kleenex or Xerox. Few people took the core ideas of EMACS, implemented them in an imitation, and then called it something else (EINE and ZWEI were exceptions). In the case of UNIX the proliferation of forked versions of the software did not render them any less UNIX, even when AT&T insisted on ownership of the trademarked name. But as time went on, EMACS was ported, forked, rewritten, copied, or imitated on different operating systems and different computer architectures in universities and corporations around the world; within five or six years, many versions of EMACS were in wide use. It was this situation of successful adoption that would provide the context for the controversy that occurred between 1983 and 1985. +={EMACS (text editor):ersatz versions+6|controversy about+43} + +2~ The Controversy + +In brief the controversy was this: in 1983 James Gosling decided to sell his version of EMACS—a version written in C for UNIX called GOSMACS—to a commercial software vendor called Unipress. GOSMACS, the second most famous implementation of EMACS (after Stallman’s itself ), was written when Gosling was a graduate student at Carnegie Mellon University. For years, Gosling had distributed GOSMACS by himself and had run a mailing list on Usenet, on which he answered queries and discussed extensions. Gosling had explicitly asked people not to redistribute the program, but to come back to him (or send interested parties to him directly) for new versions, making GOSMACS more of a benevolent dictatorship than a commune. Gosling maintained his authority, but graciously accepted revisions and bug-fixes and extensions from users, incorporating them into new releases. Stallman’s system, by contrast, allowed users to distribute their extensions themselves, as well as have them included in the "official" EMACS. By 1983, Gosling had decided he was unable to effectively maintain and support GOSMACS—a task he considered the proper role of a corporation. +={Gosling, James+64|GOSMACS (version of EMACS)+41;Unipress+41} + +% ,{[pg 189]}, + +For Stallman, Gosling’s decision to sell GOSMACS to Unipress was "software sabotage." Even though Gosling had been substantially responsible for writing GOSMACS, Stallman felt somewhat proprietorial toward this ersatz version—or, at the very least, was irked that no noncommercial UNIX version of EMACS existed. So Stallman wrote one himself (as part of a project he announced around the same time, called GNU [GNU’s Not UNIX], to create a complete non-AT&T version of UNIX). He called his version GNU EMACS and released it under the same EMACS commune terms. The crux of the debate hinged on the fact that Stallman used, albeit ostensibly with permission, a small piece of Gosling’s code in his new version of EMACS, a fact that led numerous people, including the new commercial suppliers of EMACS, to cry foul. Recriminations and legal threats ensued and the controversy was eventually resolved when Stallman rewrote the offending code, thus creating an entirely "Gosling-free" version that went on to become the standard UNIX version of EMACS. +={GNU (Gnu's Not Unix)+40;EMACS (text editor):ersatz versions} + +The story raises several questions with respect to the changing legal context. In particular, it raises questions about the difference between "law on the books" and "law in action," that is, the difference between the actions of hackers and commercial entities, advised by lawyers and legally minded friends, and the text and interpretation of statutes as they are written by legislators and interpreted by courts and lawyers. The legal issues span trade secret, patent, and trademark, but copyright is especially significant. Three issues were undecided at the time: the copyrightability of software, the definition of what counts as software and what doesn’t, and the meaning of copyright infringement. While the controversy did not resolve any of these issues (the first two would be resolved by Congress and the courts, the third remains somewhat murky), it did clarify the legal issues for Stallman sufficiently that he could leave behind the informal EMACS commune and create the first version of a Free Software license, the GNU General Public License, which first started appearing in 1985. +={Copyright:software and copyrightability|legal definition of software and+70|infringement and software+70;software: copyrightability of+70;trademark law;trade secret law} + +Gosling’s decision to sell GOSMACS, announced in April of 1983, played into a growing EMACS debate being carried out on the GOSMACS mailing list, a Usenet group called net.emacs. Since net.emacs was forwarded to the Arpanet via a gateway maintained by John Gilmore at Sun Microsystems, a fairly large community ,{[pg 190]}, of EMACS users were privy to Gosling’s announcement. Prior to his declaration, there had been quite a bit of discussion regarding different versions of EMACS, including an already "commercial" version called CCA EMACS, written by Steve Zimmerman, of Computer Corporation of America (CCA).~{ Back in January of 1983, Steve Zimmerman had announced that the company he worked for, CCA, had created a commercial version of EMACS called CCA EMACS (Message-ID: { 385@yetti.uucp }http://groups.google.com/groups?selm=385@yetti.uucp ). Zimmerman had not written this version entirely, but had taken a version written by Warren Montgomery at Bell Labs (written for UNIX on PDP-11s) and created the version that was being used by programmers at CCA. Zimmerman had apparently distributed it by ftp at first, but when CCA determined that it might be worth something, they decided to exploit it commercially, rather than letting Zimmerman distribute it "freely." By Zimmerman’s own ,{[pg 334]}, account, this whole procedure required ensuring that there was nothing left of the original code by Warren Montgomery that Bell Labs owned (Message-ID: { 730@masscomp.uucp }http://groups.google.com/groups?selm=730@masscomp.uucp ). }~ Some readers wanted comparisons between CCA EMACS and GOSMACS; others objected that it was improper to discuss a commercial version on the list: was such activity legitimate, or should it be carried out as part of the commercial company’s support activities? Gosling’s announcement was therefore a surprise, since it was already perceived to be the "noncommercial" version. +={net.emacs (mailing list)+38;Computer Corporation of America (CCA)+60;Zimmerman, Steve+60} + +group{ + +Date: Tue Apr 12 04:51:12 1983 + +Subject: EMACS goes commercial + + The version of EMACS that I wrote is now available commercially through a company called Unipress. . . . They will be doing development, maintenance and will be producing a real manual. EMACS will be available on many machines (it already runs on VAXen under Unix and VMS, SUNs, codatas, and Microsoft Xenix). Along with this, I regret to say that I will no longer be distributing it. + + This is a hard step to take, but I feel that it is necessary. I can no longer look after it properly, there are too many demands on my time. EMACS has grown to be completely unmanageable. Its popularity has made it impossible to distribute free: just the task of writing tapes and stuffing them into envelopes is more than I can handle. + + The alternative of abandoning it to the public domain is unacceptable. Too many other programs have been destroyed that way. + + Please support these folks. The effort that they can afford to put into looking after EMACS is directly related to the support they get. Their prices are reasonable. + +James.~{ Message-ID for Gosling: { bnews.sri-arpa.865. }http://groups.google.com/groups?selm=bnews.sri-arpa.865 }~ + +}group +={Microsoft:Xenix (version of UNIX);public domain:meaning in EMACS controversy+59} + +The message is worth paying careful attention to: Gosling’s work of distributing the tapes had become "unmanageable," and the work of maintenance, upkeep, and porting (making it available on multiple architectures) is something he clearly believes should be done by a commercial enterprise. Gosling, it is clear, did not understand his effort in creating and maintaining EMACS to have emerged from a communal sharing of bits of code—even if he had done a Sisyphean amount of work to incorporate all the changes and suggestions his users had made—but he did long have a commitment ,{[pg 191]}, to distributing it for free, a commitment that resulted in many people contributing bits and pieces to GOSMACS. + +"Free," however, did not mean "public domain," as is clear from his statement that "abandoning it" to the public domain would destroy the program. The distinction is an important one that was, and continues to be, lost on many sophisticated members of net.emacs. Here, free means without charge, but Gosling had no intention of letting that word suggest that he was not the author, owner, maintainer, distributor, and sole beneficiary of whatever value GOSMACS had. Public domain, by contrast, implied giving up all these rights.~{ The thread starting at Message-ID: { 969@sdcsvax.uucp }http://groups.google.com/groups?selm=969@sdcsvax.uucp contains one example of a discussion over the difference between public-domain and commercial software. }~ His decision to sell GOSMACS to Unipress was a decision to transfer these rights to a company that would then charge for all the labor he had previously provided for no charge (for "free"). Such a distinction was not clear to everyone; many people considered the fact that GOSMACS was free to imply that it was in the public domain.~{ In particular, a thread discussing this in detail starts at Message-ID: { 172@encore.uucp }http://groups.google.com/groups?selm=172@encore.uucp and includes Message-ID: { 137@osu-eddie.UUCP }http://groups.google.com/groups?selm=137@osu-eddie.UUCP, Message-ID: { 1127@godot.uucp }http://groups.google.com/groups?selm=1127@godot.uucp, Message-ID: { 148@osu-eddie.uucp }http://groups.google.com/groups?selm=148@osu-eddie.uucp. }~ Not least of these was Richard Stallman, who referred to Gosling’s act as "software sabotage" and urged people to avoid using the "semi-ersatz" Unipress version.~{ Message-ID: bnews.sri-arpa.988. }~ +={Public domain:contrasted with free+12} + +To Stallman, the advancing commercialization of EMACS, both by CCA and by Unipress, was a frustrating state of affairs. The commercialization of CCA had been of little concern so long as GOSMACS remained free, but with Gosling’s announcement, there was no longer a UNIX version of EMACS available. To Stallman, however, "free" meant something more than either "public domain" or "for no cost." The EMACS commune was designed to keep EMACS alive and growing as well as to provide it for free—it was an image of community stewardship, a community that had included Gosling until April 1983. + +The disappearance of a UNIX version of EMACS, as well as the sudden commercial interest in making UNIX into a marketable operating system, fed into Stallman’s nascent plan to create a completely new, noncommercial, non-AT&T UNIX operating system that he would give away free to anyone who could use it. He announced his intention on 27 September 1983:~{ Message-ID: { 771@mit-eddie.uucp }http://groups.google.com/groups?selm=771@mit-eddie.uucp, announced on net.unix-wizards and net.usoft. }~ +={GNU Manifesto+7} + +group{ + +Free Unix! + + Starting this Thanksgiving I am going to write a complete Unix-compatible software system called GNU (for Gnu’s Not Unix), and give it away free to everyone who can use it. Contributions of time, money, programs and equipment are greatly needed. + +}group + +% ,{[pg 192]}, + +His justifications were simple. + +group{ + +Why I Must Write GNU + + I consider that the golden rule requires that if I like a program I must share it with other people who like it. I cannot in good conscience sign a nondisclosure agreement or a software license agreement. + + So that I can continue to use computers without violating my principles, I have decided to put together a sufficient body of free software so that I will be able to get along without any software that is not free.~{ Message-ID: { 771@mit-eddie.uucp }http://groups.google.com/groups?selm=771@mit-eddie.uucp. }~ + +}group + +At that point, it is clear, there was no "free software license." There was the word free, but not the term public domain. There was the "golden rule," and there was a resistance to nondisclosure and license arrangements in general, but certainly no articulated conception of copyleft of Free Software as a legally distinct entity. And yet Stallman hardly intended to "abandon it" to the public domain, as Gosling suggested. Instead, Stallman likely intended to require the same EMACS commune rules to apply to Free Software, rules that he would be able to control largely by overseeing (in a nonlegal sense) who was sent or sold what and by demanding (in the form of messages attached to the software) that any modifications or improvements come in the form of donations. It was during the period 1983-85 that the EMACS commune morphed into the GPL, as Stallman began adding copyrights and appending messages that made explicit what people could do with the software.~{ Various other people seem to have conceived of a similar scheme around the same time (if the Usenet archives are any guide), including Guido Van Rossum (who would later become famous for the creation of the Python scripting language). The following is from Message-ID: 5568@mcvax.uucp:
/* This software is copyright (c) Mathematical Centre, Amsterdam,
* 1983.
* Permission is granted to use and copy this software, but not for * profit,
* and provided that these same conditions are imposed on any person
* receiving or using the software.
*/ }~ +={EMACS commune} + +The GNU project initially received little attention, however; scattered messages to net.unix-wizards over the course of 1983-84 periodically ask about the status and how to contact them, often in the context of discussions of AT&T UNIX licensing practices that were unfolding as UNIX was divested and began to market its own version of UNIX.~{ For example, Message-ID: { 6818@brl-tgr.arpa }http://groups.google.com/groups?selm=6818@brl-tgr.arpa. }~ Stallman’s original plan for GNU was to start with the core operating system, the kernel, but his extensive work on EMACS and the sudden need for a free EMACS for UNIX led him to start with a UNIX version of EMACS. In 1984 and into 1985, he and others began work on a UNIX version of GNU EMACS. The two commercial versions of UNIX EMACS (CCA EMACS and Unipress EMACS) continued to circulate and improve in parallel. DEC users meanwhile used the original free version created by Stallman. And, as often happens, life went on: Zimmerman left CCA in August ,{[pg 193]}, 1984, and Gosling moved to Sun, neither of them remaining closely involved in the software they had created, but leaving the new owners to do so. +={AT&T;Digital Equipment Corporation (corporation)+1;Sun Microsystems+1} + +By March 1985, Stallman had a complete version (version 15) of GNU EMACS running on the BSD 4.2 version of UNIX (the version Bill Joy had helped create and had taken with him to form the core of Sun’s version of UNIX), running on DEC’s VAX computers. Stallman announced this software in a characteristically flamboyant manner, publishing in the computer programmers’ monthly magazine Dr. Dobbs an article entitled "The GNU Manifesto."~{ Stallman, "The GNU Manifesto." Available at GNU’s Not Unix!, http://www.gnu.org/gnu/manifesto.html. }~ +={Joy, Bill} + +Stallman’s announcement that a free version of UNIX EMACS was available caused some concern among commercial distributors. The main such concern was that GNU EMACS 15.34 contained code marked "Copyright (c) James Gosling," code used to make EMACS display on screen.~{ The main file of the controversy was called display.c. A version that was modified by Chris Torek appears in net.sources, Message-ID: { 424@umcp-cs.uucp }http://groups.google.com/groups?selm=424@umcp-cs.uucp. A separate example of a piece of code written by Gosling bears a note that claims he had declared it public domain, but did not "include the infamous Stallman anti-copyright clause" (Message-ID: { 78@tove.uucp }http://groups.google.com/groups?selm=78@tove.uucp ). }~ The "discovery" (not so difficult, since Stallman always distributed the source code along with the binary) that this code had been reused by Stallman led to extensive discussion among EMACS users of issues such as the mechanics of copyright, the nature of infringement, the definition of software, the meaning of public domain, the difference between patent, copyright, and trade secret, and the mechanics of permission and its granting—in short, a discussion that would be repeatedly recapitulated in nearly every software and intellectual property controversy in the future. +={Copyright infringement:EMACS controversy and;EMACS (text editor):legal status of+48;rumor on Usenet+7;Usenet:rumor on+7} + +The story of the controversy reveals the structure of rumor on the Usenet to be a bit like the child’s game of Chinese Whispers, except that the translations are all archived. GNU EMACS 15.34 was released in March 1985. Between March and early June there was no mention of its legal status, but around June 3 messages on the subject began to proliferate. The earliest mention of the issue appeared not on net.emacs, but on fa.info-vax—a newsgroup devoted to discussions of VAX computer systems ("fa" stands for "from Arpanet")—and it included a dialogue, between Ron Natalie and Marty Sasaki, labeled "GNU EMACS: How Public Domain?": "FOO, don’t expect that GNU EMACS is really in the public domain. UNIPRESS seems rather annoyed that there are large portions of it that are marked copyright James Gosling."~{ Message-ID: { 7773@ucbvax.arpa. }http://groups.google.com/groups?selm=7773@ucbvax.arpa }~ This message was reprinted on 4 June 1985 on net.emacs, with the addendum: "RMS’s work is based on a version of Gosling code that existed before Unipress got it. Gosling had put that code into the public domain. Any ,{[pg 194]}, work taking off from the early Gosling code is therefore also public domain."~{ Message-ID: { 11400007@inmet.uucp }http://groups.google.com/groups?selm=11400007@inmet.uucp. }~ + +The addendum was then followed by an extensive reply from Zimmerman, whose CCA EMACS had been based on Warren Montgomery’s Bell Labs EMACS but rewritten to avoid reusing the code, which may account for why his understanding of the issue seems to have been both deep and troubling for him. +={Montgomery, Warren} + +_1 This is completely contrary to Gosling’s public statements. Before he made his arrangements with Unipress, Gosling’s policy was that he would send a free copy of his EMACS to anyone who asked, but he did not (publicly, at least) give anyone else permission to make copies. Once Unipress started selling Gosling’s EMACS, Gosling stopped distributing free copies and still did not grant anyone else permission to make them; instead, he suggested that people buy EMACS from Unipress. All versions of Gosling’s EMACS distributed by him carry his copyright notice, and therefore none of them are in the public domain. Removing copyright notices without the author’s permission is, of course, illegal. Now, a quick check of my GNU EMACS sources shows that sure enough, a number of files have Gosling’s copyright notice in them. What this all means is that unless RMS got written permission from Gosling to distribute his code, all copies of GNU EMACS constitute violations of the copyright law. All those people making such copies, including those people who allow them to be copied off their machines, could each be liable for large sums of money. I think that RMS had better tell us if he has Gosling’s written permission to make these copies. If so, why has he not stated this earlier (preferably in the distribution itself ) and thereby cleared up a potentially major point of confusion? If not, why has he gone ahead and made many, many people liable for criminal prosecution by recommending that they distribute this code without even warning them of their liability? (People who distribute this code would be liable even if they claim that they didn’t see Gosling’s notices; the fact that the notices are there is sufficient. "Ignorance of the law is no excuse.") +={AT&T: version of EMACS;Copyright infringement:permissions and+45} + +_1 Now, I have nothing against free software; it’s a free country and people can do what they want. It’s just that people who do distribute free software had better be sure that they have the legal right to do so, or be prepared to face the consequences. (Jun 9, 1985).~{ Message-ID: { 717@masscomp.uucp }http://groups.google.com/groups?selm=717@masscomp.uucp. }~ + +Stallman replied the next day. ,{[pg 195]}, + +_1 Nobody has any reason to be afraid to use or distribute GNU EMACS. It is well known that I do not believe any software is anyone’s property. However, for the GNU project, I decided it was necessary to obey the law. I have refused to look at code I did not have permission to distribute. About 5% of GNU EMACS is close to (though quite a bit changed from) an old version of Gosling EMACS. I am distributing it for Fen Labalme, who received permission from Gosling to distribute it. It is therefore legal for me to do so. To be scrupulously legal, I put statements at the front of the files concerned, describing this situation. +={Labalme, Fen+8} + +_1 I don’t see anything I should warn people about—except that Zimmerman is going to try to browbeat them.~{ Message-ID: { 4421@mit-eddie.uucp }http://groups.google.com/groups?selm=4421@mit-eddie.uucp. }~ + +Stallman’s original defense for using Gosling’s code was that he had permission to do so. According to him, Fen Labalme had received written permission—whether to make use of or to redistribute is not clear—the display code that was included in GNU EMACS 15.34. According to Stallman, versions of Labalme’s version of Gosling’s version of EMACS were in use in various places (including at Labalme’s employer, Megatest), and Stallman and Labalme considered this a legally defensible position.~{ Message-ID: { 4486@mit-eddie.uucp }http://groups.google.com/groups?selm=4486@mit-eddie.uucp. Stallman also recounts this version of events in "RMS Lecture at KTH (Sweden)," 30 October 1986, http://www.gnu.org/philosophy/stallman-kth.html. }~ +={AT&T:version of EMACS} + +Over the next two weeks, a slew of messages attempted to pick apart and understand the issues of copyright, ownership, distribution, and authorship. Gosling wrote to clarify that GOSMACS had never been in the public domain, but that "unfortunately, two moves have left my records in a shambles," and he is therefore silent on the question of whether he granted permission.~{ Message-ID: { 2334@sun.uucp }http://groups.google.com/groups?selm=2334@sun.uucp. }~ Gosling’s claim could well be strategic: giving permission, had he done so, might have angered Unipress, which expected exclusive control over the version he had sold; by the same token, he may well have approved of Stallman’s re-creation, but not have wanted to affirm this in any legally actionable way. Meanwhile, Zimmerman relayed an anonymous message suggesting that some lawyers somewhere found the "third hand redistribution" argument was legally "all wet."~{ Message-ID: { 732@masscomp.uucp }http://groups.google.com/groups?selm=732@masscomp.uucp. }~ +={authorship;intellectual property:strategy and+17} + +Stallman’s biggest concern was not so much the legality of his own actions as the possibility that people would choose not to use the software because of legal threats (even if such threats were issued only as rumors by former employees of companies that distributed software they had written). Stallman wanted users not only ,{[pg 196]}, to feel safe using his software but to adopt his view that software exists to be shared and improved and that anything that hinders this is a loss for everyone, which necessitates an EMACS commune. +={Copyright infringement:legal threats and;EMACS commune+1} + +Stallman’s legal grounds for using Gosling’s code may or may not have been sound. Zimmerman did his best throughout to explain in detail what kind of permission Stallman and Labalme would have needed, drawing on his own experience with the CCA lawyers and AT&T Bell Labs, all the while berating Stallman for not creating the display code himself. Meanwhile, Unipress posted an official message that said, "UniPress wants to inform the community that portions of the GNU EMACS program are most definitely not public domain, and that use and/or distribution of the GNU EMACS program is not necessarily proper."~{ Message-ID: { 103@unipress.uucp }http://groups.google.com/groups?selm=103@unipress.uucp. }~ The admittedly vague tone of the message left most people wondering what that meant—and whether Unipress intended to sue anyone. Strategically speaking, the company may have wished to maintain good will among hackers and readers of net.emacs, an audience likely composed of many potential customers. Furthermore, if Gosling had given permission to Stallman, then Unipress would themselves have been on uncertain legal ground, unable to firmly and definitively threaten users of GNU EMACS with legal action. In either case, the question of whether or not permission was needed was not in question—only the question of whether it had been granted.~{ With the benefit of hindsight, the position that software could be in the public domain also seems legally uncertain, given that the 1976 changes to USC§17 abolished the requirement to register and, by the same token, to render uncertain the status of code contributed to Gosling and incorporated into GOSMACS. }~ +={AT&T: version of EMACS;Copyright infringement:EMACS controversy and+18} + +However, a more complicated legal issue also arose as a result, one concerning the status of code contributed to Gosling by others. Fen Labalme wrote a message to net.emacs, which, although it did not clarify the legal status of Gosling’s code (Labalme was also unable to find his "permission" from Gosling), did raise a related issue: the fact that he and others had made significant contributions to GOSMACS, which Gosling had incorporated into his version, then sold to Unipress without their permission: "As one of the ‘others’ who helped to bring EMACS [GOSMACS] up to speed, I was distressed when Jim sold the editor to UniPress. This seemed to be a direct violation of the trust that I and others had placed in Jim as we sent him our improvements, modifications, and bug fixes. I am especially bothered by the general mercenary attitude surrounding EMACS which has taken over from the once proud ‘hacker’ ethic—EMACS is a tool that can make all of our lives better. Let’s help it to grow!"~{ Message-ID: { 18@megatest }http://groups.google.com/groups?selm=18@megatest. Note here the use of "once proud hacker ethic," which seems to confirm the perpetual feeling that the ethic has been compromised. }~ +={Hacker ethic+2} + +% ,{[pg 197]}, + +Labalme’s implication, though he may not even have realized this himself, is that Gosling may have infringed on the rights of others in selling the code to Unipress, as a separate message from Joaquim Martillo makes clear: "The differences between current version of Unipress EMACS and Gnu EMACS display.c (a 19 page module) is about 80%. For all the modules which Fen LeBalme [sic] gave RMS permission to use, the differences are similar. Unipress is not even using the disputed software anymore! Now, these modules contain code people like Chris Torek and others contributed when Gosling’s emacs was in the public domain. I must wonder whether these people would have contributed had they known their freely-given code was going to become part of someone’s product."~{ Message-ID: { 287@mit-athena.uucp }http://groups.google.com/groups?selm=287@mit-athena.uucp. }~ + +Indeed, the general irony of this complicated situation was certainly not as evident as it might have been given the emotional tone of the debates: Stallman was using code from Gosling based on permission Gosling had given to Labalme, but Labalme had written code for Gosling which Gosling had commercialized without telling Labalme—conceivably, but not likely, the same code. Furthermore, all of them were creating software that had been originally conceived in large part by Stallman (but based on ideas and work on TECO, an editor written twenty years before EMACS), who was now busy rewriting the very software Gosling had rewritten for UNIX. The "once proud hacker ethic" that Labalme mentions would thus amount not so much to an explicit belief in sharing so much as a fast-and-loose practice of making contributions and fixes without documenting them, giving oral permission to use and reuse, and "losing" records that may or may not have existed—hardly a noble enterprise. +={TECO (text editor and programming language)} + +But by 27 June 1985, all of the legal discussion was rendered moot when Stallman announced that he would completely rewrite the display code in EMACS. + +_1 I have decided to replace the Gosling code in GNU EMACS, even though I still believe Fen and I have permission to distribute that code, in order to keep people’s confidence in the GNU project. + +_1 I came to this decision when I found, this night, that I saw how to rewrite the parts that had seemed hard. I expect to have the job done by the weekend.~{ Message-ID: { 4559@mit-eddie.uucp }http://groups.google.com/groups?selm=4559@mit-eddie.uucp. }~ + +On 5 July, Stallman sent out a message that said: ,{[pg 198]}, + +_1 Celebrate our independence from Unipress! + +_1 EMACS version 16, 100% Gosling-free, is now being tested at several places. It appears to work solidly on Vaxes, but some other machines have not been tested yet.~{ Message-ID: { 4605@mit-eddie.uucp }http://groups.google.com/groups?selm=4605@mit-eddie.uucp. }~ + +The fact that it only took one week to create the code is a testament to Stallman’s widely recognized skills in creating great software—it doesn’t appear to have indicated any (legal) threat or urgency. Indeed, even though Unipress seems also to have been concerned about their own reputation, and despite the implication made by Stallman that they had forced this issue to happen, they took a month to respond. At that point, the Unipress employee Mike Gallaher wrote to insist, somewhat after the fact, that Unipress had no intention of suing anyone—as long as they were using the Gosling-free EMACS version 16 and higher. + +_1 UniPress has no quarrel with the Gnu project. It bothers me that people seem to think we are trying to hinder it. In fact, we hardly did or said much at all, except to point out that the Gnumacs code had James Gosling’s copyright in it. We have not done anything to keep anyone from using Gnumacs, nor do we intend to now that it is "Gosling-free" (version 16.56). + +_1 You can consider this to be an official statement from UniPress: There is nothing in Gnumacs version 16.56 that could possibly cause UniPress to get upset. If you were afraid to use Gnumacs because you thought we would hassle you, don’t be, on the basis of version 16.56.~{ Message-ID: { 104@unipress.uucp }http://groups.google.com/groups?selm=104@unipress.uucp. }~ + +Both Stallman and Unipress received various attacks and defenses from observers of the controversy. Many people pointed out that Stallman should get credit for "inventing" EMACS and that the issue of him infringing on his own invention was therefore ironic. Others proclaimed the innocence and moral character of Unipress, which, it was claimed, was providing more of a service (support for EMACS) than the program itself. +={Copyright infringement:infringement on own invention} + +Some readers interpreted the fact that Stallman had rewritten the display code, whether under pressure from Unipress or not, as confirmation of the ideas expressed in "The GNU Manifesto," namely, that commercial software stifles innovation. According to this logic, precisely because Stallman was forced to rewrite the code, rather than build on something that he himself assumed he had permission ,{[pg 199]}, to do, there was no innovation, only fear-induced caution.~{ Joaquim Martillo, Message-ID: { 287@mit-athena.uucpp }http://groups.google.com/groups?selm=287@mit-athena.uucpp : "Trying to forbid RMS from using discarded code so that he must spend time to reinvent the wheel supports his contention that ‘software hoarders’ are slowing down progress in computer science." }~ On the other hand, latent within this discussion is a deep sense of propriety about what people had created; many people, not only Stallman and Gosling and Zimmerman, had contributed to making EMACS what it was, and most had done so under the assumption, legally correct or not, that it would not be taken away from them or, worse, that others might profit by it. +={GNU Manifesto} + +Gosling’s sale of EMACS is thus of a different order from his participation in the common stewardship of EMACS. The distinction between creating software and maintaining it is a commercial fiction driven in large part by the structure of intellectual property. It mirrors the experience of open systems. Maintaining software can mean improving it, and improving it can mean incorporating the original work and ideas of others. To do so by the rules of a changing intellectual-property structure forces different choices than to do so according to an informal hacker ethic or an experimental "commune." One programmer’s minor improvement is another programmer’s original contribution. +={software development:creating vs. maintaining} + +2~ The Context of Copyright + +The EMACS controversy occurred in a period just after some of the largest changes to U.S. intellectual-property law in seventy years. Two aspects of this context are worth emphasizing: (1) practices and knowledge about the law change slowly and do not immediately reflect the change in either the law or the strategies of actors; (2) U.S. law creates a structural form of uncertainty in which the interplay between legislation and case law is never entirely certain. In the former aspect, programmers who grew up in the 1970s saw a commercial practice entirely dominated by trade secret and patent protection, and very rarely by copyright; thus, the shift to widespread use of copyright law (facilitated by the 1976 and 1980 changes to the law) to protect software was a shift in thinking that only slowly dawned on many participants, even the most legally astute, since it was a general shift in strategy as well as a statutory change. In the latter aspect, the 1976 and 1980 changes to the copyright law contained a number of uncertainties that would take over a decade to be worked out in case law, issues such as the copyrightability of software, the definition of software, and the meaning ,{[pg 200]}, of infringement in software copyright, to say nothing of the impact of the codification of fair use and the removal of the requirement to register (issues that arguably went unnoticed until the turn of the millennium). Both aspects set the stage for the EMACS controversy and Stallman’s creation of the GPL. +={patents on software+1;practices:opposed to legal changes+2;Trade secret law+6;uncertainty, in the law+20;copyright infringement;Copyright:changes in 1976+20|changes in 1980+20|requirement to register:software and copyrightability+3;fair use+1;software:registration of copyright} + +Legally speaking, the EMACS controversy was about copyright, permission, and the meanings of a public domain and the reuse of software (and, though never explicitly mentioned, fair use). Software patenting and trade-secret law are not directly concerned, but they nonetheless form a background to the controversy. Many of the participants expressed a legal and conventional orthodoxy that software was not patentable, that is, that algorithms, ideas, or fundamental equations fell outside the scope of patent, even though the 1981 case Diamond v. Diehr is generally seen as the first strong support by the courts for forcing the United States Patent and Trademark Office to grant patents on software.~{ Diamond V. Diehr, 450 U.S. 175 (1981), the Supreme Court decision, forced the patent office to grant patents on software. Interestingly, software patents had been granted much earlier, but went either uncontested or unenforced. An excellent example is patent 3,568,156, held by Ken Thompson, on regular expression pattern matching, granted in 1971. }~ Software, this orthodoxy went, was better protected by trade-secret law (a state-by-state law, not a federal statute), which provided protection for any intellectual property that an owner reasonably tried to maintain as a secret. The trade-secret status of UNIX, for example, meant that all the educational licensees who were given the source code of UNIX had agreed to keep it secret, even though it was manifestly circulating the world over; one could therefore run afoul of trade-secret rules if one looked at the source code (e.g., signed a nondisclosure license or was shown the code by an employee) and then implemented something similar. +={source code+1} + +By contrast, copyright law was rarely deployed in matters of software production. The first copyright registration of software occurred in 1964, but the desirability of relying on copyright over trade secret was uncertain well into the 1970s.~{ Calvin Mooers, in his 1975 article "Computer Software and Copyright," suggests that the IBM unbundling decision opened the doors to thinking about copyright protection. }~ Some corporations, like IBM, routinely marked all source code with a copyright symbol. Others asserted it only on the binaries they distributed or in the license agreements. The case of software on the UNIX operating system and its derivatives is particularly haphazard, and the existence of copyright notices by the authors varies widely. An informal survey by Barry Gold singled out only James Gosling, Walter Tichy (author of rcs), and the RAND Corporation as having adequately labeled source code with copyright notices.~{ Message-ID: { 933@sdcrdcf.uucp }http://groups.google.com/groups?selm=933@sdcrdcf.uucp. }~ Gosling was also the first to register EMACS as copyrighted software in 1983, ,{[pg 201]}, while Stallman registered GNU EMACS just after version 15.34 was released in May 1985.~{ Gosling’s EMACS 264 (Stallman copied EMACS 84) is registered with the Library of Congress, as is GNU EMACS 15.34. Gosling’s EMACS Library of Congress registration number is TX-3-407-458, registered in 1992. Stallman’s registration number is TX-1-575-302, registered in May 1985. The listed dates are uncertain, however, since there are periodic re-registrations and updates. }~ + +The uncertainty of the change from reliance on trade secret to reliance on copyright is clear in some of the statements made by Stallman around the reuse of Gosling’s code. Since neither Stallman nor Gosling sought to keep the program secret in any form—either by licensing it or by requiring users to keep it secret—there could be no claims of trade-secret status on either program. Nonetheless, there was frequent concern about whether one had seen any code (especially code from a UNIX operating system, which is covered by trade secret) and whether code that someone else had seen, rewritten, or distributed publicly was therefore "in the public domain."~{ This is particularly confusing in the case of "dbx." Message-ID: { 4437@mit-eddie.uucp }http://groups.google.com/groups?selm=4437@mit-eddie.uucp, Message-ID: { 6238@shasta.arpa }http://groups.google.com/groups?selm=6238@shasta.arpa, and Message-ID: { 730@masscomp.uucp }http://groups.google.com/groups?selm=730@masscomp.uucp. }~ But, at the same time, Stallman was concerned that rewriting Gosling’s display code would be too difficult: "Any display code would have a considerable resemblance to that display code, just by virtue of doing the same job. Without any clear idea of exactly how much difference there would have to be to reassure you users, I cannot tell whether the rewrite would accomplish that. The law is not any guidance here. . . . Writing display code that is significantly different is not easy."~{ Message-ID: { 4489@mit-eddie.uucp }http://groups.google.com/groups?selm=4489@mit-eddie.uucp. }~ +={trade secret law:relationship to public domain+3} + +Stallman’s strategy for rewriting software, including his plan for the GNU operating system, also involved "not looking at" anyone else’s code, so as to ensure that no trade-secret violations would occur. Although it was clear that Gosling’s code was not a trade secret, it was also not obvious that it was "in the public domain," an assumption that might be made about other kinds of software protected by trade secret. Under trade-secret rules, Gosling’s public distribution of GOSMACS appears to give the green light for its reuse, but under copyright law, a law of strict liability, any unauthorized use is a violation, regardless of how public the software may have been.~{ A standard practice well into the 1980s, and even later, was the creation of so-called clean-room versions of software, in which new programmers and designers who had not seen the offending code were hired to ,{[pg 336]}, re-implement it in order to avoid the appearance of trade-secret violation. Copyright law is a strict liability law, meaning that ignorance does not absolve the infringer, so the practice of "clean-room engineering" seems not to have been as successful in the case of copyright, as the meaning of infringement remains murky. }~ + +The fact of trade-secret protection was nonetheless an important aspect of the EMACS controversy: the version of EMACS that Warren Montgomery had created at Bell Labs (and on which Zimmerman’s CCA version would be based) was the subject of trade-secret protection by AT&T, by virtue of being distributed with UNIX and under a nondisclosure agreement. AT&T was at the time still a year away from divestiture and thus unable to engage in commercial exploitation of the software. When CCA sought to commercialize ,{[pg 202]}, the version of UNIX Zimmerman had based on Montgomery’s, it was necessary to remove any AT&T code in order to avoid violating their trade-secret status. CCA in turn distributed their EMACS as either binary or as source (the former costing about $1,000, the latter as much as $7,000) and relied on copyright rather than trade-secret protection to prevent unauthorized uses of their software.~{ Message-ID: { 730@masscomp.uucp }http://groups.google.com/groups?selm=730@masscomp.uucp. AT&T was less concerned about copyright infringement than they were about the status of their trade secrets. Zimmerman quotes a statement (from Message-ID: { 108@emacs.uucp }http://groups.google.com/groups?selm=108@emacs.uucp ) that he claims indicates this: "Beginning with CCA EMACS version 162.36z, CCA EMACS no longer contained any of the code from Mr. Montgomery’s EMACS, or any methods or concepts which would be known only by programmers familiar with BTL [Bell Labs] EMACS of any version." The statement did not mention copyright, but implied that CCA EMACS did not contain any AT&T trade secrets, thus preserving their software’s trade-secret status. The fact that EMACS was a conceptual design—a particular kind of interface, a LISP interpreter, and extensibility—that was very widely imitated had no apparent bearing on the legal status of these secrets. }~ +={AT&T:divestiture in;Computer Corporation of America (CCA);Montgomery, Warren;Zimmerman, Steve} + +The uncertainty over copyright was thus in part a reflection of a changing strategy in the computer-software industry, a kind of uneven development in which copyright slowly and haphazardly came to replace trade secret as the main form of intellectual-property protection. This switch had consequences for how noncommercial programmers, researchers, and amateurs might interpret their own work, as well as for the companies whose lawyers were struggling with the same issues. Of course, copyright and trade-secret protection are not mutually exclusive, but they structure the need for secrecy in different ways, and they make different claims on issues like similarity, reuse, and modification. +={intellectual property:strategy and+1;modifiability;secrecy} + +The 1976 changes to copyright law were therefore extremely significant in setting out a new set of boundaries and possibilities for intellectual-property arguments, arguments that created a different kind of uncertainty from that of a changing commercial strategy: a structural uncertainty created by the need for a case law to develop around the statutory changes implemented by Congress. + +The Copyright Act of 1976 introduced a number of changes that had been some ten years in the making, largely organized around new technologies like photocopier machines, home audiotaping, and the new videocassette recorders. It codified fair-use rights, it removed the requirement to register, and it expanded the scope of copyrightable materials considerably. It did not, however, explicitly address software, an oversight that frustrated many in the computer industry, in particular the young software industry. Pursuant to this oversight, the National Commission on New Technological Uses of Copyright (CONTU) was charged with making suggestions for changes to the law with respect to software. It was therefore only in 1980 that Congress implemented these changes, adding software to title 17 of the U.S. copyright statute as something that could be considered copyrightable by law.~{ CONTU Final Report, http://digital-law-online.info/CONTU/contu1.html (accessed 8 December 2006). }~ +={CONTU report} + +The 1980 amendment to the copyright law answered one of three lingering questions about the copyrightability of software: the simple question of whether it was copyrightable material at all. Congress ,{[pg 203]}, answered yes. It did not, however, designate what constituted "software." During the 1980s, a series of court cases helped specify what counted as software, including source code, object code (binaries), screen display and output, look and feel, and microcode and firmware.~{ The cases that determine the meaning of the 1976 and 1980 amendments begin around 1986: Whelan Associates, Inc. v. Jaslow Dental Laboratory, Inc., et al., U.S. Third Circuit Court of Appeals, 4 August 1986, 797 F.2d 1222, 230 USPQ 481, affirming that "structure (or sequence or organization)" of software is copyrightable, not only the literal software code; Computer Associates International, Inc. v. Altai, Inc., U.S. Second Circuit Court of Appeals, 22 June 1992, 982 F.2d 693, 23 USPQ 2d 1241, arguing that the structure test in Whelan was not sufficient to determine infringement and thus proposing a three-part "abstraction-filiation-comparison" test; Apple Computer, Inc. v. Microsoft Corp, U.S. Ninth Circuit Court of Appeals, 1994, 35 F.3d 1435, finding that the "desktop metaphor" used in Macintosh and Windows was not identical and thus did not constitute infringement; Lotus Development Corporation v. Borland International, Inc. (94-2003), 1996, 513 U.S. 233, finding that the "look and feel" of a menu interface was not copyrightable. }~ The final question, which the courts are still faced with adjudicating, concerns how much similarity constitutes an infringement in each of these cases. The implications of the codification of fair use and the requirement to register continue to unfold even into the present. +={fair use;intellectual property+20;source code:legal definition and+5;Software:legal definition of source code and+5|registration of copyright+1} + +The EMACS controversy confronts all three of these questions. Stallman’s initial creation of EMACS was accomplished under conditions in which it was unclear whether copyright would apply (i.e., before 1980). Stallman, of course, did not attempt to copyright the earliest versions of EMACS, but the 1976 amendments removed the requirement to register, thus rendering everything written after 1978 automatically copyrighted. Registration represented only an additional effort to assert ownership in cases of suspected infringement. + +Throughout this period, the question of whether software was copyrightable—or copyrighted—was being answered differently in different cases: AT&T was relying on trade-secret status; Gosling, Unipress, and CCA negotiated over copyrighted material; and Stallman was experimenting with his "commune." Although the uncertainty was answered statutorily by the 1980 amendment, not everyone instantly grasped this new fact or changed practices based on it. There is ample evidence throughout the Usenet archive that the 1976 changes were poorly understood, especially by comparison with the legal sophistication of hackers in the 1990s and 2000s. Although the law changed in 1980, practices changed more slowly, and justifications crystallized in the context of experiments like that of GNU EMACS. +={trade secret law;Usenet} + +Further, a tension emerged between the meaning of source code and the meaning of software. On the one hand was the question of whether the source code or the binary code was copyrightable, and on the other was the question of defining the boundaries of software in a context wherein all software relies on other software in order to run at all. For instance, EMACS was originally built on top of TECO, which was referred to both as an editor and as a programming language; even seemingly obvious distinctions (e.g., application vs. programming language) were not necessarily always clear. ,{[pg 204]}, If EMACS was an application written in TECO qua programming language, then it would seem that EMACS should have its own copyright, distinct from any other program written in TECO. But if EMACS was an extension or modification of TECO qua editor, then it would seem that EMACS was a derivative work and would require the explicit permission of the copyright holder. +={TECO (text editor and programming language)} + +Further, each version of EMACS, in order to be EMACS, needed a LISP interpreter in order to make the extensible interface similar across all versions. But not all versions used the same LISP interpreter. Gosling’s used an interpreter called MOCKLISP (mlisp in the trademarked Unipress version), for instance. The question of whether the LISP interpreter was a core component of the software or an "environment" needed in order to extend the application was thus also uncertain and unspecified in the law. While both might be treated as software suitable for copyright protection, both might also be understood as necessary components out of which copyrightable software would be built.~{ The relationship between the definition of source and target befuddles software law to this day, one of the most colorful examples being the DeCSS case. See Coleman, "The Social Construction of Freedom," chap. 1: Gallery of CSS Descramblers, http://www.cs.cmu.edu/~dst/DeCSS/gallery/. }~ +={LISP (programming language):interpreter in EMACS;Unipress} + +What’s more, both the 1976 and 1980 amendments are silent on the copyright status of source code vs. binary code. While all the versions of EMACS were distributed in binary, Stallman and Gosling both included the source to allow users to modify it and extend it, but they differed on the proper form of redistribution. The threshold between modifying software for oneself and copyright infringement was not yet clear, and it hung on the meaning of redistribution. Changing the software for use on a single computer might be necessary to get it to run, but by the early days of the Arpanet, innocently placing that code in a public directory on one computer could look like mass distribution.~{ An interesting addendum here is that the manual for EMACS was also released at around the same time as EMACS 16 and was available ,{[pg 337]}, as a TeX file. Stallman also attempted to deal with the paper document in the same fashion (see Message-ID: 4734@mit-eddie.uucp, 19 July 1985), and this would much later become a different and trickier issue that would result in the GNU Free Documentation License. }~ +={copyright infringement:redistribution of software as;redistribution of software+4} + +Finally, the question of what constitutes infringement was at the heart of this controversy and was not resolved by law or by legal adjudication, but simply by rewriting the code to avoid the question. Stallman’s use of Gosling’s code, his claim of third-hand permission, the presence or absence of written permission, the sale of GOSMACS to Unipress when it most likely contained code not written by Gosling but copyrighted in his name—all of these issues complicated the question of infringement to the point where Stallman’s only feasible option for continuing to create software was to avoid using anyone else’s code at all. Indeed, Stallman’s decision to use Gosling’s code (which he claims to have changed in significant portions) might have come to nothing if he had unethically ,{[pg 205]}, and illegally chosen not to include the copyright notice at all (under the theory that the code was original to Stallman, or an imitation, rather than a portion of Gosling’s work). Indeed, Chris Torek received Gosling’s permission to remove Gosling’s name and copyright from the version of display.c he had heavily modified, but he chose not to omit them: "The only reason I didn’t do so is that I feel that he should certainly be credited as the inspiration (at the very least) for the code."~{ Message-ID: { 659@umcp-cs.uucp }http://groups.google.com/groups?selm=659@umcp-cs.uucp. }~ Likewise, Stallman was most likely concerned to obey the law and to give credit where credit was due, and therefore left the copyright notice attached—a clear case of blurred meanings of authorship and ownership. +={GOSMACS (version of EMACS);authorship:ownership vs.;Torek, Chris} + +In short, the interplay between new statutes and their settlement in court or in practice was a structural uncertainty that set novel constraints on the meaning of copyright, and especially on the norms and forms of permission and reuse. GNU EMACS 15.34 was the safest option—a completely new version that performed the same tasks, but in a different manner, using different algorithms and code. + +Even as it resolved the controversy, however, GNU EMACS posed new problems for Stallman: how would the EMACS commune survive if it wasn’t clear whether one could legally use another person’s code, even if freely contributed? Was Gosling’s action in selling work by others to Unipress legitimate? Would Stallman be able to enforce its opposite, namely, prevent people from commercializing EMACS code they contributed to him? How would Stallman avoid the future possibility of his own volunteers and contributors later asserting that he had infringed on their copyright? +={copyright infringement:legal threats and+2} + +By 1986, Stallman was sending out a letter that recorded the formal transfer of copyright to the Free Software Foundation (which he had founded in late 1985), with equal rights to nonexclusive use of the software.~{ Message-ID: { 8605202356.aa12789@ucbvax.berkeley.edu }http://groups.google.com/groups?selm=8605202356.aa12789@ucbvax.berkeley.edu. }~ While such a demand for the expropriation of copyright might seem contrary to the aims of the GNU project, in the context of the unfolding copyright law and the GOSMACS controversy it made perfect sense. Having been accused himself of not having proper permission to use someone else’s copyrighted material in his free version of GNU EMACS, Stallman took steps to forestall such an event in the future. +={copyright:transfer of;Free Software Foundation+8} + +The interplay between technical and legal issues and "ethical" concerns was reflected in the practical issues of fear, intimidation, and common-sense (mis)understandings of intellectual-property ,{[pg 206]}, law. Zimmerman’s veiled threats of legal liability were directed not only at Stallman but at anyone who was using the program Stallman had written; breaking the law was, for Zimmerman, an ethical lapse, not a problem of uncertainty and change. Whether or not such an interpretation of the law was correct, it did reveal the mechanisms whereby a low level of detailed knowledge about the law—and a law in flux, at that (not to mention the litigious reputation of the U.S. legal system worldwide)—often seemed to justify a sense that buying software was simply a less risky option than acquiring it for free. Businesses, not customers, it was assumed, would be liable for such infringements. By the same token, the sudden concern of software programmers (rather than lawyers) with the detailed mechanics of copyright law meant that a very large number of people found themselves asserting common-sense notions, only to be involved in a flame war over what the copyright law "actually says." +={Zimmerman, Steve} + +Such discussion has continued and grown exponentially over the last twenty years, to the point that Free Software hackers are now nearly as deeply educated about intellectual property law as they are about software code.~{ See Coleman, "The Social Construction of Freedom," chap. 6, on the Debian New Maintainer Process, for an example of how induction into a Free Software project stresses the legal as much as the technical, if not more. }~ Far from representing the triumph of the hacker ethic, the GNU General Public License represents the concrete, tangible outcome of a relatively wide-ranging cultural conversation hemmed in by changing laws, court decisions, practices both commercial and academic, and experiments with the limits and forms of new media and new technology. +={experimentation;hacker ethic+9;hackers} + +2~ Conclusion + +The rest of the story is quickly told: Stallman resigned from the AI Lab at MIT and started the Free Software Foundation in 1985; he created a raft of new tools, but ultimately no full UNIX operating system, and issued General Public License 1.0 in 1989. In 1990 he was awarded a MacArthur "genius grant." During the 1990s, he was involved in various high-profile battles among a new generation of hackers; those controversies included the debate around Linus Torvalds’s creation of Linux (which Stallman insisted be referred to as GNU/Linux), the forking of EMACS into Xemacs, and Stallman’s own participation in—and exclusion from—conferences and events devoted to Free Software. ,{[pg 207]}, +={artificial Intelligence Lab (AI Lab), at MIT+6;Linux (Free Software project);Massachusetts Institute of Technology (MIT)+6;Torvalds, Linus} + +Between 1986 and 1990, the Free Software Foundation and its software became extremely well known among geeks. Much of this had to do with the wealth of software that they produced and distributed via Usenet and Arpanet. And as the software circulated and was refined, so were the new legal constraints and the process of teaching users to understand what they could and could not do with the software—and why it was not in the public domain. +={Arpanet (network);geeks;Usenet} + +Each time a new piece of software was released, it was accompanied by one or more text files which explained what its legal status was. At first, there was a file called DISTRIB, which contained an explanation of the rights the new owner had to modify and redistribute the software.~{ For example, Message-ID: { 5745@ucbvax.arpa }http://groups.google.com/groups?selm=5745@ucbvax.arpa. }~ DISTRIB referenced a file called COPYING, which contained the "GNU EMACS copying permission notice," also known as the GNU EMACS GPL. The first of these licenses listed the copyright holder as Richard Stallman (in 1985), but by 1986 all licenses referred to the Free Software Foundation as the copyright holder. +={General Public License (GPL):development of+2} + +As the Free Software Foundation released other pieces of software, the license was renamed—GNU CC GPL, a GNU Bison GPL, a GNU GDB GPL, and so on, all of which were essentially the same terms—in a file called COPYING, which was meant to be distributed along with the software. In 1988, after the software and the licenses had become considerably more widely available, Stallman made a few changes to the license that relaxed some of the terms and specified others.~{ See Message-ID: { 8803031948.aa01085@venus.berkeley.edu }http://groups.google.com/groups?selm=8803031948.aa01085@venus.berkeley.edu. }~ This new version would become the GNU GPL 1.0. By the time Free Software emerged into the public consciousness in the late 1990s, the GPL had reached version 2.0, and the Free Software Foundation had its own legal staff. + +The creation of the GPL and the Free Software Foundation are often understood as expressions of the hacker ethic, or of Stallman’s ideological commitment to freedom. But the story of EMACS and the complex technical and legal details that structure it illustrate how the GPL is more than just a hack: it was a novel, privately ordered legal "commune." It was a space thoroughly independent of, but insinuated into the existing bedrock of rules and practices of the world of corporate and university software, and carved out of the slippery, changing substance of intellectual-property statutes. At a time when the giants of the software industry were fighting to create a different kind of openness—one that preserved and would even strengthen existing relations of intellectual property—this ,{[pg 208]}, hack was a radical alternative that emphasized the sovereignty not of a national or corporate status quo, but of self-fashioning individuals who sought to opt out of that national-corporate unity. The creation of the GNU GPL was not a return to a golden age of small-scale communities freed from the dominating structures of bureaucratic modernity, but the creation of something new out of those structures. It relied on and emphasized, not their destruction, but their stability—at least until they are no longer necessary. +={Open Systems} + +The significance of the GPL is due to its embedding within and emergence from the legal and technical infrastructure. Such a practice of situated reworking is what gives Free Software—and perhaps all forms of engineering and creative practice—its warp and weft. Stallman’s decision to resign from the AI Lab and start the Free Software Foundation is a good example; it allowed Stallman no only to devote energy to Free Software but also to formally differentiate the organizations, to forestall at least the potential threat that MIT (which still provided him with office space, equipment, and network connection) might decide to claim ownership over his work. One might think that the hacker ethic and the image of self-determining free individuals would demand the total absence of organizations, but it requires instead their proliferation and modulation. Stallman himself was never so purely free: he relied on the largesse of MIT’s AI Lab, without which he would have had no office, no computer, no connection to the network, and indeed, for a while, no home. +={infrastructure;proliferation of software} + +The Free Software Foundation represents a recognition on his part that individual and communal independence would come at the price of a legally and bureaucratically recognizable entity, set apart from MIT and responsible only to itself. The Free Software Foundation took a classic form: a nonprofit organization with a hierarchy. But by the early 1990s, a new set of experiments would begin that questioned the look of such an entity. The stories of Linux and Apache reveal how these ventures both depended on the work of the Free Software Foundation and departed from the hierarchical tradition it represented, in order to innovate new similarly embedded sociotechnical forms of coordination. +={Free Software Foundation:Linux and Apache vs.+1} + +The EMACS text editor is still widely used, in version 22.1 as of 2007, and ported to just about every conceivable operating system. The controversy with Unipress has faded into the distance, as newer and more intense controversies have faced Stallman and Free Software, ,{[pg 209]}, but the GPL has become the most widely used and most finely scrutinized of the legal licenses. More important, the EMACS controversy was by no means the only one to have erupted in the lives of software programmers; indeed, it has become virtually a rite of passage for young geeks to be involved in such debates, because it is the only way in which the technical details and the legal details that confront geeks can be explored in the requisite detail. Not all such arguments end in the complete rewriting of source code, and today many of them concern the attempt to convince or evangelize for the release of source code under a Free Software license. The EMACS controversy was in some ways a primal scene—a traumatic one, for sure—that determined the outcome of many subsequent fights by giving form to the Free Software license and its uses. + +1~ 7. Coordinating Collaborations +={coordination (component of Free Software)+3} + +% ,{[pg 210]}, + +The final component of Free Software is coordination. For many participants and observers, this is the central innovation and essential significance of Open Source: the possibility of enticing potentially huge numbers of volunteers to work freely on a software project, leveraging the law of large numbers, "peer production," "gift economies," and "self-organizing social economies."~{ Research on coordination in Free Software forms the central core of recent academic work. Two of the most widely read pieces, Yochai Benkler’s "Coase’s Penguin" and Steven Weber’s The Success of Open Source, are directed at classic research questions about collective action. Rishab Ghosh’s "Cooking Pot Markets" and Eric Raymond’s The Cathedral and the Bazaar set many of the terms of debate. Josh Lerner’s and Jean Tirole’s "Some Simple Economics of Open Source" was an early contribution. Other important works on the subject are Feller et al., Perspectives on Free and Open Source Software; Tuomi, Networks of Innovation; Von Hippel, Democratizing Innovation. }~ Coordination in Free Software is of a distinct kind that emerged in the 1990s, directly out of the issues of sharing source code, conceiving open systems, and writing copyright licenses—all necessary precursors to the practices of coordination. The stories surrounding these issues find continuation in those of the Linux operating-system kernel, of the Apache Web server, and of Source Code Management tools (SCMs); together these stories reveal how coordination worked and what it looked like in the 1990s. +={Free Software:open source vs.;Open Source:Free Software vs.;peer production;practices:five components of Free Software+2;Source Code Management tools (SCMs)} + +Coordination is important because it collapses and resolves the distinction between technical and social forms into a meaningful ,{[pg 211]}, whole for participants. On the one hand, there is the coordination and management of people; on the other, there is the coordination of source code, patches, fixes, bug reports, versions, and distributions—but together there is a meaningful technosocial practice of managing, decision-making, and accounting that leads to the collaborative production of complex software and networks. Such coordination would be unexceptional, essentially mimicking long-familiar corporate practices of engineering, except for one key fact: it has no goals. Coordination in Free Software privileges adaptability over planning. This involves more than simply allowing any kind of modification; the structure of Free Software coordination actually gives precedence to a generalized openness to change, rather than to the following of shared plans, goals, or ideals dictated or controlled by a hierarchy of individuals.~{ On the distinction between adaptability and adaptation, see Federico Iannacci, "The Linux Managing Model," http://opensource.mit.edu/papers/iannacci2.pdf. Matt Ratto characterizes the activity of Linux-kernel developers as a "culture of re-working" and a "design for re-design," and captures the exquisite details of such a practice both in coding and in the discussion between developers, an activity he dubs the "pressure of openness" that "results as a contradiction between the need to maintain productive collaborative activity and the simultaneous need to remain open to new development directions" ("The Pressure of Openness," 112-38). }~ +={adaptability:planning vs.+1|as a form of critique+1|adaptation vs.;coordination (component of Free Software):individual virtuosity vs. hierarchical planning+2;critique, Free Software+1;goals, lack of in Free Software+1;hackers:curiosity and virtuosity of+1;hierarchy, in coordination+5;planning+1} + +Adaptability does not mean randomness or anarchy, however; it is a very specific way of resolving the tension between the individual curiosity and virtuosity of hackers, and the collective coordination necessary to create and use complex software and networks. No man is an island, but no archipelago is a nation, so to speak. Adaptability preserves the "joy" and "fun" of programming without sacrificing the careful engineering of a stable product. Linux and Apache should be understood as the results of this kind of coordination: experiments with adaptability that have worked, to the surprise of many who have insisted that complexity requires planning and hierarchy. Goals and planning are the province of governance—the practice of goal-setting, orientation, and definition of control—but adaptability is the province of critique, and this is why Free Software is a recursive public: it stands outside power and offers powerful criticism in the form of working alternatives. It is not the domain of the new—after all Linux is just a rewrite of UNIX—but the domain of critical and responsive public direction of a collective undertaking. +={Linux (Free Software project)+8;novelty, of free software;recursive public+1} + +Linux and Apache are more than pieces of software; they are organizations of an unfamiliar kind. My claim that they are "recursive publics" is useful insofar as it gives a name to a practice that is neither corporate nor academic, neither profit nor nonprofit, neither governmental nor nongovernmental. The concept of recursive public includes, within the spectrum of political activity, the creation, modification, and maintenance of software, networks, and legal documents. While a "public" in most theories is a body of ,{[pg 212]}, people and a discourse that give expressive form to some concern, "recursive public" is meant to suggest that geeks not only give expressive form to some set of concerns (e.g., that software should be free or that intellectual property rights are too expansive) but also give concrete infrastructural form to the means of expression itself. Linux and Apache are tools for creating networks by which expression of new kinds can be guaranteed and by which further infrastructural experimentation can be pursued. For geeks, hacking and programming are variants of free speech and freedom of assembly. +={public sphere:theories of;Apache (Free Software project)+4;experimentation;infrastructure} + +2~ From UNIX to Minix to Linux +={Minix (operating system)+1;Tanenbaum, Andrew+27} + +Linux and Apache are the two paradigmatic cases of Free Software in the 1990s, both for hackers and for scholars of Free Software. Linux is a UNIX-like operating-system kernel, bootstrapped out of the Minix operating system created by Andrew Tanenbaum.~{ Linux is often called an operating system, which Stallman objects to on the theory that a kernel is only one part of an operating system. Stallman suggests that it be called GNU/Linux to reflect the use of GNU operating-system tools in combination with the Linux kernel. This not-so-subtle ploy to take credit for Linux reveals the complexity of the distinctions. The kernel is at the heart of hundreds of different "distributions"—such as Debian, Red Hat, SuSe, and Ubuntu Linux—all of which also use GNU tools, but ,{[pg 338]}, which are often collections of software larger than just an operating system. Everyone involved seems to have an intuitive sense of what an operating system is (thanks to the pedagogical success of UNIX), but few can draw any firm lines around the object itself. }~ Apache is the continuation of the original National Center for Supercomputing Applications (NCSA) project to create a Web server (Rob McCool’s original program, called httpd), bootstrapped out of a distributed collection of people who were using and improving that software. +={McCool, Rob;httpd;modulation:of Free Software;National Center for Super Computing Applications (NCSA);Apache (Free Software project)+3} + +Linux and Apache are both experiments in coordination. Both projects evolved decision-making systems through experiment: a voting system in Apache’s case and a structured hierarchy of decision-makers, with Linus Torvalds as benevolent dictator, in Linux’s case. Both projects also explored novel technical tools for coordination, especially Source Code Management (SCM) tools such as Concurrent Versioning System (cvs). Both are also cited as exemplars of how "fun," "joy," or interest determine individual participation and of how it is possible to maintain and encourage that participation and mutual aid instead of narrowing the focus or eliminating possible routes for participation. +={Concurrent Versioning System (cvs);experimentation+1;fun, and development of Linux;Source Code Management tools (SCMs);Torvalds, Linus+3} + +Beyond these specific experiments, the stories of Linux and Apache are detailed here because both projects were actively central to the construction and expansion of the Internet of the 1990s by allowing a massive number of both corporate and noncorporate sites to cheaply install and run servers on the Internet. Were Linux and Apache nothing more than hobbyist projects with a few thousand ,{[pg 213]}, interested tinkerers, rather than the core technical components of an emerging planetary network, they would probably not represent the same kind of revolutionary transformation ultimately branded a "movement" in 1998-99. +={movement (component of Free Software)} + +Linus Torvalds’s creation of the Linux kernel is often cited as the first instance of the real "Open Source" development model, and it has quickly become the most studied of the Free Software projects.~{ Eric Raymond directed attention primarily to Linux in The Cathedral and the Bazaar. Many other projects preceded Torvalds’s kernel, however, including the tools that form the core of both UNIX and the Internet: Paul Vixie’s implementation of the Domain Name System (DNS) known as BIND; Eric Allman’s sendmail for routing e-mail; the scripting languages perl (created by Larry Wall), python (Guido von Rossum), and tcl/tk (John Ousterhout); the X Windows research project at MIT; and the derivatives of the original BSD UNIX, FreeBSD and OpenBSD. On the development model of FreeBSD, see Jorgensen, "Putting It All in the Trunk" and "Incremental and Decentralized Integration in FreeBSD." The story of the genesis of Linux is very nicely told in Moody, Rebel Code, and Williams, Free as in Freedom; there are also a number of papers—available through Free/Opensource Research Community, http://freesoftware.mit.edu/—that analyze the development dynamics of the Linux kernel. See especially Ratto, "Embedded Technical Expression" and "The Pressure of Openness." I have conducted much of my analysis of Linux by reading the Linux Kernel Mailing List archives, http://lkml.org. There are also annotated summaries of the Linux Kernel Mailing List discussions at http://kerneltraffic.org. }~ Following its appearance in late 1991, Linux grew quickly from a small, barely working kernel to a fully functional replacement for the various commercial UNIX systems that had resulted from the UNIX wars of the 1980s. It has become versatile enough to be used on desktop PCs with very little memory and small CPUs, as well as in "clusters" that allow for massively parallel computing power. +={perl (programming language);python (programming language);tcl/tk (programming language)} + +When Torvalds started, he was blessed with an eager audience of hackers keen on seeing a UNIX system run on desktop computers and a personal style of encouragement that produced enormous positive feedback. Torvalds is often given credit for creating, through his "management style," a "new generation" of Free Software—a younger generation than that of Stallman and Raymond. Linus and Linux are not in fact the causes of this change, but the results of being at the right place at the right time and joining together a number of existing components. Indeed, the title of Torvalds’s semi-autobiographical reflection on Linux—Just for Fun: The Story of an Accidental Revolutionary—captures some of the character of its genesis. +={coordination (component of Free Software)+9;hackers+1;Raymond, Eric Steven;Stallman, Richard;Torvalds, Linus:autobiography of;UNIX operating system} + +The "fun" referred to in the title reflects the privileging of adaptability over planning. Projects, tools, people, and code that were fun were those that were not dictated by existing rules and ideas. Fun, for geeks, was associated with the sudden availability, especially for university students and amateur hackers, of a rapidly expanding underground world of networks and software—Usenet and the Internet especially, but also university-specific networks, online environments and games, and tools for navigating information of all kinds. Much of this activity occurred without the benefit of any explicit theorization, with the possible exception of the discourse of "community" (given print expression by Howard Rheingold in 1993 and present in nascent form in the pages of Wired and Mondo 2000) that took place through much of the 1990s.~{ Howard Rheingold, The Virtual Community. On the prehistory of this period and the cultural location of some key aspects, see Turner, From Counterculture to Cyberculture. }~ The late 1980s and early 1990s gave rise to vast experimentation with the collaborative possibilities of the Internet as a medium. Particularly attractive was ,{[pg 214]}, that this medium was built using freely available tools, and the tools themselves were open to modification and creative reuse. It was a style that reflected the quasi-academic and quasi-commercial environment, of which the UNIX operating system was an exemplar— not pure research divorced from commercial context, nor entirely the domain of commercial rapacity and intellectual property. +={adaptability:planning vs.;Internet:early development+1|relation to Free Software+1;Rheingold, Howard;rumor on Usenet+8;Usenet:rumor on+8} + +Fun included the creation of mailing lists by the spread of software such as list-serv and majordomo; the collaborative maintenance and policing of Usenet; and the creation of Multi-User Dungeons (MUDs) and MUD Object Orienteds (MOOs), both of which gave game players and Internet geeks a way to co-create software environments and discover many of the problems of management and policing that thereby emerged.~{ Julian Dibbell’s "A Rape in Cyberspace" and Sherry Turkle’s Life on the Screen are two classic examples of the detailed forms of life and collaborative ethical creation that preoccupied denizens of these worlds. }~ It also included the increasing array of "information services" that were built on top of the Internet, like archie, gopher, Veronica, WAIS, ftp, IRC—all of which were necessary to access the growing information wealth of the underground community lurking on the Internet. The meaning and practice of coordination in all of these projects was up for grabs: some were organized strictly as university research projects (gopher), while others were more fluid and open to participation and even control by contributing members (MOOs and MUDs). Licensing issues were explicit in some, unclear in some, and completely ignored in others. Some projects had autocratic leaders, while others experimented with everything from representative democracy to anarchism. +={anarchism;communities;Multi-User Dungeons (MUDS)} + +During this period (roughly 1987 to 1993), the Free Software Foundation attained a mythic cult status—primarily among UNIX and EMACS users. Part of this status was due to the superiority of the tools Stallman and his collaborators had already created: the GNU C Compiler (gcc), GNU EMACS, the GNU Debugger (gdb), GNU Bison, and loads of smaller utilities that replaced the original AT&T UNIX versions. The GNU GPL had also acquired a life of its own by this time, having reached maturity as a license and become the de facto choice for those committed to Free Software and the Free Software Foundation. By 1991, however, the rumors of the imminent appearance of Stallman’s replacement UNIX operating system had started to sound empty—it had been six years since his public announcement of his intention. Most hackers were skeptical of Stallman’s operating-system project, even if they acknowledged the success of all the other tools necessary to create a full-fledged operating system, and Stallman himself was stymied by the development ,{[pg 215]}, of one particular component: the kernel itself, called GNU Hurd. +={EMACS (text editor);Free Software Foundation:cult status of+9;General Public License (GPL);GNU C Compiler (gcc);GNU Hurd (kernel)} + +% cult status of + +Linus Torvalds’s project was not initially imagined as a contribution to the Free Software Foundation: it was a Helsinki university student’s late-night project in learning the ins and outs of the relatively new Intel 386/486 microprocessor. Torvalds, along with tens of thousands of other computer-science students, was being schooled in UNIX through the pedagogy of Andrew Tanenbaum’s Minix, Douglas Comer’s Xinu-PC, and a handful of other such teaching versions designed to run on IBM PCs. Along with the classroom pedagogy in the 1980s came the inevitable connection to, lurking on, and posting to the Usenet and Arpanet mailing lists devoted to technical (and nontechnical) topics of all sorts.~{ The yearly influx of students to the Usenet and Arpanet in September earned that month the title "the longest month," due to the need to train new users in use and etiquette on the newsgroups. Later in the 1990s, when AOL allowed subscribers access to the Usenet hierarchy, it became known as "eternal September." See "September that Never Ended," Jargon File, http://catb.org/~esr/jargon/html/S/September-that-never-ended.html. }~ Torvalds was subscribed, naturally, to comp.os.minix, the newsgroup for users of Minix. +={Arpanet (network);Linux (Free Software project):origins in Minix+19;Minix (operating systems)+19;pedagogy:operating systems and+1;Tanenbaum, Andrew:Minix and} + +The fact of Linus Torvalds’s pedagogical embedding in the world of UNIX, Minix, the Free Software Foundation, and the Usenet should not be underestimated, as it often is in hagiographical accounts of the Linux operating system. Without this relatively robust moral-technical order or infrastructure within which it was possible to be at the right place at the right time, Torvalds’s late-night dorm-room project would have amounted to little more than that—but the pieces were all in place for his modest goals to be transformed into something much more significant. +={infrastructure;moral and technical order} + +Consider his announcement on 25 August 1991: + +_1 Hello everybody out there using minix—I’m doing a (free) operating system (just a hobby, won’t be big and professional like gnu) for 386(486) AT clones. This has been brewing since april, and is starting to get ready. I’d like any feedback on things people like/dislike in minix, as my OS resembles it somewhat (same physical layout of the file-system (due to practical reasons) among other things). I’ve currently ported bash(1.08) and gcc(1.40), and things seem to work. This implies that I’ll get something practical within a few months, and I’d like to know what features most people would want. Any suggestions are welcome, but I won’t promise I’ll implement them :-) + +_1 Linus . . . + +_1 PS. Yes—it’s free of any minix code, and it has a multi-threaded fs. It is NOT portable (uses 386 task switching etc), and it probably never will support anything other than AT-harddisks, as that’s all I have :-(.~{ Message-ID: { 1991aug25.205708.9541@klaava.helsinki.fi }http://groups.google.com/groups?selm=1991aug25.205708.9541@klaava.helsinki.fi. }~ + +% ,{[pg 216]}, + +Torvalds’s announcement is telling as to where his project fit into the existing context: "just a hobby," not "big and professional like gnu" (a comment that suggests the stature that Stallman and the Free Software Foundation had achieved, especially since they were in reality anything but "big and professional"). The announcement was posted to the Minix list and thus was essentially directed at Minix users; but Torvalds also makes a point of insisting that the system would be free of cost, and his postscript furthermore indicates that it would be free of Minix code, just as Minix had been free of AT&T code. +={AT&T;coordination (component of Free Software):of Linux vs. Minix+12} + +Torvalds also mentions that he has ported "bash" and "gcc," software created and distributed by the Free Software Foundation and tools essential for interacting with the computer and compiling new versions of the kernel. Torvalds’s decision to use these utilities, rather than write his own, reflects both the boundaries of his project (an operating-system kernel) and his satisfaction with the availability and reusability of software licensed under the GPL. +={GNU C Compiler (gcc);modifiability+2} + +So the system is based on Minix, just as Minix had been based on UNIX—piggy-backed or bootstrapped, rather than rewritten in an entirely different fashion, that is, rather than becoming a different kind of operating system. And yet there are clearly concerns about the need to create something that is not Minix, rather than simply extending or "debugging" Minix. This concern is key to understanding what happened to Linux in 1991. +={debugging+5} + +Tanenbaum’s Minix, since its inception in 1984, was always intended to allow students to see and change the source code of Minix in order to learn how an operating system worked, but it was not Free Software. It was copyrighted and owned by Prentice Hall, which distributed the textbooks. Tanenbaum made the case—similar to Gosling’s case for Unipress—that Prentice Hall was distributing the system far wider than if it were available only on the Internet: "A point which I don’t think everyone appreciates is that making something available by FTP is not necessarily the way to provide the widest distribution. The Internet is still a highly elite group. Most computer users are NOT on it. . . . MINIX is also widely used in Eastern Europe, Japan, Israel, South America, etc. Most of these people would never have gotten it if there hadn’t been a company selling it."~{ Message-ID: { 12595@star.cs.vu.nl }http://groups.google.com/groups?selm=12595@star.cs.vu.nl. }~ +={Tanenbaum, Andrew:Minix and+9;File Transfer Protocol (ftp);Prentice Hall+1;textbooks:on operating systems and networks+1} + +% larger index range provided for tanenbaum + +By all accounts, Prentice Hall was not restrictive in its sublicensing of the operating system, if people wanted to create an "enhanced" ,{[pg 217]}, version of Minix. Similarly, Tanenbaum’s frequent presence on comp.os.minix testified to his commitment to sharing his knowledge about the system with anyone who wanted it—not just paying customers. Nonetheless, Torvalds’s pointed use of the word free and his decision not to reuse any of the code is a clear indication of his desire to build a system completely unencumbered by restrictions, based perhaps on a kind of intuitive folkloric sense of the dangers associated with cases like that of EMACS.~{ Indeed, initially, Torvalds’s terms of distribution for Linux were more restrictive than the GPL, including limitations on distributing it for a fee or for handling costs. Torvalds eventually loosened the restrictions and switched to the GPL in February 1992. Torvalds’s release notes for Linux 0.12 say, "The Linux copyright will change: I’ve had a couple of requests ,{[pg 339]}, to make it compatible with the GNU copyleft, removing the ‘you may not distribute it for money’ condition. I agree. I propose that the copyright be changed so that it conforms to GNU—pending approval of the persons who have helped write code. I assume this is going to be no problem for anybody: If you have grievances (‘I wrote that code assuming the copyright would stay the same’) mail me. Otherwise The GNU copyleft takes effect as of the first of February. If you do not know the gist of the GNU copyright—read it" (http://www.kernel.org/pub/linux/kernel/Historic/old-versions/RELNOTES-0.12). }~ +={comp.os.minix} + +The most significant aspect of Torvalds’s initial message, however, is his request: "I’d like to know what features most people would want. Any suggestions are welcome, but I won’t promise I’ll implement them." Torvalds’s announcement and the subsequent interest it generated clearly reveal the issues of coordination and organization that would come to be a feature of Linux. The reason Torvalds had so many eager contributors to Linux, from the very start, was because he enthusiastically took them off of Tanenbaum’s hands. + +2~ Design and Adaptability +={adaptability:planning vs.+18} + +Tanenbaum’s role in the story of Linux is usually that of the straw man—a crotchety old computer-science professor who opposes the revolutionary young Torvalds. Tanenbaum did have a certain revolutionary reputation himself, since Minix was used in classrooms around the world and could be installed on IBM PCs (something no other commercial UNIX vendors had achieved), but he was also a natural target for people like Torvalds: the tenured professor espousing the textbook version of an operating system. So, despite the fact that a very large number of people were using or knew of Minix as a UNIX operating system (estimates of comp.os.minix subscribers were at 40,000), Tanenbaum was emphatically not interested in collaboration or collaborative debugging, especially if debugging also meant creating extensions and adding features that would make the system bigger and harder to use as a stripped-down tool for teaching. For Tanenbaum, this point was central: "I’ve been repeatedly offered virtual memory, paging, symbolic links, window systems, and all manner of features. I have usually declined because I am still trying to keep the system simple enough for students to understand. You can put all this stuff in your version, but I won’t ,{[pg 218]}, put it in mine. I think it is this point which irks the people who say ‘MINIX is not free,’ not the $60."~{ Message-ID: { 12667@star.cs.vu.nl }http://groups.google.com/groups?selm=12667@star.cs.vu.nl. }~ +={pedagogy:Minix and+3;comp.os.minix} + +So while Tanenbaum was in sympathy with the Free Software Foundation’s goals (insofar as he clearly wanted people to be able to use, update, enhance, and learn from software), he was not in sympathy with the idea of having 40,000 strangers make his software "better." Or, to put it differently, the goals of Minix remained those of a researcher and a textbook author: to be useful in classrooms and cheap enough to be widely available and usable on the largest number of cheap computers. +={Minix (operating system):goals of+4;Free Software Foundation+1} + +By contrast, Torvalds’s "fun" project had no goals. Being a cocky nineteen-year-old student with little better to do (no textbooks to write, no students, grants, research projects, or committee meetings), Torvalds was keen to accept all the ready-made help he could find to make his project better. And with 40,000 Minix users, he had a more or less instant set of contributors. Stallman’s audience for EMACS in the early 1980s, by contrast, was limited to about a hundred distinct computers, which may have translated into thousands, but certainly not tens of thousands of users. Tanenbaum’s work in creating a generation of students who not only understood the internals of an operating system but, more specifically, understood the internals of the UNIX operating system created a huge pool of competent and eager UNIX hackers. It was the work of porting UNIX not only to various machines but to a generation of minds as well that set the stage for this event—and this is an essential, though often overlooked component of the success of Linux. +={EMACS (text editor):number of users;Stallman,Richard;fun, and development of Linux+1} + +Many accounts of the Linux story focus on the fight between Torvalds and Tanenbaum, a fight carried out on comp.os.minix with the subject line "Linux is obsolete."~{ Message-ID: { 12595@star.cs.vu.nl }http://groups.google.com/groups?selm=12595@star.cs.vu.nl. Key parts of the controversy were reprinted in Dibona et al. Open Sources. }~ Tanenbaum argued that Torvalds was reinventing the wheel, writing an operating system that, as far as the state of the art was concerned, was now obsolete. Torvalds, by contrast, asserted that it was better to make something quick and dirty that worked, invite contributions, and worry about making it state of the art later. Far from illustrating some kind of outmoded conservatism on Tanenbaum’s part, the debate highlights the distinction between forms of coordination and the meanings of collaboration. For Tanenbaum, the goals of Minix were either pedagogical or academic: to teach operating-system essentials or to explore new possibilities in operating-system design. By this model, Linux could do neither; it couldn’t be used in the classroom because ,{[pg 219]}, it would quickly become too complex and feature-laden to teach, and it wasn’t pushing the boundaries of research because it was an out-of-date operating system. Torvalds, by contrast, had no goals. What drove his progress was a commitment to fun and to a largely inarticulate notion of what interested him and others, defined at the outset almost entirely against Minix and other free operating systems, like FreeBSD. In this sense, it could only emerge out of the context—which set the constraints on its design—of UNIX, open systems, Minix, GNU, and BSD. +={comp.os.minix:"Linux is obsolete" debate on;Berkeley Systems Distribution (BSD) (version of UNIX):FreeBSD;FreeBSD} + +Both Tanenbaum and Torvalds operated under a model of coordination in which one person was ultimately responsible for the entire project: Tanenbaum oversaw Minix and ensured that it remained true to its goals of serving a pedagogical audience; Torvalds would oversee Linux, but he would incorporate as many different features as users wanted or could contribute. Very quickly—with a pool of 40,000 potential contributors—Torvalds would be in the same position Tanenbaum was in, that is, forced to make decisions about the goals of Linux and about which enhancements would go into it and which would not. What makes the story of Linux so interesting to observers is that it appears that Torvalds made no decision: he accepted almost everything. + +Tanenbaum’s goals and plans for Minix were clear and autocratically formed. Control, hierarchy, and restriction are after all appropriate in the classroom. But Torvalds wanted to do more. He wanted to go on learning and to try out alternatives, and with Minix as the only widely available way to do so, his decision to part ways starts to make sense; clearly he was not alone in his desire to explore and extend what he had learned. Nonetheless, Torvalds faced the problem of coordinating a new project and making similar decisions about its direction. On this point, Linux has been the subject of much reflection by both insiders and outsiders. Despite images of Linux as either an anarchic bazaar or an autocratic dictatorship, the reality is more subtle: it includes a hierarchy of contributors, maintainers, and "trusted lieutenants" and a sophisticated, informal, and intuitive sense of "good taste" gained through reading and incorporating the work of co-developers. +={coordination (component of Free Software):individual virtuosity vs. hierarchical planning+10;hierarchy, in coordination+10} + +While it was possible for Torvalds to remain in charge as an individual for the first few years of Linux (1991-95, roughly), he eventually began to delegate some of that control to people who would make decisions about different subcomponents of the kernel. ,{[pg 220]}, It was thus possible to incorporate more of the "patches" (pieces of code) contributed by volunteers, by distributing some of the work of evaluating them to people other than Torvalds. This informal hierarchy slowly developed into a formal one, as Steven Weber points out: "The final de facto ‘grant’ of authority came when Torvalds began publicly to reroute relevant submissions to the lieutenants. In 1996 the decision structure became more formal with an explicit differentiation between ‘credited developers’ and ‘maintainers.’ . . . If this sounds very much like a hierarchical decision structure, that is because it is one—albeit one in which participation is strictly voluntary."~{ Steven Weber, The Success of Open Source, 164. }~ +={patches (software)+3;Weber, Steven;Linux (Free Software project):process of decision making+4} + +Almost all of the decisions made by Torvalds and lieutenants were of a single kind: whether or not to incorporate a piece of code submitted by a volunteer. Each such decision was technically complex: insert the code, recompile the kernel, test to see if it works or if it produces any bugs, decide whether it is worth keeping, issue a new version with a log of the changes that were made. Although the various official leaders were given the authority to make such changes, coordination was still technically informal. Since they were all working on the same complex technical object, one person (Torvalds) ultimately needed to verify a final version, containing all the subparts, in order to make sure that it worked without breaking. + +Such decisions had very little to do with any kind of design goals or plans, only with whether the submitted patch "worked," a term that reflects at once technical, aesthetic, legal, and design criteria that are not explicitly recorded anywhere in the project—hence, the privileging of adaptability over planning. At no point were the patches assigned or solicited, although Torvalds is justly famous for encouraging people to work on particular problems, but only if they wanted to. As a result, the system morphed in subtle, unexpected ways, diverging from its original, supposedly backwards "monolithic" design and into a novel configuration that reflected the interests of the volunteers and the implicit criteria of the leaders. +={design;Linux (Free Software project):planning vs. adaptability in+9} + +By 1995-96, Torvalds and lieutenants faced considerable challenges with regard to hierarchy and decision-making, as the project had grown in size and complexity. The first widely remembered response to the ongoing crisis of benevolent dictatorship in Linux was the creation of "loadable kernel modules," conceived as a way to release some of the constant pressure to decide which patches would be incorporated into the kernel. The decision to modularize ,{[pg 221]}, Linux was simultaneously technical and social: the software-code base would be rewritten to allow for external loadable modules to be inserted "on the fly," rather than all being compiled into one large binary chunk; at the same time, it meant that the responsibility to ensure that the modules worked devolved from Torvalds to the creator of the module. The decision repudiated Torvalds’s early opposition to Tanenbaum in the "monolithic vs. microkernel" debate by inviting contributors to separate core from peripheral functions of an operating system (though the Linux kernel remains monolithic compared to classic microkernels). It also allowed for a significant proliferation of new ideas and related projects. It both contracted and distributed the hierarchy; now Linus was in charge of a tighter project, but more people could work with him according to structured technical and social rules of responsibility. +={modifiability:modularity in software+1} + +Creating loadable modules changed the look of Linux, but not because of any planning or design decisions set out in advance. The choice is an example of the privileged adaptability of the Linux, resolving the tension between the curiosity and virtuosity of individual contributors to the project and the need for hierarchical control in order to manage complexity. The commitment to adaptability dissolves the distinction between the technical means of coordination and the social means of management. It is about producing a meaningful whole by which both people and code can be coordinated—an achievement vigorously defended by kernel hackers. +={design:evolution, and+7} + +The adaptable organization and structure of Linux is often described in evolutionary terms, as something without teleological purpose, but responding to an environment. Indeed, Torvalds himself has a weakness for this kind of explanation. + +_1 Let’s just be honest, and admit that it [Linux] wasn’t designed. + +_1 Sure, there’s design too—the design of UNIX made a scaffolding for the system, and more importantly it made it easier for people to communicate because people had a mental model for what the system was like, which means that it’s much easier to discuss changes. + +_1 But that’s like saying that you know that you’re going to build a car with four wheels and headlights—it’s true, but the real bitch is in the details. + +_1 And I know better than most that what I envisioned 10 years ago has nothing in common with what Linux is today. There was certainly no premeditated design there.~{ Quoted in Zack Brown, "Kernel Traffic #146 for 17Dec2001," Kernel Traffic, http://www.kerneltraffic.org/kernel-traffic/kt20011217_146.html; also quoted in Federico Iannacci, "The Linux Managing Model," http://opensource.mit.edu/papers/iannacci2.pdf. }~ + +% ,{[pg 222]}, + +Adaptability does not answer the questions of intelligent design. Why, for example, does a car have four wheels and two headlights? Often these discussions are polarized: either technical objects are designed, or they are the result of random mutations. What this opposition overlooks is the fact that design and the coordination of collaboration go hand in hand; one reveals the limits and possibilities of the other. Linux represents a particular example of such a problematic—one that has become the paradigmatic case of Free Software—but there have been many others, including UNIX, for which the engineers created a system that reflected the distributed collaboration of users around the world even as the lawyers tried to make it conform to legal rules about licensing and practical concerns about bookkeeping and support. + +Because it privileges adaptability over planning, Linux is a recursive public: operating systems and social systems. It privileges openness to new directions, at every level. It privileges the right to propose changes by actually creating them and trying to convince others to use and incorporate them. It privileges the right to fork the software into new and different kinds of systems. Given what it privileges, Linux ends up evolving differently than do systems whose life and design are constrained by corporate organization, or by strict engineering design principles, or by legal or marketing definitions of products—in short, by clear goals. What makes this distinction between the goal-oriented design principle and the principle of adaptability important is its relationship to politics. Goals and planning are the subject of negotiation and consensus, or of autocratic decision-making; adaptability is the province of critique. It should be remembered that Linux is by no means an attempt to create something radically new; it is a rewrite of a UNIX operating system, as Torvalds points out, but one that through adaptation can end up becoming something new. +={critique, Free Software as;ontology:of linux;recursive public} + +2~ Patch and Vote +={Apache (Free Software project)+28;patches (software):voting in software development and+28;software development:patch and vote method+28} + +The Apache Web server and the Apache Group (now called the Apache Software Foundation) provide a second illuminating example of the how and why of coordination in Free Software of the 1990s. As with the case of Linux, the development of the Apache project illustrates how adaptability is privileged over planning ,{[pg 223]}, and, in particular, how this privileging is intended to resolve the tensions between individual curiosity and virtuosity and collective control and decision-making. It is also the story of the progressive evolution of coordination, the simultaneously technical and social mechanisms of coordinating people and code, patches and votes. +={coordination (component of Free Software):individual virtuosity vs. hierarchical planning+3} + +The Apache project emerged out of a group of users of the original httpd (HyperText Transmission Protocol Daemon) Web server created by Rob McCool at NCSA, based on the work of Tim Berners-Lee’s World Wide Web project at CERN. Berners-Lee had written a specification for the World Wide Web that included the mark-up language HTML, the transmission protocol http, and a set of libraries that implemented the code known as libwww, which he had dedicated to the public domain.~{ Message-ID: { 673c43e160C1a758@sluvca.slu.edu }http://groups.google.com/groups?selm=673c43e160C1a758@sluvca.slu.edu. See also, Berners-Lee, Weaving the Web. }~ +={Berners-Lee, Tim;httpd+22;Hypertext Transfer Mark-up Language (HTML);Hypertext Transfer Protocol (http);McCool, Rob+3;World Wide Web (www)+2} + +The NCSA, at the University of Illinois, Urbana-Champaign, picked up both www projects, subsequently creating both the first widely used browser, Mosaic, directed by Marc Andreessen, and httpd. Httpd was public domain up until version 1.3. Development slowed when McCool was lured to Netscape, along with the team that created Mosaic. By early 1994, when the World Wide Web had started to spread, many individuals and groups ran Web servers that used httpd; some of them had created extensions and fixed bugs. They ranged from university researchers to corporations like Wired Ventures, which launched the online version of its magazine (HotWired.com) in 1994. Most users communicated primarily through Usenet, on the comp.infosystems.www.* newsgroups, sharing experiences, instructions, and updates in the same manner as other software projects stretching back to the beginning of the Usenet and Arpanet newsgroups. +={Andreessen, Marc;Arpanet (network);Mosaic (web browser);National Center for Super Computing Applications (NCSA)+2;Rumor on Usenet;Usenet:rumor on;User groups;Wired (magazine):HotWired (online version of Wired)+1} + +When NCSA failed to respond to most of the fixes and extensions being proposed, a group of several of the most active users of httpd began to communicate via a mailing list called new-httpd in 1995. The list was maintained by Brian Behlendorf, the webmaster for HotWired, on a server he maintained called hyperreal; its participants were those who had debugged httpd, created extensions, or added functionality. The list was the primary means of association and communication for a diverse group of people from various locations around the world. During the next year, participants hashed out issues related to coordination, to the identity of and the processes involved in patching the "new" httpd, version 1.3.~{ The original Apache Group included Brian Behlendorf, Roy T. Fielding, Rob Harthill, David Robinson, Cliff Skolnick, Randy Terbush, Robert S. Thau, Andrew Wilson, Eric Hagberg, Frank Peters, and Nicolas Pioch. The mailing list new-httpd eventually became the Apache developers list. The archives are available at http://mail-archives.apache.org/mod_mbox/httpd-dev/ and cited hereafter as "Apache developer mailing list," followed by sender, subject, date, and time. }~ ,{[pg 224]}, +={Behlendorf, Brian:as head of Apache+24;new httpd (mailing list)+24} + +Patching a piece of software is a peculiar activity, akin to debugging, but more like a form of ex post facto design. Patching covers the spectrum of changes that can be made: from fixing security holes and bugs that prevent the software from compiling to feature and performance enhancements. A great number of the patches that initially drew this group together grew out of needs that each individual member had in making a Web server function. These patches were not due to any design or planning decisions by NCSA, McCool, or the assembled group, but most were useful enough that everyone gained from using them, because they fixed problems that everyone would or could encounter. As a result, the need for a coordinated new-httpd release was key to the group’s work. This new version of NCSA httpd had no name initially, but apache was a persistent candidate; the somewhat apocryphal origin of the name is that it was "a patchy webserver."~{ For another version of the story, see Moody, Rebel Code, 127-28. The official story honors the Apache Indian tribes for "superior skills in warfare strategy and inexhaustible endurance." Evidence of the concern of the original members over the use of the name is clearly visible in the archives of the Apache project. See esp. Apache developer mailing list, Robert S. Thau, Subject: The political correctness question . . . , 22 April 1995, 21:06 EDT. }~ +={bugs;debugging:patching vs.;patches (software):debugging vs.;coordination (component of Free Software)+50;software development:Apache project+17} + +At the outset, in February and March 1995, the pace of work of the various members of new-httpd differed a great deal, but was in general extremely rapid. Even before there was an official release of a new httpd, process issues started to confront the group, as Roy Fielding later explained: "Apache began with a conscious attempt to solve the process issues first, before development even started, because it was clear from the very beginning that a geographically distributed set of volunteers, without any traditional organizational ties, would require a unique development process in order to make decisions."~{ Mockus, Fielding, and Herbsleb, "Two Case Studies of Open Source Software Development," 3. }~ + +The need for process arose more or less organically, as the group developed mechanisms for managing the various patches: assigning them IDs, testing them, and incorporating them "by hand" into the main source-code base. As this happened, members of the list would occasionally find themselves lost, confused by the process or the efficiency of other members, as in this message from Andrew Wilson concerning Cliff Skolnick’s management of the list of bugs: +={Wilson, Andrew+2;Skolnick, Cliff} + +_1 Cliff, can you concentrate on getting an uptodate copy of the bug/improvement list please. I’ve already lost track of just what the heck is meant to be going on. Also what’s the status of this pre-pre-pre release Apache stuff. It’s either a pre or it isn’t surely? AND is the pre-pre-etc thing the same as the thing Cliff is meant to be working on? + +_1 Just what the fsck is going on anyway? Ay, ay ay! Andrew Wilson.~{ Apache developer mailing list, Andrew Wilson, Subject: Re: httpd patch B5 updated, 14 March 1995, 21:49 GMT. }~ ,{[pg 225]}, + +To which Rob Harthill replied, "It is getting messy. I still think we should all implement one patch at a time together. At the rate (and hours) some are working we can probably manage a couple of patches a day. . . . If this is acceptable to the rest of the group, I think we should order the patches, and start a systematic processes of discussion, implementations and testing."~{ Apache developer mailing list, Rob Harthill, Subject: Re: httpd patch B5 updated, 14 March 1995, 15:10 MST. }~ +={Harthill, Rob+12} + +Some members found the pace of work exciting, while others appealed for slowing or stopping in order to take stock. Cliff Skolnick created a system for managing the patches and proposed that list-members vote in order to determine which patches be included.~{ Apache developer mailing list, Cliff Skolnick, Subject: Process (please read), 15 March 1995, 3:11 PST; and Subject: Patch file format, 15 March 1995, 3:40 PST. }~ Rob Harthill voted first. +={Skolnick, Cliff} + +group{ + + Here are my votes for the current patch list shown at http://www.hyperreal.com/httpd/patchgen/list.cgi + + I’ll use a vote of + + -1 have a problem with it + + 0 haven’t tested it yet (failed to understand it or whatever) + + +1 tried it, liked it, have no problem with it. + + [Here Harthill provides a list of votes on each patch.] + + If this voting scheme makes sense, lets use it to filter out the stuff we’re happy with. A "-1" vote should veto any patch. There seems to be about 6 or 7 of us actively commenting on patches, so I’d suggest that once a patch gets a vote of +4 (with no vetos), we can add it to an alpha.~{ Apache developer mailing list, Rob Harthill, Subject: patch list vote, 15 March 1995, 13:21:24 MST. }~ + +}group + +Harthill’s votes immediately instigated discussion about various patches, further voting, and discussion about the process (i.e., how many votes or vetoes were needed), all mixed together in a flurry of e-mail messages. The voting process was far from perfect, but it did allow some consensus on what "apache" would be, that is, which patches would be incorporated into an "official" (though not very public) release: Apache 0.2 on 18 March.~{ Apache developer mailing list, Rob Harthill, Subject: apache-0.2 on hyperreal, 18 March 1995, 18:46 MST. }~ Without a voting system, the group of contributors could have gone on applying patches individually, each in his own context, fixing the problems that ailed each user, but ignoring those that were irrelevant or unnecessary in that context. With a voting process, however, a convergence on a tested and approved new-httpd could emerge. As the process was refined, members sought a volunteer to take votes, to open and close the voting once a week, and to build a new version of Apache when the voting was done. (Andrew Wilson was the first volunteer, to which Cliff Skolnick replied, "I guess the first vote is ,{[pg 226]}, voting Andrew as the vote taker :-).")~{ Apache developer mailing list, Cliff Skolnick, Subject: Re: patch list vote, 21 March 1995, 2:47 PST. }~ The patch-and-vote process that emerged in the early stages of Apache was not entirely novel; many contributors noted that the FreeBSD project used a similar process, and some suggested the need for a "patch coordinator" and others worried that "using patches gets very ugly, very quickly."~{ Apache developer mailing list, Paul Richards, Subject: Re: vote counting, 21 March 1995, 22:24 GMT. }~ +={Wilson, Andrew;Skolnick, Cliff;Berkeley Systems Distribution (BSD) (version of UNIX):FreeBSD;FreeBSD} + +The significance of the patch-and-vote system was that it clearly represented the tension between the virtuosity of individual developers and a group process aimed at creating and maintaining a common piece of software. It was a way of balancing the ability of each separate individual’s expertise against a common desire to ship and promote a stable, bug-free, public-domain Web server. As Roy Fielding and others would describe it in hindsight, this tension was part of Apache’s advantage. + +_1 Although the Apache Group makes decisions as a whole, all of the actual work of the project is done by individuals. The group does not write code, design solutions, document products, or provide support to our customers; individual people do that. The group provides an environment for collaboration and an excellent trial-by-fire for ideas and code, but the creative energy needed to solve a particular problem, redesign a piece of the system, or fix a given bug is almost always contributed by individual volunteers working on their own, for their own purposes, and not at the behest of the group. Competitors mistakenly assume Apache will be unable to take on new or unusual tasks because of the perception that we act as a group rather than follow a single leader. What they fail to see is that, by remaining open to new contributors, the group has an unlimited supply of innovative ideas, and it is the individuals who chose to pursue their own ideas who are the real driving force for innovation.~{ Roy T. Fielding, "Shared Leadership in the Apache Project." }~ +={Apache (Free Software project):individual vs. group innovation+1} + +Although openness is widely touted as the key to the innovations of Apache, the claim is somewhat disingenuous: patches are just that, patches. Any large-scale changes to the code could not be accomplished by applying patches, especially if each patch must be subjected to a relatively harsh vote to be included. The only way to make sweeping changes—especially changes that require iteration and testing to get right—is to engage in separate "branches" of a project or to differentiate between internal and external releases—in short, to fork the project temporarily in hopes that it would soon rejoin its stable parent. Apache encountered this problem very early on with the "Shambhala" rewrite of httpd by Robert Thau. ,{[pg 227]}, +={Shambhala+6;Thau, Robert+6;differentiation of software:in Apache+6|see also forking and sharing source code+6;forking:in Apache+6} + +Shambhala was never quite official: Thau called it his "noodling" server, or a "garage" project. It started as his attempt to rewrite httpd as a server which could handle and process multiple requests at the same time. As an experiment, it was entirely his own project, which he occasionally referred to on the new-httpd list: "Still hacking Shambhala, and laying low until it works well enough to talk about."~{ Apache developer mailing list, Robert S. Thau, Subject: Re: 0.7.2b, 7 June 1995, 17:27 EDT. }~ By mid-June of 1995, he had a working version that he announced, quite modestly, to the list as "a garage project to explore some possible new directions I thought *might* be useful for the group to pursue."~{ Apache developer mailing list, Robert S. Thau, Subject: My Garage Project, 12 June 1995, 21:14 GMT. }~ Another list member, Randy Terbush, tried it out and gave it rave reviews, and by the end of June there were two users exclaiming its virtues. But since it hadn’t ever really been officially identified as a fork, or an alternate development pathway, this led Rob Harthill to ask: "So what’s the situation regarding Shambhala and Apache, are those of you who have switched to it giving up on Apache and this project? If so, do you need a separate list to discuss Shambhala?"~{ Apache developer mailing list, Rob Harthill, Subject: Re: Shambhala, 30 June 1995, 9:44 MDT. }~ +={Terbush, Randy} + +Harthill had assumed that the NCSA code-base was "tried and tested" and that Shambhala represented a split, a fork: "The question is, should we all go in one direction, continue as things stand or Shambahla [sic] goes off on its own?"~{ Apache developer mailing list, Rob Harthill, Subject: Re: Shambhala, 30 June 1995, 14:50 MDT. }~ His query drew out the miscommunication in detail: that Thau had planned it as a "drop-in" replacement for the NCSA httpd, and that his intentions were to make it the core of the Apache server, if he could get it to work. Harthill, who had spent no small amount of time working hard at patching the existing server code, was not pleased, and made the core issues explicit. +={coordination (component of Free Software):individual virtuosity vs. hierarchical planning+4} + +_1 Maybe it was rst’s [Robert Thau’s] choice of phrases, such as "garage project" and it having a different name, maybe I didn’t read his mailings thoroughly enough, maybe they weren’t explicit enough, whatever. . . . It’s a shame that nobody using Shambhala (who must have realized what was going on) didn’t raise these issues weeks ago. I can only presume that rst was too modest to push Shambhala, or at least discussion of it, onto us more vigourously. I remember saying words to the effect of "this is what I plan to do, stop me if you think this isn’t a good idea." Why the hell didn’t anyone say something? . . . [D]id others get the same impression about rst’s work as I did? Come on people, if you want to be part of this group, collaborate!~{ Apache developer mailing list, Rob Harthill, Subject: Re: Shambhala, 30 June 1995, 16:48 GMT. }~ ,{[pg 228]}, +={collaboration:different meanings of+2} + +Harthill’s injunction to collaborate seems surprising in the context of a mailing list and project created to facilitate collaboration, but the injunction is specific: collaborate by making plans and sharing goals. Implicit in his words is the tension between a project with clear plans and goals, an overarching design to which everyone contributes, as opposed to a group platform without clear goals that provides individuals with a setting to try out alternatives. Implicit in his words is the spectrum between debugging an existing piece of software with a stable identity and rewriting the fundamental aspects of it to make it something new. The meaning of collaboration bifurcates here: on the one hand, the privileging of the autonomous work of individuals which is submitted to a group peer review and then incorporated; on the other, the privileging of a set of shared goals to which the actions and labor of individuals is subordinated.~{ Gabriella Coleman captures this nicely in her discussion of the tension between the individual virtuosity of the hacker and the corporate populism of groups like Apache or, in her example, the Debian distribution of Linux. See Coleman, The Social Construction of Freedom. }~ +={debugging:patching vs.+2;goals, lack of in Free Software+2} + +Indeed, the very design of Shambhala reflects the former approach of privileging individual work: like UNIX and EMACS before it, Shambhala was designed as a modular system, one that could "make some of that process [the patch-and-vote process] obsolete, by allowing stuff which is not universally applicable (e.g., database back-ends), controversial, or just half-baked, to be shipped anyway as optional modules."~{ Apache developer mailing list, Robert S. Thau, Subject: Re: Shambhala, 1 July 1995, 14:42 EDT. }~ Such a design separates the core platform from the individual experiments that are conducted on it, rather than creating a design that is modular in the hierarchical sense of each contributor working on an assigned section of a project. Undoubtedly, the core platform requires coordination, but extensions and modifications can happen without needing to transform the whole project.~{ A slightly different explanation of the role of modularity is discussed in Steven Weber, The Success of Open Source, 173-75. }~ Shambhala represents a certain triumph of the "shut up and show me the code" aesthetic: Thau’s "modesty" is instead a recognition that he should be quiet until it "works well enough to talk about," whereas Harthill’s response is frustration that no one has talked about what Thau was planning to do before it was even attempted. The consequence was that Harthill’s work seemed to be in vain, replaced by the work of a more virtuosic hacker’s demonstration of a superior direction. +={modifiability:modularity in software} + +In the case of Apache one can see how coordination in Free Software is not just an afterthought or a necessary feature of distributed work, but is in fact at the core of software production itself, governing the norms and forms of life that determine what will count as good software, how it will progress with respect to a context and ,{[pg 229]}, background, and how people will be expected to interact around the topic of design decisions. The privileging of adaptability brings with it a choice in the mode of collaboration: it resolves the tension between the agonistic competitive creation of software, such as Robert Thau’s creation of Shambhala, and the need for collective coordination of complexity, such as Harthill’s plea for collaboration to reduce duplicated or unnecessary work. + +2~ Check Out and Commit +={Linux (Free Software project):Source Code Management tools and+21;Source Code Management tools (SCMs)+21} + +The technical and social forms that Linux and Apache take are enabled by the tools they build and use, from bug-tracking tools and mailing lists to the Web servers and kernels themselves. One such tool plays a very special role in the emergence of these organizations: Source Code Management systems (SCMs). SCMs are tools for coordinating people and code; they allow multiple people in dispersed locales to work simultaneously on the same object, the same source code, without the need for a central coordinating overseer and without the risk of stepping on each other’s toes. The history of SCMs—especially in the case of Linux—also illustrates the recursive-depth problem: namely, is Free Software still free if it is created with non-free tools? +={Source Code Management tools (SCMs):definition of+1;recursive public:layers of} + +SCM tools, like the Concurrent Versioning System (cvs) and Subversion, have become extremely common tools for Free Software programmers; indeed, it is rare to find a project, even a project conducted by only one individual, which does not make use of these tools. Their basic function is to allow two or more programmers to work on the same files at the same time and to provide feedback on where their edits conflict. When the number of programmers grows large, an SCM can become a tool for managing complexity. It keeps track of who has "checked out" files; it enables users to lock files if they want to ensure that no one else makes changes at the same time; it can keep track of and display the conflicting changes made by two users to the same file; it can be used to create "internal" forks or "branches" that may be incompatible with each other, but still allows programmers to try out new things and, if all goes well, merge the branches into the trunk later on. In sophisticated forms it can be used to "animate" successive changes to a piece of code, in order to visualize its evolution. ,{[pg 230]}, +={Concurrent Versioning System (cvs);Source Code Management tools (SCMs):see also Concurrent Versioning System (cvs)} + +Beyond mere coordination functions, SCMs are also used as a form of distribution; generally SCMs allow anyone to check out the code, but restrict those who can check in or "commit" the code. The result is that users can get instant access to the most up-to-date version of a piece of software, and programmers can differentiate between stable releases, which have few bugs, and "unstable" or experimental versions that are under construction and will need the help of users willing to test and debug the latest versions. SCM tools automate certain aspects of coordination, not only reducing the labor involved but opening up new possibilities for coordination. +={bugs;software tools+1;Source Code Management tools (SCMs):as tool for distribution+1} + +The genealogy of SCMs can be seen in the example of Ken Thompson’s creation of a diff tape, which he used to distribute changes that had been contributed to UNIX. Where Thompson saw UNIX as a spectrum of changes and the legal department at Bell Labs saw a series of versions, SCM tools combine these two approaches by minutely managing the revisions, assigning each change (each diff) a new version number, and storing the history of all of those changes so that software changes might be precisely undone in order to discover which changes cause problems. Written by Douglas McIlroy, "diff" is itself a piece of software, one of the famed small UNIX tools that do one thing well. The program diff compares two files, line by line, and prints out the differences between them in a structured format (showing a series of lines with codes that indicate changes, additions, or removals). Given two versions of a text, one could run diff to find the differences and make the appropriate changes to synchronize them, a task that is otherwise tedious and, given the exactitude of source code, prone to human error. A useful side-effect of diff (when combined with an editor like ed or EMACS) is that when someone makes a set of changes to a file and runs diff on both the original and the changed file, the output (i.e., the changes only) can be used to reconstruct the original file from the changed file. Diff thus allows for a clever, space-saving way to save all the changes ever made to a file, rather than retaining full copies of every new version, one saves only the changes. Ergo, version control. diff—and programs like it—became the basis for managing the complexity of large numbers of programmers working on the same text at the same time. +={McIlroy, Douglas;AT&T:Bell Laboratories;diff (software tool):history of+2;Thompson, Ken} + +One of the first attempts to formalize version control was Walter Tichy’s Revision Control System (RCS), from 1985.~{ Tichy, "RCS." }~ RCS kept track of the changes to different files using diff and allowed programmers ,{[pg 231]}, to see all of the changes that had been made to that file. RCS, however, could not really tell the difference between the work of one programmer and another. All changes were equal, in that sense, and any questions that might arise about why a change was made could remain unanswered. +={RCS (software tool)+1:see also Source Code Management tools} + +In order to add sophistication to RCS, Dick Grune, at the Vrije Universiteit, Amsterdam, began writing scripts that used RCS as a multi-user, Internet-accessible version-control system, a system that eventually became the Concurrent Versioning System. cvs allowed multiple users to check out a copy, make changes, and then commit those changes, and it would check for and either prevent or flag conflicting changes. Ultimately, cvs became most useful when programmers could use it remotely to check out source code from anywhere on the Internet. It allowed people to work at different speeds, different times, and in different places, without needing a central person in charge of checking and comparing the changes. cvs created a form of decentralized version control for very-large-scale collaboration; developers could work offline on software, and always on the most updated version, yet still be working on the same object. +={Concurrent Versioning System (cvs):history of+1;Grune, Dick} + +Both the Apache project and the Linux kernel project use SCMs. In the case of Apache the original patch-and-vote system quickly began to strain the patience, time, and energy of participants as the number of contributors and patches began to grow. From the very beginning of the project, the contributor Paul Richards had urged the group to make use of cvs. He had extensive experience with the system in the Free-BSD project and was convinced that it provided a superior alternative to the patch-and-vote system. Few other contributors had much experience with it, however, so it wasn’t until over a year after Richards began his admonitions that cvs was eventually adopted. However, cvs is not a simple replacement for a patch-and-vote system; it necessitates a different kind of organization. Richards recognized the trade-off. The patch-and-vote system created a very high level of quality assurance and peer review of the patches that people submitted, while the cvs system allowed individuals to make more changes that might not meet the same level of quality assurance. The cvs system allowed branches—stable, testing, experimental—with different levels of quality assurance, while the patch-and-vote system was inherently directed at one final and stable version. As the case of Shambhala ,{[pg 232]}, exhibited, under the patch-and-vote system experimental versions would remain unofficial garage projects, rather than serve as official branches with people responsible for committing changes. +={Richards, Paul;Shambhala:see also Apache;Apache (Free Software project)+1;Berkeley Systems Distribution (BSD) (version of UNIX):FreeBSD;FreeBSD;Linux (Free Software project);software development:patch and vote method;Source Code Management tools (SCMs):right to "commit" change+1} + +While SCMs are in general good for managing conflicting changes, they can do so only up to a point. To allow anyone to commit a change, however, could result in a chaotic mess, just as difficult to disentangle as it would be without an SCM. In practice, therefore, most projects designate a handful of people as having the right to "commit" changes. The Apache project retained its voting scheme, for instance, but it became a way of voting for "committers" instead for patches themselves. Trusted committers—those with the mysterious "good taste," or technical intuition—became the core members of the group. + +The Linux kernel has also struggled with various issues surrounding SCMs and the management of responsibility they imply. The story of the so-called VGER tree and the creation of a new SCM called Bitkeeper is exemplary in this respect.~{ See Steven Weber, The Success of Open Source, 117-19; Moody, Rebel Code, 172-78. See also Shaikh and Cornford, "Version Management Tools." }~ By 1997, Linux developers had begun to use cvs to manage changes to the source code, though not without resistance. Torvalds was still in charge of the changes to the official stable tree, but as other "lieutenants" came on board, the complexity of the changes to the kernel grew. One such lieutenant was Dave Miller, who maintained a "mirror" of the stable Linux kernel tree, the VGER tree, on a server at Rutgers. In September 1998 a fight broke out among Linux kernel developers over two related issues: one, the fact that Torvalds was failing to incorporate (patch) contributions that had been forwarded to him by various people, including his lieutenants; and two, as a result, the VGER cvs repository was no longer in synch with the stable tree maintained by Torvalds. Two different versions of Linux threatened to emerge. +={Miller, Dave;Source Code Management tools (SCMs):see also Bitkeeper;Concurrent Versioning System (cvs):Linux and;Linux (Free Software project):VGER tree and+2;Bitkeeper (Source Code Management software)+12;Torvalds, Linux:in bitkeeper controversy+12} + +A great deal of yelling ensued, as nicely captured in Moody’s Rebel Code, culminating in the famous phrase, uttered by Larry McVoy: "Linus does not scale." The meaning of this phrase is that the ability of Linux to grow into an ever larger project with increasing complexity, one which can handle myriad uses and functions (to "scale" up), is constrained by the fact that there is only one Linus Torvalds. By all accounts, Linus was and is excellent at what he does—but there is only one Linus. The danger of this situation is the danger of a fork. A fork would mean one or more new versions would proliferate under new leadership, a situation much like ,{[pg 233]}, the spread of UNIX. Both the licenses and the SCMs are designed to facilitate this, but only as a last resort. Forking also implies dilution and confusion—competing versions of the same thing and potentially unmanageable incompatibilities. +={McVoy, Larry+11;Moody, Glyn;forking:in Linux+1} + +The fork never happened, however, but only because Linus went on vacation, returning renewed and ready to continue and to be more responsive. But the crisis had been real, and it drove developers into considering new modes of coordination. Larry McVoy offered to create a new form of SCM, one that would allow a much more flexible response to the problem that the VGER tree represented. However, his proposed solution, called Bitkeeper, would create far more controversy than the one that precipitated it. + +McVoy was well-known in geek circles before Linux. In the late stages of the open-systems era, as an employee of Sun, he had penned an important document called "The Sourceware Operating System Proposal." It was an internal Sun Microsystems document that argued for the company to make its version of UNIX freely available. It was a last-ditch effort to save the dream of open systems. It was also the first such proposition within a company to "go open source," much like the documents that would urge Netscape to Open Source its software in 1998. Despite this early commitment, McVoy chose not to create Bitkeeper as a Free Software project, but to make it quasi-proprietary, a decision that raised a very central question in ideological terms: can one, or should one, create Free Software using non-free tools? +={Free Software:nonfree tools and+9;Sun Microsystems} + +On one side of this controversy, naturally, was Richard Stallman and those sharing his vision of Free Software. On the other were pragmatists like Torvalds claiming no goals and no commitment to "ideology"—only a commitment to "fun." The tension laid bare the way in which recursive publics negotiate and modulate the core components of Free Software from within. Torvalds made a very strong and vocal statement concerning this issue, responding to Stallman’s criticisms about the use of non-free software to create Free Software: "Quite frankly, I don’t _want_ people using Linux for ideological reasons. I think ideology sucks. This world would be a much better place if people had less ideology, and a whole lot more ‘I do this because it’s FUN and because others might find it useful, not because I got religion.’"~{ Linus Torvalds, "Re: [PATCH] Remove Bitkeeper Documentation from Linux Tree," 20 April 2002, http://www.uwsg.indiana.edu/hypermail/linux/kernel/0204.2/1018.html. Quoted in Shaikh and Cornford, "Version Management Tools." }~ +={coordination (component of Free Software):modulations of+8;Fun, and development of Linux;Stallman, Richard} + +Torvalds emphasizes pragmatism in terms of coordination: the right tool for the job is the right tool for the job. In terms of licenses, ,{[pg 234]}, however, such pragmatism does not play, and Torvalds has always been strongly committed to the GPL, refusing to let non-GPL software into the kernel. This strategic pragmatism is in fact a recognition of where experimental changes might be proposed, and where practices are settled. The GPL was a stable document, sharing source code widely was a stable practice, but coordinating a project using SCMs was, during this period, still in flux, and thus Bitkeeper was a tool well worth using so long as it remained suitable to Linux development. Torvalds was experimenting with the meaning of coordination: could a non-free tool be used to create Free Software? +={General Public License (GPL):passim} + +McVoy, on the other hand, was on thin ice. He was experimenting with the meaning of Free Software licenses. He created three separate licenses for Bitkeeper in an attempt to play both sides: a commercial license for paying customers, a license for people who sell Bitkeeper, and a license for "free users." The free-user license allowed Linux developers to use the software for free—though it required them to use the latest version—and prohibited them from working on a competing project at the same time. McVoy’s attempt to have his cake and eat it, too, created enormous tension in the developer community, a tension that built from 2002, when Torvalds began using Bitkeeper in earnest, to 2005, when he announced he would stop. + +The tension came from two sources: the first was debates among developers addressing the moral question of using non-free software to create Free Software. The moral question, as ever, was also a technical one, as the second source of tension, the license restrictions, would reveal. + +The developer Andrew Trigdell, well known for his work on a project called Samba and his reverse engineering of a Microsoft networking protocol, began a project to reverse engineer Bitkeeper by looking at the metadata it produced in the course of being used for the Linux project. By doing so, he crossed a line set up by McVoy’s experimental licensing arrangement: the "free as long as you don’t copy me" license. Lawyers advised Trigdell to stay silent on the topic while Torvalds publicly berated him for "willful destruction" and a moral lapse of character in trying to reverse engineer Bitkeeper. Bruce Perens defended Trigdell and censured Torvalds for his seemingly contradictory ethics.~{ Andrew Orlowski, "‘Cool it, Linus’—Bruce Perens," Register, 15 April 2005, http://www.theregister.co.uk/2005/04/15/perens_on_torvalds/page2.html. }~ McVoy never sued Trigdell, and Bitkeeper has limped along as a commercial project, because, ,{[pg 235]}, much like the EMACS controversy of 1985, the Bitkeeper controversy of 2005 ended with Torvalds simply deciding to create his own SCM, called git. +={Perens, Bruce;Trigdell, Andrew;reverse engineering;EMACS (text editor):controversy about} + +The story of the VGER tree and Bitkeeper illustrate common tensions within recursive publics, specifically, the depth of the meaning of free. On the one hand, there is Linux itself, an exemplary Free Software project made freely available; on the other hand, however, there is the ability to contribute to this process, a process that is potentially constrained by the use of Bitkeeper. So long as the function of Bitkeeper is completely circumscribed—that is, completely planned—there can be no problem. However, the moment one user sees a way to change or improve the process, and not just the kernel itself, then the restrictions and constraints of Bitkeeper can come into play. While it is not clear that Bitkeeper actually prevented anything, it is also clear that developers clearly recognized it as a potential drag on a generalized commitment to adaptability. Or to put it in terms of recursive publics, only one layer is properly open, that of the kernel itself; the layer beneath it, the process of its construction, is not free in the same sense. It is ironic that Torvalds—otherwise the spokesperson for antiplanning and adaptability—willingly adopted this form of constraint, but not at all surprising that it was collectively rejected. +={adaptability: as a form of critique+3;critique, Free Software as+3;recursive public:layers of+1} + +The Bitkeeper controversy can be understood as a kind of experiment, a modulation on the one hand of the kinds of acceptable licenses (by McVoy) and on the other of acceptable forms of coordination (Torvalds’s decision to use Bitkeeper). The experiment was a failure, but a productive one, as it identified one kind of non-free software that is not safe to use in Free Software development: the SCM that coordinates the people and the code they contribute. In terms of recursive publics the experiment identified the proper depth of recursion. Although it might be possible to create Free Software using some kinds of non-free tools, SCMs are not among them; both the software created and the software used to create it need to be free.~{ Similar debates have regularly appeared around the use of non-free compilers, non-free debuggers, non-free development environments, and so forth. There are, however, a large number of people who write and promote Free Software that runs on proprietary operating systems like Macintosh and Windows, as well as a distinction between tools and formats. So, ,{[pg 341]}, for instance, using Adobe Photoshop to create icons is fine so long as they are in standard open formats like PNG or JPG, and not proprietary forms such as GIF or photoshop. }~ + +The Bitkeeper controversy illustrates again that adaptability is not about radical invention, but about critique and response. Whereas controlled design and hierarchical planning represent the domain of governance—control through goal-setting and orientation of a collective or a project—adaptability privileges politics, properly speaking, the ability to critique existing design and to ,{[pg 236]}, propose alternatives without restriction. The tension between goal-setting and adaptability is also part of the dominant ideology of intellectual property. According to this ideology, IP laws promote invention of new products and ideas, but restrict the re-use or transformation of existing ones; defining where novelty begins is a core test of the law. McVoy made this tension explicit in his justifications for Bitkeeper: "Richard [Stallman] might want to consider the fact that developing new software is extremely expensive. He’s very proud of the collection of free software, but that’s a collection of re-implementations, but no profoundly new ideas or products. . . . What if the free software model simply can’t support the costs of developing new ideas?"~{ Quoted in Jeremy Andrews, "Interview: Larry McVoy," Kernel Trap, 28 May 2002, http://Kerneltrap.org/node/222. }~ +={novelty, of Free Software+1} + +Novelty, both in the case of Linux and in intellectual property law more generally, is directly related to the interplay of social and technical coordination: goal direction vs. adaptability. The ideal of adaptability promoted by Torvalds suggests a radical alternative to the dominant ideology of creation embedded in contemporary intellectual-property systems. If Linux is "new," it is new through adaptation and the coordination of large numbers of creative contributors who challenge the "design" of an operating system from the bottom up, not from the top down. By contrast, McVoy represents a moral imagination of design in which it is impossible to achieve novelty without extremely expensive investment in top-down, goal-directed, unpolitical design—and it is this activity that the intellectual-property system is designed to reward. Both are engaged, however, in an experiment; both are engaged in "figuring out" what the limits of Free Software are. +={figuring out;moral and technical order} + +2~ Coordination Is Design + +Many popular accounts of Free Software skip quickly over the details of its mechanism to suggest that it is somehow inevitable or obvious that Free Software should work—a self-organizing, emergent system that manages complexity through distributed contributions by hundreds of thousands of people. In The Success of Open Source Steven Weber points out that when people refer to Open Source as a self-organizing system, they usually mean something more like "I don’t understand how it works."~{ Steven Weber, The Success of Open Source, 132. }~ ,{[pg 237]}, +={Weber, Steven} + +Eric Raymond, for instance, suggests that Free Software is essentially the emergent, self-organizing result of "collaborative debugging": "Given enough eyeballs, all bugs are shallow."~{ Raymond, The Cathedral and the Bazaar. }~ The phrase implies that the core success of Free Software is the distributed, isolated, labor of debugging, and that design and planning happen elsewhere (when a developer "scratches an itch" or responds to a personal need). On the surface, such a distinction seems quite obvious: designing is designing, and debugging is removing bugs from software, and presto!—Free Software. At the extreme end, it is an understanding by which only individual geniuses are capable of planning and design, and if the initial conditions are properly set, then collective wisdom will fill in the details. +={Raymond, Eric Steven;adaptability:planning vs.+5;bugs+5;debugging:patching vs.+5} + +However, the actual practice and meaning of collective or collaborative debugging is incredibly elastic. Sometimes debugging means fixing an error; sometimes it means making the software do something different or new. (A common joke, often made at Microsoft’s expense, captures some of this elasticity: whenever something doesn’t seem to work right, one says, "That’s a feature, not a bug.") Some programmers see a design decision as a stupid mistake and take action to correct it, whereas others simply learn to use the software as designed. Debugging can mean something as simple as reading someone else’s code and helping them understand why it does not work; it can mean finding bugs in someone else’s software; it can mean reliably reproducing bugs; it can mean pinpointing the cause of the bug in the source code; it can mean changing the source to eliminate the bug; or it can, at the limit, mean changing or even re-creating the software to make it do something different or better.~{ Gabriella Coleman, in "The Social Construction of Freedom," provides an excellent example of a programmer’s frustration with font-lock in EMACS, something that falls in between a bug and a feature. The programmer’s frustration is directed at the stupidity of the design (and implied designers), but his solution is not a fix, but a work-around—and it illustrates how debugging does not always imply collaboration. }~ For academics, debugging can be a way to build a career: "Find bug. Write paper. Fix bug. Write paper. Repeat."~{ Dan Wallach, interview, 3 October 2003. }~ For commercial software vendors, by contrast, debugging is part of a battery of tests intended to streamline a product. +={Microsoft} + +Coordination in Free Software is about adaptability over planning. It is a way of resolving the tension between individual virtuosity in creation and the social benefit in shared labor. If all software were created, maintained, and distributed only by individuals, coordination would be superfluous, and software would indeed be part of the domain of poetry. But even the paradigmatic cases of virtuosic creation—EMACS by Richard Stallman, UNIX by Ken Thompson and Dennis Ritchie—clearly represent the need for creative forms ,{[pg 238]}, of coordination and the fundamental practice of reusing, reworking, rewriting, and imitation. UNIX was not created de novo, but was an attempt to streamline and rewrite Multics, itself a system that evolved out of Project MAC and the early mists of time-sharing and computer hacking.~{ Mitchell Waldrop’s The Dream Machine details the family history well. }~ EMACS was a reworking of the TECO editor. Both examples are useful for understanding the evolution of modes of coordination and the spectrum of design and debugging. +={Ritchie, Dennis+2;Adaptability:planning vs.+5;coordination (component of Free Software):individual virtuosity vs. hierarchical planning+1;Berkeley Systems Distribution (BSD) (version of UNIX)+1;modifiability+3;planning+2;UNIX operating system:development of+1} + +UNIX was initially ported and shared through mixed academic and commercial means, through the active participation of computer scientists who both received updates and contributed fixes back to Thompson and Ritchie. No formal system existed to manage this process. When Thompson speaks of his understanding of UNIX as a "spectrum" and not as a series of releases (V1, V2, etc.), the implication is that work on UNIX was continuous, both within Bell Labs and among its widespread users. Thompson’s use of the diff tape encapsulates the core problem of coordination: how to collect and redistribute the changes made to the system by its users. +={AT&T:Bell Laboratories+1;diff (software tool)} + +Similarly, Bill Joy’s distribution of BSD and James Gosling’s distribution of GOSMACS were both ad hoc, noncorporate experiments in "releasing early and often." These distribution schemes had a purpose (beyond satisfying demand for the software). The frequent distribution of patches, fixes, and extensions eased the pain of debugging software and satisfied users’ demands for new features and extensions (by allowing them to do both themselves). Had Thompson and Ritchie followed the conventional corporate model of software production, they would have been held responsible for thoroughly debugging and testing the software they distributed, and AT&T or Bell Labs would have been responsible for coming up with all innovations and extensions as well, based on marketing and product research. Such an approach would have sacrificed adaptability in favor of planning. But Thompson’s and Ritchie’s model was different: both the extension and the debugging of software became shared responsibilities of the users and the developers. Stallman’s creation of EMACS followed a similar pattern; since EMACS was by design extensible and intended to satisfy myriad unforeseen needs, the responsibility rested on the users to address those needs, and sharing their extensions and fixes had obvious social benefit. +={Gosling, James;Joy, Bill;GOSMACS (version of EMACS)} + +The ability to see development of software as a spectrum implies more than just continuous work on a product; it means seeing the ,{[pg 239]}, product itself as something fluid, built out of previous ideas and products and transforming, differentiating into new ones. Debugging, from this perspective, is not separate from design. Both are part of a spectrum of changes and improvements whose goals and direction are governed by the users and developers themselves, and the patterns of coordination they adopt. It is in the space between debugging and design that Free Software finds its niche. +={software development:as spectrum} + +2~ Conclusion: Experiments and Modulations +={experimentation+2} + +% experimentation index link added + +Coordination is a key component of Free Software, and is frequently identified as the central component. Free Software is the result of a complicated story of experimentation and construction, and the forms that coordination takes in Free Software are specific outcomes of this longer story. Apache and Linux are both experiments—not scientific experiments per se but collective social experiments in which there are complex technologies and legal tools, systems of coordination and governance, and moral and technical orders already present. + +Free Software is an experimental system, a practice that changes with the results of new experiments. The privileging of adaptability makes it a peculiar kind of experiment, however, one not directed by goals, plans, or hierarchical control, but more like what John Dewey suggested throughout his work: the experimental praxis of science extended to the social organization of governance in the service of improving the conditions of freedom. What gives this experimentation significance is the centrality of Free Software—and specifically of Linux and Apache—to the experimental expansion of the Internet. As an infrastructure or a milieu, the Internet is changing the conditions of social organization, changing the relationship of knowledge to power, and changing the orientation of collective life toward governance. Free Software is, arguably, the best example of an attempt to make this transformation public, to ensure that it uses the advantages of adaptability as critique to counter the power of planning as control. Free Software, as a recursive public, proceeds by proposing and providing alternatives. It is a bit like Kant’s version of enlightenment: insofar as geeks speak (or hack) as scholars, in a public realm, they have a right to propose criticisms and changes of any sort; as soon as they relinquish ,{[pg 240]}, that commitment, they become private employees or servants of the sovereign, bound by conscience and power to carry out the duties of their given office. The constitution of a public realm is not a universal activity, however, but a historically specific one: Free Software confronts the specific contemporary technical and legal infrastructure by which it is possible to propose criticisms and offer alternatives. What results is a recursive public filled not only with individuals who govern their own actions but also with code and concepts and licenses and forms of coordination that turn these actions into viable, concrete technical forms of life useful to inhabitants of the present. +={Dewey, John;Kant, Immanuel;critique, Free Software as;geeks:as moderns;reorientation of power and knowledge;recursive public} + +:B~ Part III modulations + +1~part_iii [Part III] -# + +_1 The question cannot be answered by argument. Experimental method means experiment, and the question can be answered only by trying, by organized effort. The reasons for making the trial are not abstract or recondite. They are found in the confusion, uncertainty and conflict that mark the modern world. . . . The task is to go on, and not backward, until the method of intelligence and experimental control is the rule in social relations and social direction. - john dewey, Liberalism and Social Action +={Dewey, John;experimentation} + +1~ 8. "If We Succeed, We Will Disappear" + +% ,{[pg 243]}, + +In early 2002, after years of reading and learning about Open Source and Free Software, I finally had a chance to have dinner with famed libertarian, gun-toting, Open Source-founding impresario Eric Raymond, author of The Cathedral and the Bazaar and other amateur anthropological musings on the subject of Free Software. He had come to Houston, to Rice University, to give a talk at the behest of the Computer and Information Technology Institute (CITI). Visions of a mortal confrontation between two anthropologists-manqué filled my head. I imagined explaining point by point why his references to self-organization and evolutionary psychology were misguided, and how the long tradition of economic anthropology contradicted basically everything he had to say about gift-exchange. Alas, two things conspired against this epic, if bathetic, showdown. +={Raymond, Eric Steven+4;Cathedral and the Bazaar;Free Software:anthropology and+1;Rice University+3} + +% cath baz, left out quotation marks for current index sort + +First, there was the fact that (as so often happens in meetings among geeks) there was only one woman present at dinner; she was ,{[pg 244]}, young, perhaps unmarried, but not a student—an interested female hacker. Raymond seated himself beside this woman, turned toward her, and with a few one-minute-long exceptions proceeded to lavish her with all of his available attention. The second reason was that I was seated next to Richard Baraniuk and Brent Hendricks. All at once, Raymond looked like the past of Free Software, arguing the same arguments, using the same rhetoric of his online publications, while Baraniuk and Hendricks looked like its future, posing questions about the transformation—the modulation—of Free Software into something surprising and new. +={Baraniuk, Richard+36;gender;Hendricks, Brent+36;modulation:of Free Software;participant observation} + +Baraniuk, a professor of electrical engineering and a specialist in digital signal processing, and Hendricks, an accomplished programmer, had started a project called Connexions, an "open content repository of educational materials." Far more interesting to me than Raymond’s amateur philosophizing was this extant project to extend the ideas of Free Software to the creation of educational materials—textbooks, in particular. +={Connexions project+7;Digital signal processing (DSP);textbooks} + +Rich and Brent were, by the looks of it, equally excited to be seated next to me, perhaps because I was answering their questions, whereas Raymond was not, or perhaps because I was a new hire at Rice University, which meant we could talk seriously about collaboration. Rich and Brent (and Jan Odegard, who, as director of CITI, had organized the dinner) were keen to know what I could add to help them understand the "social" aspects of what they wanted to do with Connexions, and I, in return, was equally eager to learn how they conceptualized their Free Software-like project: what had they kept the same and what had they changed in their own experiment? Whatever they meant by "social" (and sometimes it meant ethical, sometimes legal, sometimes cultural, and so on), they were clear that there were domains of expertise in which they felt comfortable (programming, project management, teaching, and a particular kind of research in computer science and electrical engineering) and domains in which they did not (the "norms" of academic life outside their disciplines, intellectual-property law, "culture"). Although I tried to explain the nature of my own expertise in social theory, philosophy, history, and ethnographic research, the academic distinctions were far less important than the fact that I could ask detailed and pointed questions about the project, questions that indicated to them that I must have some kind of stake in the domains that they needed filled—in particular, ,{[pg 245]}, around the question of whether Connexions was the same thing as Free Software, and what the implications of that might be. +={culture} + +Raymond courted and chattered on, then left, the event of his talk and dinner of fading significance, but over the following weeks, as I caught up with Brent and Rich, I became (surprisingly quickly) part of their novel experiment. + +2~ After Free Software + +My nonmeeting with Raymond is an allegory of sorts: an allegory of what comes after Free Software. The excitement around that table was not so much about Free Software or Open Source, but about a certain possibility, a kind of genotypic urge of which Free Software seemed a fossil phenotype and Connexions a live one. Rich and Brent were people in the midst of figuring something out. They were engaged in modulating the practices of Free Software. By modulation I mean exploring in detail the concrete practices—the how—of Free Software in order to ask what can be changed, and what cannot, in order to maintain something (openness?) that no one can quite put his finger on. What drew me immediately to Connexions was that it was related to Free Software, not metaphorically or ideologically, but concretely, practically, and experimentally, a relationship that was more about emergence out of than it was about the reproduction of forms. But the opposition between emergence and reproduction immediately poses a question, not unlike that of the identity of species in evolution: if Free Software is no longer software, what exactly is it? +={experimentation+1:see also modulations;modulation:practices of+4;practices:five components of Free Software} + +In part III I confront this question directly. Indeed, it was this question that necessitated part II, the analytic decomposition of the practices and histories of Free Software. In order to answer the question "Is Connexions Free Software?" (or vice versa) it was necessary to rethink Free Software as itself a collective, technical experiment, rather than as an expression of any ideology or culture. To answer yes, or no, however, merely begs the question "What is Free Software?" What is the cultural significance of these practices? The concept of a recursive public is meant to reveal in part the significance of both Free Software and emergent projects like Connexions; it is meant to help chart when these emergent projects branch off absolutely (cease to be public) and when they do not, by ,{[pg 246]}, focusing on how they modulate the five components that give Free Software its contemporary identity. +={cultural significance;recursive public+3;Free Software:components of+1} + +Connexions modulates all of the components except that of the movement (there is, as of yet, no real "Free Textbook" movement, but the "Open Access" movement is a close second cousin).~{ In January 2005, when I first wrote this analysis, this was true. By April 2006, the Hewlett Foundation had convened the Open Educational Resources "movement" as something that would transform the production and circulation of textbooks like those created by Connexions. Indeed, in Rich Baraniuk’s report for Hewlett, the first paragraph reads: "A grassroots movement is on the verge of sweeping through the academic world. The open education movement is based on a set of intuitions that are shared by a remarkably wide range of academics: that knowledge should be free and open to use and re-use; that collaboration should be easier, not harder; that people should receive credit and kudos for contributing to education and research; and that concepts and ideas are linked in unusual and surprising ways and not the simple linear forms that textbooks present. Open education promises to fundamentally change the way authors, instructors, and students interact worldwide" (Baraniuk and King, "Connexions"). (In a nice confirmation of just how embedded participation can become in anthropology, Baraniuk cribbed the second sentence from something I had written two years earlier as part of a description of what I thought Connexions hoped to achieve.) The "movement" as such still does not quite exist, but the momentum for it is clearly part of the actions that Hewlett hopes to achieve. }~ Perhaps the most complex modulation concerns coordination—changes to the practice of coordination and collaboration in academic-textbook creation in particular, and more generally to the nature of collaboration and coordination of knowledge in science and scholarship generally. +={coordination (components of Free Software);movement (component of Free Software)+2} + +Connexions emerged out of Free Software, and not, as one might expect, out of education, textbook writing, distance education, or any of those areas that are topically connected to pedagogy. That is to say, the people involved did not come to their project by attempting to deal with a problem salient to education and teaching as much as they did so through the problems raised by Free Software and the question of how those problems apply to university textbooks. Similarly, a second project, Creative Commons, also emerged out of a direct engagement with and exploration of Free Software, and not out of any legal movement or scholarly commitment to the critique of intellectual-property law or, more important, out of any desire to transform the entertainment industry. Both projects are resolutely committed to experimenting with the given practices of Free Software—to testing their limits and changing them where they can—and this is what makes them vibrant, risky, and potentially illuminating as cases of a recursive public. +={affinity (of geeks);commons+1;Creative Commons+1;pedagogy;recursive public:examples of+1} + +While both initiatives are concerned with conventional subject areas (educational materials and cultural productions), they enter the fray orthogonally, armed with anxiety about the social and moral order in which they live, and an urge to transform it by modulating Free Software. This binds such projects across substantive domains, in that they are forced to be oppositional, not because they want to be (the movement comes last), but because they enter the domains of education and the culture industry as outsiders. They are in many ways intuitively troubled by the existing state of affairs, and their organizations, tools, legal licenses, and movements are seen as alternative imaginations of social order, especially concerning creative freedom and the continued existence of a commons of scholarly knowledge. To the extent that these projects ,{[pg 247]}, remain in an orthogonal relationship, they are making a recursive public appear—something the textbook industry and the entertainment industry are, by contrast, not at all interested in doing, for obvious financial and political reasons. +={moral and technical order} + +2~ Stories of Connexion +={Connexions project:history and genesis of+26} + +I’m at dinner again. This time, a windowless hotel conference room in the basement maybe, or perhaps high up in the air. Lawyers, academics, activists, policy experts, and foundation people are semi-excitedly working their way through the hotel’s steam-table fare. I’m trying to tell a story to the assembled group—a story that I have heard Rich Baraniuk tell a hundred times—but I’m screwing it up. Rich always gets enthusiastic stares of wonder, light-bulbs going off everywhere, a subvocalized "Aha!" or a vigorous nod. I, on the other hand, am clearly making it too complicated. Faces and foreheads are squirmed up into lines of failed comprehension, people stare at the gravy-sodden food they’re soldiering through, weighing the option of taking another bite against listening to me complicate an already complicated world. I wouldn’t be doing this, except that Rich is on a plane, or in a taxi, delayed by snow or engineers or perhaps at an eponymous hotel in another city. Meanwhile, our co-organizer Laurie Racine, has somehow convinced herself that I have the childlike enthusiasm necessary to channel Rich. I’m flattered, but unconvinced. After about twenty minutes, so is she, and as I try to answer a question, she stops me and interjects, "Rich really needs to be here. He should really be telling this story." + +Miraculously, he shows up and, before he can even say hello, is conscripted into telling his story properly. I sigh in relief and pray that I’ve not done any irreparable damage and that I can go back to my role as straight man. I can let the superaltern speak for himself. The downside of participant observation is being asked to participate in what one had hoped first of all to observe. I do know the story—I have heard it a hundred times. But somehow what I hear, ears tuned to academic questions and marveling at some of the stranger claims he makes, somehow this is not the ear for enlightenment that his practiced and boyish charm delivers to those hearing it for the first time; it is instead an ear tuned to questions ,{[pg 248]}, of why: why this project? Why now? And even, somewhat convolutedly, why are people so fascinated when he tells the story? How could I tell it like Rich? + +Rich is an engineer, in particular, a specialist in Digital Signal Processing (DSP). DSP is the science of signals. It is in everything, says Rich: your cell phones, your cars, your CD players, all those devices. It is a mathematical discipline, but it is also an intensely practical one, and it’s connected to all kinds of neighboring fields of knowledge. It is the kind of discipline that can connect calculus, bioinformatics, physics, and music. The statistical and analytical techniques come from all sorts of research and end up in all kinds of interesting devices. So Rich often finds himself trying to teach students to make these kinds of connections—to understand that a Fourier transform is not just another chapter in calculus but a tool for manipulating signals, whether in bioinformatics or in music. +={Digital signal processing (DSP)} + +Around 1998 or 1999, Rich decided that it was time for him to write a textbook on DSP, and he went to the dean of engineering, Sidney Burris, to tell him about the idea. Burris, who is also a DSP man and longtime member of the Rice University community, said something like, "Rich, why don’t you do something useful?" By which he meant: there are a hundred DSP textbooks out there, so why do you want to write the hundred and first? Burris encouraged Rich to do something bigger, something ambitious enough to put Rice on the map. I mention this because it is important to note that even a university like Rice, with a faculty and graduate students on par with the major engineering universities of the country, perceives that it gets no respect. Burris was, and remains, an inveterate supporter of Connexions, precisely because it might put Rice "in the history books" for having invented something truly novel. +={Burris, C. Sidney;Connexions project:textbooks and+4;Rice University} + +At about the same time as his idea for a textbook, Rich’s research group was switching over to Linux, and Rich was first learning about Open Source and the emergence of a fully free operating system created entirely by volunteers. It isn’t clear what Rich’s aha! moment was, other than simply when he came to an understanding that such a thing as Linux was actually possible. Nonetheless, at some point, Rich had the idea that his textbook could be an Open Source textbook, that is, a textbook created not just by him, but by DSP researchers all over the world, and made available to everyone to make use of and modify and improve as they saw fit, just like Linux. Together with Brent Hendricks, Yan David Erlich, ,{[pg 249]}, and Ross Reedstrom, all of whom, as geeks, had a deep familiarity with the history and practices of Free and Open Source Software, Rich started to conceptualize a system; they started to think about modulations of different components of Free and Open Source Software. The idea of a Free Software textbook repository slowly took shape. +={Linux (Free Software project);Open Source:inspiration for Connexions+27;Reedstorm, Ross} + +Thus, Connexions: an "open content repository of high-quality educational materials." These "textbooks" very quickly evolved into something else: "modules" of content, something that has never been sharply defined, but which corresponds more or less to a small chunk of teachable information, like two or three pages in a textbook. Such modules are much easier to conceive of in sciences like mathematics or biology, in which textbooks are often multiauthored collections, finely divided into short chapters with diagrams, exercises, theorems, or programs. Modules lend themselves much less well to a model of humanities or social-science scholarship based in reading texts, discussion, critique, and comparison—and this bias is a clear reflection of what Brent, Ross, and Rich knew best in terms of teaching and writing. Indeed, the project’s frequent recourse to the image of an assembly-line model of knowledge production often confirms the worst fears of humanists and educators when they first encounter Connexions. The image suggests that knowledge comes in prepackaged and colorfully branded tidbits for the delectation of undergrads, rather than characterizing knowledge as a state of being or as a process. +={Connexions project:model of learning in|modules in+1} + +The factory image (figure 7) is a bit misleading. Rich’s and Brent’s imaginations are in fact much broader, which shows whenever they demo the project, or give a talk, or chat at a party about it. Part of my failure to communicate excitement when I tell the story of Connexions is that I skip the examples, which is where Rich starts: what if, he says, you are a student taking Calculus 101 and, at the same time, Intro to Signals and Systems—no one is going to explain to you how Fourier transforms form a bridge, or connection, between them. "Our brains aren’t organized in linear, chapter-by-chapter ways," Rich always says, "so why are our textbooks?" How can we give students a way to see the connection between statistics and genetics, between architecture and biology, between intellectual-property law and chemical engineering? Rich is always looking for new examples: a music class for kids that uses information from physics, or vice versa, for instance. Rich’s great hope is that the ,{[pg 250]}, ,{[pg 251]}, more modules there are in the Connexions commons, the more fantastic and fascinating might be the possibilities for such novel—and natural—connections. +={Connexions project:as "factory of knowledge"+3} + +% image placed after end of paragraph + +{ 2bits_08_07-100.png }image ~[* The Connexions textbook as a factory. Illustration by Jenn Drummond, Ross Reedstrom, Max Starkenberg, and others, 1999-2004. Used with permission. ]~ + +Free Software—and, in particular, Open Source in the guise of "self-organizing" distributed systems of coordination—provide a particular promise of meeting the challenges of teaching and learning that Rich thinks we face. Rich’s commitment is not to a certain kind of pedagogical practice, but to the "social" or "community" benefits of thousands of people working "together" on a textbook. Indeed, Connexions did not emerge out of education or educational technology; it was not aligned with any particular theory of learning (though Rich eventually developed a rhetoric of linked, networked, connected knowledge—hence the name Connexions—that he uses often to sell the project). There is no school of education at Rice, nor a particular constituency for such a project (teacher-training programs, say, or administrative requirements for online education). What makes Rich’s sell even harder is that the project emerged at about the same time as the high-profile failure of dotcom bubble-fueled schemes to expand university education into online education, distance education, and other systems of expanding the paying student body without actually inviting them onto campus. The largest of these failed experiments by far was the project at Columbia, which had reached the stage of implementation at the time the bubble burst in 2000.~{ See Chris Beam, "Fathom.com Shuts Down as Columbia Withdraws," Columbia Spectator, 27 January 2003, http://www.columbiaspectator.com/. Also see David Noble’s widely read critique, "Digital Diploma Mills." }~ +={Connexions project:relationship to education+2;distance learning+2} + +Thus, Rich styled Connexions as more than just a factory of knowledge—it would be a community or culture developing richly associative and novel kinds of textbooks—and as much more than just distance education. Indeed, Connexions was not the only such project busy differentiating itself from the perceived dangers of distance education. In April 2001 MIT had announced that it would make the content of all of its courses available for free online in a project strategically called OpenCourseWare (OCW). Such news could only bring attention to MIT, which explicitly positioned the announcement as a kind of final death blow to the idea of distance education, by saying that what students pay $35,000 and up for per year is not "knowledge"—which is free—but the experience of being at MIT. The announcement created pure profit from the perspective of MIT’s reputation as a generator and disseminator of scientific knowledge, but the project did not emerge directly out of an interest in mimicking the success of Open Source. That angle was ,{[pg 252]}, provided ultimately by the computer-science professor Hal Abelson, whose deep understanding of the history and growth of Free Software came from his direct involvement in it as a long-standing member of the computer-science community at MIT. OCW emerged most proximately from the strange result of a committee report, commissioned by the provost, on how MIT should position itself in the "distance/e-learning" field. The surprising response: don’t do it, give the content away and add value to the campus teaching and research experience instead.~{ "Provost Announces Formation of Council on Educational Technology," MIT Tech Talk, 29 September 1999, http://web.mit.edu/newsoffice/1999/council-0929.html. }~ +={Abelson, Hal;Massachusetts Institute of Technology (MIT):open courseware and+2;Open CourseWare (OCW)+2;Connexions poject:Open CourseWare+2} + +OCW, Connexions, and distance learning, therefore, while all ostensibly interested in combining education with the networks and software, emerged out of different demands and different places. While the profit-driven demand of distance learning fueled many attempts around the country, it stalled in the case of OCW, largely because the final MIT Council on Educational Technology report that recommended OCW was issued at the same time as the first plunge in the stock market (April 2000). Such issues were not a core factor in the development of Connexions, which is not to say that the problems of funding and sustainability have not always been important concerns, only that genesis of the project was not at the administrative level or due to concerns about distance education. For Rich, Brent, and Ross the core commitment was to openness and to the success of Open Source as an experiment with massive, distributed, Internet-based, collaborative production of software—their commitment to this has been, from the beginning, completely and adamantly unwavering. Neverthless, the project has involved modulations of the core features of Free Software. Such modulations depend, to a certain extent, on being a project that emerges out of the ideas and practices of Free Software, rather than, as in the case of OCW, one founded as a result of conflicting goals (profit and academic freedom) and resulting in a strategic use of public relations to increase the symbolic power of the university over its fiscal growth. +={Reedstrom, Ross} + +% what of ich and brent? ross in index at this location + +When Rich recounts the story of Connexions, though, he doesn’t mention any of this background. Instead, like a good storyteller, he waits for the questions to pose themselves and lets his demonstration answer them. Usually someone asks, "How is Connexions different from OCW?" And, every time, Rich says something similar: Connexions is about "communities," about changing the way scholars collaborate and create knowledge, whereas OCW is simply ,{[pg 253]}, an attempt to transfer existing courses to a Web format in order to make the content of those courses widely available. Connexions is a radical experiment in the collaborative creation of educational materials, one that builds on the insights of Open Source and that actually encompasses the OCW project. In retrospective terms, it is clear that OCW was interested only in modulating the meaning of source code and the legal license, whereas Connexions seeks also to modulate the practice of coordination, with respect to academic textbooks. +={communities;coordination (component of Free Software):modulations of;modulation:practices of+3;practices:five components of Free Software+3;sharing source code (component of Free Software):modulations of+3} + +Rich’s story of the origin of Connexions usually segues into a demonstration of the system, in which he outlines the various technical, legal, and educational concepts that distinguish it. Connexions uses a standardized document format, the eXtensible Mark-up Language (XML), and a Creative Commons copyright license on every module; the Creative Commons license allows people not only to copy and distribute the information but to modify it and even to use it for commercial gain (an issue that causes repeated discussion among the team members). The material ranges from detailed explanations of DSP concepts (naturally) to K-12 music education (the most popular set of modules). Some contributors have added entire courses; others have created a few modules here and there. Contributors can set up workgroups to manage the creation of modules, and they can invite other users to join. Connexions uses a version-control system so that all of the changes are recorded; thus, if a module used in one class is changed, the person using it for another class can continue to use the older version if they wish. The number of detailed and clever solutions embodied in the system never ceases to thoroughly impress anyone who takes the time to look at it. +={Connexions project:model of learning+2;copyleft licenses (component of Free Software):modulations of+2} + +But what always animates people is the idea of random and flexible connection, the idea that a textbook author might be able to build on the work of hundreds of others who have already contributed, to create new classes, new modules, and creative connections between them, or surprising juxtapositions—from the biologist teaching a class on bioinformatics who needs to remind students of certain parts of calculus without requiring a whole course; to the architect who wants a studio to study biological form, not necessarily in order to do experiments in biology, but to understand buildings differently; to the music teacher who wants students to understand just enough physics to get the concepts of pitch and ,{[pg 254]}, timbre; to or the physicist who needs a concrete example for the explanation of waves and oscillation. + +The idea of such radical recombinations is shocking for some (more often for humanities and social-science scholars, rather than scientists or engineers, for reasons that clearly have to do with an ideology of authentic and individualized creative ability). The questions that result—regarding copyright, plagiarism, control, unauthorized use, misuse, misconstrual, misreading, defamation, and so on—generally emerge with surprising force and speed. If Rich were trying to sell a version of "distance learning," skepticism and suspicion would quickly overwhelm the project; but as it is, Connexions inverts almost all of the expectations people have developed about textbooks, classroom practice, collaboration, and copyright. More often than not people leave the discussion converted—no doubt helped along by Rich’s storytelling gift. + +2~ Modulations: From Free Software to Connexions +={modulation:practices of+10;sharing source code (component of Free Software):modulations of+10} + +Connexions surprises people for some of the same reasons as Free Software surprises people, emerging, as it does, directly out of the same practices and the same components. Free Software provides a template made up of the five components: shared source code, a concept of openness, copyleft licenses, forms of coordination, and a movement or ideology. Connexions starts with the idea of modulating a shared "source code," one that is not software, but educational textbook modules that academics will share, port, and fork. The experiment that results has implications for the other four components as well. The implications lead to new questions, new constraints, and new ideas. +={copyleft licenses (component of Free Software):modulations of;communities;coordination (component of Free Software):modulations of;practices:five components of Free Software;Connexions project:as Free Software project+3} + +% added index + +The modulation of source code introduces a specific and potentially confusing difference from Free Software projects: Connexions is both a conventional Free Software project and an unconventional experiment based on Free Software. There is, of course, plenty of normal source code, that is, a number of software components that need to be combined in order to allow the creation of digital documents (the modules) and to display, store, transmit, archive, and measure the creation of modules. The creation and management of this software is expected to function more or less like all Free Software projects: it is licensed using Free Software licenses, it is ,{[pg 255]}, built on open standards of various kinds, and it is set up to take contributions from other users and developers. The software system for managing modules is itself built on a variety of other Free Software components (and a commitment to using only Free Software). Connexions has created various components, which are either released like conventional Free Software or contributed to another Free Software project. The economy of contribution and release is a complex one; issues of support and maintenance, as well as of reputation and recognition, figure into each decision. Others are invited to contribute, just as they are invited to contribute to any Free Software project.~{ The software consists of a collection of different Open Source Software cobbled together to provide the basic platform (the Zope and Plone content-management frameworks, the PostGresQL database, the python programming language, and the cvs version-control software). }~ +={openness (component of Free Software)+2:modulations of+4} + +At the same time, there is "content," the ubiquitous term for digital creations that are not software. The creation of content modules, on the other hand (which the software system makes technically possible), is intended to function like a Free Software project, in which, for instance, a group of engineering professors might get together to collaborate on pieces of a textbook on DSP. The Connexions project does not encompass or initiate such collaborations, but, rather, proceeds from the assumption that such activity is already happening and that Connexions can provide a kind of alternative platform—an alternative infrastructure even—which textbook-writing academics can make use of instead of the current infrastructure of publishing. The current infrastructure and technical model of textbook writing, this implies, is one that both prevents people from taking advantage of the Open Source model of collaborative development and makes academic work "non-free." The shared objects of content are not source code that can be compiled, like source code in C, but documents marked up with XML and filled with "educational" content, then "displayed" either on paper or onscreen. +={content+5;infrastructure:of publishing+3;textbooks:model in Connexions+3} + +The modulated meaning of source code creates all kinds of new questions—specifically with respect to the other four components. In terms of openness, for instance, Connexions modulates this component very little; most of the actors involved are devoted to the ideals of open systems and open standards, insofar as it is a Free Software project of a conventional type. It builds on UNIX (Linux) and the Internet, and the project leaders maintain a nearly fanatical devotion to openness at every level: applications, programming languages, standards, protocols, mark-up languages, interface tools. Every place where there is an open (as opposed to a ,{[pg 256]}, proprietary) solution—that choice trumps all others (with one noteworthy exception).~{ The most significant exception has been the issue of tools for authoring content in XML. For most of the life of the Connexions project, the XML mark-up language has been well-defined and clear, but there has been no way to write a module in XML, short of directly writing the text and the tags in a text editor. For all but a very small number of possible users, this feels too much like programming, and they experience it as too frustrating to be worth it. The solution (albeit temporary) was to encourage users to make use of a proprietary XML editor (like a word processor, but capable of creating XML content). Indeed, the Connexions project’s devotion to openness was tested by one of the most important decisions its participants made: to pursue the creation of an Open Source XML text editor in order to provide access to completely open tools for creating completely open content. }~ James Boyle recently stated it well: "Wherever possible, design the system to run with open content, on open protocols, to be potentially available to the largest possible number of users, and to accept the widest possible range of experimental modifications from users who can themselves determine the development of the technology."~{ Boyle, "Mertonianism Unbound," 14. }~ +={Boyle, James;enlightenment;Copyleft licenses (component of Free Software):modulations of+6;modifiability+4;openness (component of Free Software):proprietary vs.+4|sustainability vs.+4} + +With respect to content, the devotion to openness is nearly identical, because conventional textbook publishers "lock in" customers (students) through the creation of new editions and useless "enhanced" content, which jacks up prices and makes it difficult for educators to customize their own courses. "Openness" in this sense trades on the same reasoning as it did in the 1980s: the most important aspect of the project is the information people create, and any proprietary system locks up content and prevents people from taking it elsewhere or using it in a different context. + +Indeed, so firm is the commitment to openness that Rich and Brent often say something like, "If we are successful, we will disappear." They do not want to become a famous online textbook publisher; they want to become a famous publishing infrastructure. Being radically open means that any other competitor can use your system—but it means they are using your system, and this is the goal. Being open means not only sharing the "source code" (content and modules), but devising ways to ensure the perpetual openness of that content, that is, to create a recursive public devoted to the maintenance and modifiability of the medium or infrastructure by which it communicates. Openness trumps "sustainability" (i.e., the self-perpetuation of the financial feasibility of a particular organization), and where it fails to, the commitment to openness has been compromised. + +The commitment to openness and the modulation of the meaning of source code thus create implications for the meaning of Free Software licenses: do such licenses cover this kind of content? Are new licenses necessary? What should they look like? Connexions was by no means the first project to stimulate questions about the applicability of Free Software licenses to texts and documents. In the case of EMACS and the GPL, for example, Richard Stallman had faced the problem of licensing the manual at the same time as the source code for the editor. Indeed, such issues would ultimately result in a GNU Free Documentation License intended narrowly to ,{[pg 257]}, cover software manuals. Stallman, due to his concern, had clashed during the 1990s with Tim O’Reilly, publisher and head of O’Reilly Press, which had long produced books and manuals for Free Software programs. O’Reilly argued that the principles reflected in Free Software licenses should not be applied to instructional books, because such books provided a service, a way for more people to learn how to use Free Software, and in turn created a larger audience. Stallman argued the opposite: manuals, just like the software they served, needed to be freely modifiable to remain useful. +={Stallman, Richard;EMACS (text editor);Free Documentation License (FDL)+1;General Public License (GPL):passim;Free Documentation License (FDL)+1;Software manuals} + +By the late 1990s, after Free Software and Open Source had been splashed across the headlines of the mainstream media, a number of attempts to create licenses modeled on Free Software, but applicable to other things, were under way. One of the earliest and most general was the Open Content License, written by the educational-technology researcher David Wiley. Wiley’s license was intended for use on any kind of content. Content could include text, digital photos, movies, music, and so on. Such a license raises new issues. For example, can one designate some parts of a text as "invariant" in order to prevent them from being changed, while allowing other parts of the text to be changed (the model eventually adopted by the GNU Free Documentation License)? What might the relationship between the "original" and the modified version be? Can one expect the original author to simply incorporate suggested changes? What kinds of forking are possible? Where do the "moral rights" of an author come into play (regarding the "integrity" of a work)? +={Wiley, Davis;authorship:moral rights of;Open content licenses} + +At the same time, the modulation of source code to include academic textbooks has extremely complex implications for the meaning and context of coordination: scholars do not write textbooks like programmers write code, so should they coordinate in the same ways? Coordination of a textbook or a course in Connexions requires novel experiments in textbook writing. Does it lend itself to academic styles of work, and in which disciplines, for what kinds of projects? In order to cash in on the promise of distributed, collaborative creation, it would be necessary to find ways to coordinate scholars. +={coordination (component of Free Software):modulations of} + +So, when Rich and Brent recognized in me, at dinner, someone who might know how to think about these issues, they were acknowledging that the experiment they had started had created a certain turbulence in their understanding of Free Software and, ,{[pg 258]}, in turn, a need to examine the kinds of legal, cultural, and social practices that would be at stake.~{ The movement is the component that remains unmodulated: there is no "free textbook" movement associated with Connexions, even though many of the same arguments that lead to a split between Free Software and Open Source occur here: the question of whether the term free is confusing, for example, or the role of for-profit publishers or textbook companies. In the end, most (though not all) of the Connexions staff and many of its users are content to treat it as a useful tool for composing novel kinds of digital educational material—not as a movement for the liberation of educational content. }~ + +2~ Modulations: From Connexions to Creative Commons + +I’m standing in a parking lot in 100 degree heat and 90 percent humidity. It is spring in Houston. I am looking for my car, and I cannot find it. James Boyle, author of Shamans, Software, and Spleens and distinguished professor of law at Duke University, is standing near me, staring at me, wearing a wool suit, sweating and watching me search for my car under the blazing sun. His look says simply, "If I don’t disembowel you with my Palm Pilot stylus, I am going to relish telling this humiliating story to your friends at every opportunity I can." Boyle is a patient man, with the kind of arch Scottish humor that can make you feel like his best friend, even as his stories of the folly of man unfold with perfect comic pitch and turn out to be about you. Having laughed my way through many an uproarious tale of the foibles of my fellow creatures, I am aware that I have just taken a seat among them in Boyle’s theater of human weakness. I repeatedly press the panic button on my key chain, in the hopes that I am near enough to my car that it will erupt in a frenzy of honking and flashing that will end the humiliation. +={Boyle, James+3;Connexions project:connection to Creative Commons+2;Creative Commons+26:connection to Connexions+2} + +The day had started well. Boyle had folded himself into my Volkswagen (he is tall), and we had driven to campus, parked the car in what no doubt felt like a memorable space at 9 A.M., and happily gone to the scheduled meeting—only to find that it had been mistakenly scheduled for the following day. Not my fault, though now, certainly, my problem. The ostensible purpose of Boyle’s visit was to meet the Connexions team and learn about what they were doing. Boyle had proposed the visit himself, as he was planning to pass through Houston anyway. I had intended to pester him with questions about the politics and possibilities of licensing the content in Connexions and with comparisons to MIT’s OCW and other such commons projects that Boyle knew of. + +Instead of attending the meeting, I took him back to my office, where I learned more about why he was interested in Connexions. Boyle’s interest was not entirely altruistic (nor was it designed to spend valuable quarter hours standing in a scorched parking lot as I looked for my subcompact car). What interested Boyle was finding ,{[pg 259]}, a constituency of potential users for Creative Commons, the nonprofit organization he was establishing with Larry Lessig, Hal Abelson, Michael Carroll, Eric Eldred, and others—largely because he recognized the need for a ready constituency in order to make Creative Commons work. The constituency was needed both to give the project legitimacy and to allow its founders to understand what exactly was needed, legally speaking, for the creation of a whole new set of Free Software-like licenses. +={Abelson, Hal+2;Eldred, Eric+3;Lessig, Lawrence+24} + +Creative Commons, as an organization and as a movement, had been building for several years. In some ways, Creative Commons represented a simple modulation of the Free Software license: a broadening of the license’s concept to cover other types of content. But the impetus behind it was not simply a desire to copy and extend Free Software. Rather, all of the people involved in Creative Commons were those who had been troubling issues of intellectual property, information technology, and notions of commons, public domains, and freedom of information for many years. Boyle had made his name with a book on the construction of the information society by its legal (especially intellectual property) structures. Eldred was a publisher of public-domain works and the lead plaintiff in a court case that went to the Supreme Court in 2002 to determine whether the recent extension of copyright term limits was constitutional. Abelson was a computer scientist with an active interest in issues of privacy, freedom, and law "on the electronic frontier." And Larry Lessig was originally interested in constitutional law, a clerk for Judge Richard Posner, and a self-styled cyberlaw scholar, who was, during the 1990s, a driving force for the explosion of interest in cyberlaw, much of it carried out at the Berkman Center for Internet and Society at Harvard University. +={Berkman Center for Internet and Society+1;Copyleft licenses (component of Free Software):modulations of;Creative Commons:origin and history of+4} + +With the exception of Abelson—who, in addition to being a famous computer scientist, worked for years in the same building that Richard Stallman camped out in and chaired the committee that wrote the report recommending OCW—none of the members of Creative Commons cut their teeth on Free Software projects (they were lawyers and activists, primarily) and yet the emergence of Open Source into the public limelight in 1998 was an event that made more or less instant and intuitive sense to all of them. During this time, Lessig and members of the Berkman Center began an "open law" project designed to mimic the Internet-based collaboration of the Open Source project among lawyers who might want to ,{[pg 260]}, contribute to the Eldred case. Creative Commons was thus built as much on a commitment to a notion of collaborative creation—the use of the Internet especially—but more generally on the ability of individuals to work together to create new things, and especially to coordinate the creation of these things by the use of novel licensing agreements. + +Creative Commons provided more than licenses, though. It was part of a social imaginary of a moral and technical order that extended beyond software to include creation of all kinds; notions of technical and moral freedom to make use of one’s own "culture" became more and more prominent as Larry Lessig became more and more involved in struggles with the entertainment industry over the "control of culture." But for Lessig, Creative Commons was a fall-back option; the direct route to a transformation of the legal structure of intellectual property was through the Eldred case, a case that built huge momentum throughout 2001 and 2002, was granted cert by the Supreme Court, and was heard in October of 2002. One of the things that made the case remarkable was the series of strange bedfellows it produced; among the economists and lawyers supporting the repeal of the 1998 "Sonny Bono" Copyright Term Extension Act were the arch free-marketeers and Nobel Prize winners Milton Friedman, James Buchanan, Kenneth Arrow, Ronald Coase, and George Akerlof. As Boyle pointed out in print, conservatives and liberals and libertarians all have reasons to be in favor of scaling back copyright expansion.~{ Boyle, "Conservatives and Intellectual Property." }~ Lessig and his team lost the case, and the Supreme Court essentially affirmed Congress’s interpretation of the Constitution that "for limited times" meant only that the time period be limited, not that it be short. +={moral and technical order;social imaginary} + +Creative Commons was thus a back-door approach: if the laws could not be changed, then people should be given the tools they needed to work around those laws. Understanding how Creative Commons was conceived requires seeing it as a modulation of both the notion of "source code" and the modulation of "copyright licenses." But the modulations take place in that context of a changing legal system that was so unfamiliar to Stallman and his EMACS users, a legal system responding to new forms of software, networks, and devices. For instance, the changes to the Copyright Act of 1976 created an unintended effect that Creative Commons would ultimately seize on. By eliminating the requirement to register copyrighted works (essentially granting copyright as soon as the ,{[pg 261]}, work is "fixed in a tangible medium"), the copyright law created a situation wherein there was no explicit way in which a work could be intentionally placed in the public domain. Practically speaking an author could declare that a work was in the public domain, but legally speaking the risk would be borne entirely by the person who sought to make use of that work: to copy it, transform it, sell it, and so on. With the explosion of interest in the Internet, the problem ramified exponentially; it became impossible to know whether someone who had placed a text, an image, a song, or a video online intended for others to make use of it—even if the author explicitly declared it "in the public domain." Creative Commons licenses were thus conceived and rhetorically positioned as tools for making explicit exactly what uses could be made of a specific work. They protected the rights of people who sought to make use of "culture" (i.e., materials and ideas and works they had not authored), an approach that Lessig often summed up by saying, "Culture always builds on the past." +={copyright:requirement to register;sharing source code (component of Free Software):modulations of;creative commons:activism of+1;public domain+4} + +The background to and context of the emergence of Creative Commons was of course much more complicated and fraught. Concerns ranged from the plights of university libraries with regard to high-priced journals, to the problem of documentary filmmakers unable to afford, or even find the owners of, rights to use images or snippets in films, to the high-profile fights over online music trading, Napster, and the RIAA. Over the course of four years, Lessig and the other founders of Creative Commons would address all of these issues in books, in countless talks and presentations and conferences around the world, online and off, among audiences ranging from software developers to entrepreneurs to musicians to bloggers to scientists. +={Napster;Recording Industry Association of America (RIAA)} + +Often, the argument for Creative Commons draws heavily on the concept of culture besieged by the content industries. A story which Lessig enjoys telling—one that I heard on several occasions when I saw him speak at conferences—was that of Mickey Mouse. An interesting, quasi-conspiratorial feature of the twentieth-century expansion of intellectual-property law is that term limits seem to have been extended right around the time Mickey Mouse was about to become public property. True or not, the point Lessig likes to make is that the Mouse is not the de novo creation of the mind of Walt Disney that intellectual-property law likes to pretend it is, but built on the past of culture, in particular, on Steamboat Willie, ,{[pg 262]}, Charlie Chaplin, Krazy Kat, and other such characters, some as inspiration, some as explicit material. The greatness in Disney’s creation comes not from the mind of Disney, but from the culture from which it emerged. Lessig will often illustrate this in videos and images interspersed with black-typewriter-font-bestrewn slides and a machine-gun style that makes you think he’s either a beat-poet manqué or running for office, or maybe both. +={Lessig, Lawrence:style of presentations+1;Disney, Walt;Mickey Mouse} + +Other examples of intellectual-property issues fill the books and talks of Creative Commons advocates, stories of blocked innovation, stifled creativity, and—the scariest point of all (at least for economist-lawyers)—inefficiency due to over-expansive intellectual-property laws and overzealous corporate lawyer-hordes.~{ Lessig’s output has been prodigious. His books include Code and Other Laws of Cyber Space, The Future of Ideas, Free Culture, and Code: Version 2.0. He has also written a large number of articles and is an active blogger (http://www.lessig.org/blog/). }~ Lessig often preaches to the converted (at venues like South by Southwest Interactive and the O’Reilly Open Source conferences), and the audiences are always outraged at the state of affairs and eager to learn what they can do. Often, getting involved in the Creative Commons is the answer. Indeed, within a couple of years, Creative Commons quickly became more of a movement (a modulation of the Free/Open Source movement) than an experiment in writing licenses. + +On that hot May day in 2002, however, Creative Commons was still under development. Later in the day, Boyle did get a chance to meet with the Connexions project team members. The Connexions team had already realized that in pursuing an experimental project in which Free Software was used as a template they created a need for new kinds of licenses. They had already approached the Rice University legal counsel, who, though well-meaning, were not grounded at all in a deep understanding of Free Software and were thus naturally suspicious of it. Boyle’s presence and his detailed questions about the project were like a revelation—a revelation that there were already people out there thinking about the very problem the Connexions team faced and that the team would not need to solve the problem themselves or make the Rice University legal counsel write new open-content licenses. What Boyle offered was the possibility for Connexions, as well as for myself as intermediary, to be involved in the detailed planning and license writing that was under way at Creative Commons. At the same time, it gave Creative Commons an extremely willing "early-adopter" for the license, and one from an important corner of the world: scholarly research and teaching.~{ There were few such projects under way, though there were many in the planning stages. Within a year, the Public Library of Science had launched itself, spearheaded by Harold Varmus, the former director of the National Institutes of Health. At the time, however, the only other large scholarly project was the MIT Open Course Ware project, which, although it had already agreed to use Creative Commons licenses, had demanded a peculiar one-off license. }~ My task, after recovering from the ,{[pg 263]}, shame of being unable to find my car, was to organize a workshop in August at which members of Creative Commons, Connexions, MIT’s OCW, and any other such projects would be invited to talk about license issues. +={Boyle, James;Connexions project:connection to Creative Commons+2|Open CourseWare+2;Creative Commons:connection to Connexions+2;Rice University:legal counsel of;Open CourseWare (OCW)+2} + +2~ Participant Figuring Out +={figuring out+15} + +The workshop I organized in August 2002 was intended to allow Creative Commons, Connexions, and MIT’s OCW project to try to articulate what each might want from the other. It was clear what Creative Commons wanted: to convince as many people as possible to use their licenses. But what Connexions and OCW might have wanted, from each other as well as from Creative Commons, was less clear. Given the different goals and trajectories of the two projects, their needs for the licenses differed in substantial ways—enough so that the very idea of using the same license was, at least temporarily, rendered impossible by MIT. While OCW was primarily concerned about obtaining permissions to place existing copyrighted work on the Web, Connexions was more concerned about ensuring that new work remain available and modifiable. +={moral and technical order+1} + +In retrospect, this workshop clarified the novel questions and problems that emerged from the process of modulating the components of Free Software for different domains, different kinds of content, and different practices of collaboration and sharing. Since then, my own involvement in this activity has been aimed at resolving some of these issues in accordance with an imagination of openness, an imagination of social order, that I had learned from my long experience with geeks, and not from my putative expertise as an anthropologist or a science-studies scholar. The fiction that I had at first adopted—that I was bringing scholarly knowledge to the table—became harder and harder to maintain the more I realized that it was my understanding of Free Software, gained through ongoing years of ethnographic apprenticeship, that was driving my involvement. +={geeks;social imaginary+1} + +Indeed, the research I describe here was just barely undertaken as a research project. I could not have conceived of it as a fundable activity in advance of discovering it; I could not have imagined the course of events in any of the necessary detail to write a proper proposal for research. Instead, it was an outgrowth of thinking and ,{[pg 264]}, participating that was already under way, participation that was driven largely by intuition and a feeling for the problem represented by Free Software. I wanted to help figure something out. I wanted to see how "figuring out" happens. While I could have organized a fundable research project in which I picked a mature Free Software project, articulated a number of questions, and spent time answering them among this group, such a project would not have answered the questions I was trying to form at the time: what is happening to Free Software as it spreads beyond the world of hackers and software? How is it being modulated? What kinds of limits are breached when software is no longer the central component? What other domains of thought and practice were or are "readied" to receive and understand Free Software and its implications?~{ The fact that I organized a workshop to which I invited "informants" and to which I subsequently refer as research might strike some, both in anthropology and outside it, as wrong. But it is precisely the kind of occasion I would argue has become central to the problematics of method in cultural anthropology today. On this subject, see Holmes and Marcus, "Cultures of Expertise and the Management of Globalization." Such strategic and seemingly ad hoc participation does not exclude one from attempting to later disentangle oneself from such participation, in order to comment on the value and significance, and especially to offer critique. Such is the attempt to achieve objectivity in social science, an objectivity that goes beyond the basic notions of bias and observer-effect so common in the social sciences. "Objectivity" in a broader social sense includes the observation of the conceptual linkages that both precede such a workshop (constituted the need for it to happen) and follow on it, independent of any particular meeting. The complexity of mobilizing objectivity in discussions of the value and significance of social or economic phenomena was well articulated a century ago by Max Weber, and problems of method in the sense raised by him seem to me to be no less fraught today. See Max Weber, "Objectivity in the Social Sciences." }~ +={modifiability+6;modulation:practices of+2} + +My experience—my participant-observation—with Creative Commons was therefore primarily done as an intermediary between the Connexions project (and, by implication, similar projects under way elsewhere) and Creative Commons with respect to the writing of licenses. In many ways this detailed, specific practice was the most challenging and illuminating aspect of my participation, but in retrospect it was something of a red herring. It was not only the modulation of the meaning of source code and of legal licenses that differentiated these projects, but, more important, the meaning of collaboration, reuse, coordination, and the cultural practice of sharing and building on knowledge that posed the trickiest of the problems. + +My contact at Creative Commons was not James Boyle or Larry Lessig, but Glenn Otis Brown, the executive director of that organization (as of summer 2002). I first met Glenn over the phone, as I tried to explain to him what Connexions was about and why he should join us in Houston in August to discuss licensing issues related to scholarly material. Convincing him to come to Texas was an easier sell than explaining Connexions (given my penchant for complicating it unnecessarily), as Glenn was an Austin native who had been educated at the University of Texas before heading off to Harvard Law School and its corrupting influence at the hands of Lessig, Charlie Nesson, and John Perry Barlow. +={Barlow, John Perry;Brown, Glen Otis+10;Nesson, Charlie} + +Glenn galvanized the project. With his background as a lawyer, and especially his keen interest in intellectual-property law, and his long-standing love of music of all kinds Glenn lent incredible enthusiasm to his work. Prior to joining Creative Commons, he had ,{[pg 265]}, clerked for the Hon. Stanley Marcus on the Eleventh Circuit Court of Appeals, in Miami, where he worked on the so-called Wind Done Gone case.~{ Suntrust v. Houghton Mifflin Co., U.S. Eleventh Circuit Court of Appeals, 2001, 252 F. 3d 1165. }~ His participation in the workshop was an experiment of his own; he was working on a story that he would tell countless times and which would become one of the core examples of the kind of practice Creative Commons wanted to encourage. + +A New York Times story describes how the band the White Stripes had allowed Steven McDonald, the bassist from Redd Kross, to lay a bass track onto the songs that made up the album White Blood Cells. In a line that would eventually become a kind of mantra for Creative Commons, the article stated: "Mr. McDonald began putting these copyrighted songs online without permission from the White Stripes or their record label; during the project, he bumped into Jack White, who gave him spoken assent to continue. It can be that easy when you skip the intermediaries."~{ Neil Strauss, "An Uninvited Bassist Takes to the Internet," New York Times, 25 August 2002, sec. 2, 23. }~ The ease with which these two rockers could collaborate to create a modified work (called, of course, Redd Blood Cells) without entering a studio, or, more salient, a law firm, was emblematic of the notion that "culture builds on the past" and that it need not be difficult to do so. +={Redd, Kross;White Stripes+1} + +Glenn told the story with obvious and animated enthusiasm, ending with the assertion that the White Stripes didn’t have to give up all their rights to do this, but they didn’t have to keep them all either; instead of "All Rights Reserved," he suggested, they could say "Some Rights Reserved." The story not only manages to capture the message and aims of Creative Commons, but is also a nice indication of the kind of dual role that Glenn played, first as a lawyer, and second as a kind of marketing genius and message man. The possibility of there being more than a handful of people like Glenn around was not lost on anyone, and his ability to switch between the language of law and that of nonprofit populist marketing was phenomenal.~{ Indeed, in a more self-reflective moment, Glenn once excitedly wrote to me to explain that what he was doing was "code-switching" and that he thought that geeks who constantly involved themselves in technology, law, music, gaming, and so on would be prime case studies for a code-switching study by anthropologists. }~ +={Creative Commons:marketing of} + +At the workshop, participants had a chance to hash out a number of different issues related to the creation of licenses that would be appropriate to scholarly content: questions of attribution and commercial use, modification and warranty; differences between federal copyright law concerning licenses and state law concerning commercial contracts. The starting point for most people was Free Software, but this was not the only starting point. There were at least two other broad threads that fed into the discussion and into the general understanding of the state of affairs facing projects like ,{[pg 266]}, Connexions or OCW. The first thread was that of digital libraries, hypertext, human-computer interaction research, and educational technology. These disciplines and projects often make common reference to two pioneers, Douglas Englebart and Theodore Nelson, and more proximately to things like Apple’s HyperCard program and a variety of experiments in personal academic computing. The debates and history that lead up to the possibility of Connexions are complex and detailed, but they generally lack attention to legal detail. With the exception of a handful of people in library and information science who have made "digital" copyright into a subspecialty, few such projects, over the last twenty-five years, have made the effort to understand, much less incorporate, issues of intellectual property into their purview. +={attribution:copyright licenses and;Copyleft licenses (component of Free Software):commercial use and|derivative uses and;Connexions project:relationship to hypertext} + +The other thread combines a number of more scholarly interests that come out of the disciplines of economics and legal theory: institutional economics, critical legal realism, law and economics—these are the scholastic designations. Boyle and Lessig, for example, are both academics; Boyle does not practice law, and Lessig has tried few cases. Nonetheless, they are both inheritors of a legal and philosophical pragmatism in which value is measured by the transformation of policy and politics, not by the mere extension or specification of conceptual issues. Although both have penned a large number of complicated theoretical articles (and Boyle is well known in several academic fields for his book Shamans, Software, and Spleens and his work on authorship and the law), neither, I suspect, would ever sacrifice the chance to make a set of concrete changes in legal or political practice given the choice. This point was driven home for me in a conversation I had with Boyle and others at dinner on the night of the launch of Creative Commons, in December 2002. During that conversation, Boyle said something to the effect of, "We actually made something; we didn’t just sit around writing articles and talking about the dangers that face us—we made something." He was referring as much to the organization as to the legal licenses they had created, and in this sense Boyle qualifies very much as a polymathic geek whose understanding of technology is that it is an intervention into an already constituted state of affairs, one that demonstrates its value by being created and installed, not by being assessed in the court of scholarly opinions. ,{[pg 267]}, +={Boyle, James+2;Lessig, Lawrence:law and economics and+2;institutional economics+2;intervention, technology as;polymaths;technology:as argument+3} + +Similarly, Lessig’s approach to writing and speaking is unabashedly aimed at transforming the way people approach intellectual-property law and, even more generally, the way they understand the relationship between their rights and their culture.~{ See Kelty, "Punt to Culture." }~ Lessig’s approach, at a scholarly level, is steeped in the teachings of law and economics (although, as he has playfully pointed out, a "second" Chicago school) but is focused more on the understanding and manipulation of norms and customs ("culture") than on law narrowly conceived.~{ Lessig, "The New Chicago School." }~ + +Informing both thinkers is a somewhat heterodox economic consensus drawn primarily from institutional economics, which is routinely used to make policy arguments about the efficacy or efficiency of the intellectual-property system. Both are also informed by an emerging consensus on treating the public domain in the same manner in which environmentalists treated the environment in the 1960s.~{ Hence, Boyle’s "Second Enclosure Movement" and "copyright conservancy" concepts (see Boyle, "The Second Enclosure Movement"; Bollier, Silent Theft). Perhaps the most sophisticated and compelling expression of the institutional-economics approach to understanding Free Software is the work of Yochai Benkler, especially "Sharing Nicely" and "Coase’s Penguin." See also Benkler, Wealth of Networks. }~ These approaches begin with long-standing academic and policy concerns about the status and nature of "public goods," not directly with the problem of Free Software or the Internet. In some ways, the concern with public goods, commons, the public domain, and collective action are part of the same "reorientation of power and knowledge" I identify throughout Two Bits: namely, the legitimation of the media of knowledge creation, communication, and circulation. Most scholars of institutional economics and public policy are, however, just as surprised and bewildered by the fact of Free Software as the rest of the world has been, and they have sought to square the existing understanding of public goods and collective action with this new phenomenon.~{ Steven Weber’s The Success of Open Source is exemplary. }~ +={public domain:environmentalism and;reorientation of power and knowledge} + +All of these threads form the weft of the experiment to modulate the components of Free Software to create different licenses that cover a broader range of objects and that deal with people and organizations that are not software developers. Rather than attempt to carry on arguments at the level of theory, however, my aim in participating was to see how and what was argued in practice by the people constructing these experiments, to observe what constraints, arguments, surprises, or bafflements emerged in the course of thinking through the creation of both new licenses and a new form of authorship of scholarly material. Like those who study "science in action" or the distinction between "law on the books" and "law in action," I sought to observe the realities of a practice ,{[pg 268]}, heavily determined by textual and epistemological frameworks of various sorts.~{ Carrington and King, "Law and the Wisconsin Idea." }~ +={modulation:of Free Software;experimentation+1;participant observation+1} + +In my years with Connexions I eventually came to see it as something in between a natural experiment and a thought experiment: it was conducted in the open, and it invited participation from working scholars and teachers (a natural experiment, in that it was not a closed, scholarly endeavor aimed at establishing specific results, but an essentially unbounded, functioning system that people could and would come to depend on), and yet it proceeded by making a series of strategic guesses (a thought experiment) about three related things: (1) what it is (and will be) possible to do technically; (2) what it is (and will be) possible to do legally; and (3) what scholars and educators have done and now do in the normal course of their activities. + +At the same time, this experiment gave shape to certain legal questions that I channeled in the direction of Creative Commons, issues that ranged from technical questions about the structure of digital documents, requirements of attribution, and URLs to questions about moral rights, rights of disavowal, and the meaning of "modification." The story of the interplay between Connexions and Creative Commons was, for me, a lesson in a particular mode of legal thinking which has been described in more scholarly terms as the difference between the Roman or, more proximately, the Napoleonic tradition of legal rationalism and the Anglo-American common-law tradition.~{ In particular, Glenn Brown suggested Oliver Wendell Holmes as a kind of origin point both for critical legal realism and for law and economics, a kind of filter through which lawyers get both their Nietzsche ,{[pg 344]}, and their liberalism (see Oliver Wendell Holmes, "The Path of the Law"). Glenn’s opinion was that what he called "punting to culture" (by which he meant writing minimalist laws which allow social custom to fill in the details) descended more or less directly from the kind of legal reasoning embodied in Holmes: "Note that [Holmes] is probably best known in legal circles for arguing that questions of morality be removed from legal analysis and left to the field of ethics. this is what makes him the godfather of both the posners of the world, and the crits, and the strange hybrids like lessig" (Glenn Brown, personal communication, 11 August 2003). }~ It was a practical experience of what exactly the difference is between legal code and software code, with respect to how those two things can be made flexible or responsive. + +1~ 9. Reuse, Modification, and the Nonexistence of Norms +={norms+12} + +% ,{[pg 269]}, + +The Connexions project was an experiment in modulating the practices of Free Software. It was not inspired by so much as it was based on a kind of template drawn from the experience of people who had some experience with Free Software, including myself. But how exactly do such templates get used? What is traced and what is changed? In terms of the cultural significance of Free Software, what are the implications of these changes? Do they maintain the orientation of a recursive public, or are they attempts to apply Free Software for other private concerns? And if they are successful, what are the implications for the domains they affect: education, scholarship, scientific knowledge, and cultural production? What effects do these changes have on the norms of work and the meaning and shape of knowledge in these domains? ,{[pg 270]}, +={recursive public+2;cultural significance} + +In this chapter I explore in ethnographic detail how the modulations of Free Software undertaken by Connexions and Creative Commons are related to the problems of reuse, modification, and the norms of scholarly production. I present these two projects as responses to the contemporary reorientation of knowledge and power; they are recursive publics just as Free Software is, but they expand the domain of practice in new directions, that is, into the scholarly world of textbooks and research and into the legal domains of cultural production more generally. +={reorientation of power and knowledge+2} + +In the course of "figuring out" what they are doing, these two projects encounter a surprising phenomenon: the changing meaning of the finality of a scholarly or creative work. Finality is not certainty. While certainty is a problematic that is well and often studied in the philosophy of science and in science studies, finality is less so. What makes a work stay a work? What makes a fact stay a fact? How does something, certain or not, achieve stability and identity? Such finality, the very paradigm of which is the published book, implies stability. But Connexions and Creative Commons, through their experiments with Free Software, confront the problem of how to stabilize a work in an unstable context: that of shareable source code, an open Internet, copyleft licenses, and new forms of coordination and collaboration.~{ Actor-network theory comes closest to dealing with such "ontological" issues as, for example, airplanes in John Law’s Aircraft Stories, the disease atheroscleroris in Annemarie Mol’s The Body Multiple, or in vitro fertilization in Charis Thompson’s Making Parents. The focus here on finality is closely related, but aims at revealing the temporal characteristics of highly modifiable kinds of knowledge-objects, like textbooks or databases, as in Geoffrey Bowker’s Memory Practices in the Sciences. }~ The meaning of finality will have important effects on the ability to constitute a politics around any given work, whether a work of art or a work of scholarship and science. The actors in Creative Commons and Connexions realize this, and they therefore form yet another instance of a recursive public, precisely because they seek ways to define the meaning of finality publicly and openly—and to make modifiability an irreversible aspect of the process of stabilizing knowledge. +={Actor Network Theory;figuring out;finality+57:certainty and stability vs.;modifiability:implications for finality+40} + +The modulations of Free Software performed by Connexions and Creative Commons reveal two significant issues. The first is the troublesome matter of the meaning of reuse, as in the reuse of concepts, ideas, writings, articles, papers, books, and so on for the creation of new objects of knowledge. Just as software source code can be shared, ported, and forked to create new versions with new functions, and just as software and people can be coordinated in new ways using the Internet, so too can scholarly and scientific content. I explore the implications of this comparison in this chapter. The central gambit of both Connexions and Creative Commons (and much of scientific practice generally) is that new work builds on ,{[pg 271]}, previous work. In the sciences the notion that science is cumulative is not at issue, but exactly how scientific knowledge accumulates is far from clear. Even if "standing on the shoulders of giants" can be revealed to hide machinations, secret dealings, and Machiavellian maneuvering of the most craven sort, the very concept of cumulative knowledge is sound. Building a fact, a result, a machine, or a theory out of other, previous works—this kind of reuse as progress is not in question. But the actual material practice of writing, publication, and the reuse of other results and works is something that, until very recently, has been hidden from view, or has been so naturalized that the norms of practice are nearly invisible to practitioners themselves. +={norms:existence of+1;publication:transformation by Internet+39;participant observation+1} + +This raises the other central concern of this chapter: that of the existence or nonexistence of norms. For an anthropologist to query whether or not norms exist might seem to theorize oneself out of a job; one definition of anthropology is, after all, the making explicit of cultural norms. But the turn to "practices" in anthropology and science studies has in part been a turn away from "norms" in their classic sociological and specifically Mertonian fashion. Robert Merton’s suggestion that science has been governed by norms—disinterestedness, communalism, organized skepticism, objectivity—has been repeatedly and roundly criticized by a generation of scholars in the sociology of scientific knowledge who note that even if such norms are asserted by actors, they are often subverted in the doing.~{ Merton, "The Normative Structure of Science." }~ But a striking thing has happened recently; those Mertonian norms of science have in fact become the more or less explicit goals in practice of scientists, engineers, and geeks in the wake of Free Software. If Mertonian norms do not exist, then they are being invented. This, of course, raises novel questions: can one create norms? What exactly would this mean? How are norms different from culture or from legal and technical constraints? Both Connexions and Creative Commons explicitly pose this question and search for ways to identify, change, or work with norms as they understand them, in the context of reuse. +={Goals, lack of in Free Software:norms as;Merton, Robert:Mertonian norms} + +2~ Whiteboards: What Was Publication? + +More than once, I have found myself in a room with Rich Baraniuk and Brent Hendricks and any number of other employees of the ,{[pg 272]}, Connexions project, staring at a whiteboard on which a number of issues and notes have been scrawled. Usually, the notes have a kind of palimpsestic quality, on account of the array of previous conversations that are already there, rewritten in tiny precise script in a corner, or just barely erased beneath our discussion. These conversations are often precipitated by a series of questions that Brent, Ross Reedstrom, and the development team have encountered as they build and refine the system. They are never simple questions. A visitor staring at the whiteboard might catch a glimpse of the peculiar madness that afflicts the project: a mixture of legal terms, technical terms, and terms like scholarly culture or DSP communities. I’m consulted whenever this mixture of terms starts to worry the developers in terms of legality, culture, or the relationship between the two. I’m generally put in the position of speaking either as a lawyer (which, legally speaking, I am not supposed to do) or as an anthropologist (which I do mainly by virtue of holding a position in an anthropology department). Rarely are the things I say met with assent: Brent and Ross, like most hackers, are insanely well versed in the details of intellectual-property law, and they routinely correct me when I make bold but not-quite-true assertions about it. Nonetheless, they rarely feel well versed enough to make decisions about legal issues on their own, and often I have been called—on again as a thoughtful sounding board, and off again as intermediary with Creative Commons. +={Baraniuk, Richard;Hendricks, Brent;Reedstrom, Ross;Digital signal processing (DSP)} + +This process, I have come to realize, is about figuring something out. It is not just a question of solving technical problems to which I might have some specific domain knowledge. Figuring out is modulation; it is template-work. When Free Software functions as a template for projects like Connexions, it does so literally, by allowing us to trace a known form of practice (Free Software) onto a less well known, seemingly chaotic background and to see where the forms match up and where they do not. One very good way to understand what this means in a particular case—that is, to see more clearly the modulations that Connexions has performed—is to consider the practice and institution of scholarly publication through the template of Free Software. +={Free Software:modulations of} + +Consider the ways scholars have understood the meaning and significance of print and publication in the past, prior to the Internet and the contemporary reorientation of knowledge and power. The list of ambitious historians and theorists of the relationship ,{[pg 273]}, of media to knowledge is long: Lucien Febvre, Walter Ong, Marshall McLuhan, Jack Goody, Roger Chartier, Friedrich Kittler, Elizabeth Eisenstein, Adrian Johns, to name a few.~{ See Johns, The Nature of the Book; Eisenstein, The Printing Press as an Agent of Change; McLuhan, The Gutenberg Galaxy and Understanding Media; Febvre and Martin, The Coming of the Book; Ong, Ramus, Method, and the Decay of Dialogue; Chartier, The Cultural Uses of Print in Early Modern France and The Order of Books; Kittler, Discourse Networks 1800/1900 and Gramophone, Film, Typewriter. }~ With the exception of Johns, however, the history of publication does not start with the conventional, legal, and formal practices of publication so much as it does with the material practices and structure of the media themselves, which is to say the mechanics and technology of the printed book.~{ There is less communication between the theorists and historians of copyright and authorship and those of the book; the former are also rich in analyses, such as Jaszi and Woodmansee, The Construction of Authorship; Mark Rose, Authors and Owners; St. Amour, The Copywrights; Vaidhyanathan, Copyrights and Copywrongs. }~ Ong’s theories of literacy and orality, Kittler’s re-theorization of the structure of media evolution, Goody’s anthropology of the media of accounting and writing—all are focused on the tangible media as the dependent variable of change. By contrast, Johns’s The Nature of the Book uncovers the contours of the massive endeavor involved in making the book a reliable and robust form for the circulation of knowledge in the seventeenth century and after. +={Goody, Jack;Eisenstein, Elizabeth+1;Johns, Adrian+3;Kittler, Friedrich;Ong, Walter;reorientation of power and knowledge;printing press+2} + +Prior to Johns’s work, arguments about the relationship of print and power fell primarily into two camps: one could overestimate the role of print and the printing press by suggesting that the "fixity" of a text and the creation of multiple copies led automatically to the spread of ideas and the rise of enlightenment. Alternately, one could underestimate the role of the book by suggesting that it was merely a transparent media form with no more or less effect on the circulation or evaluation of ideas than manuscripts or television. Johns notes in particular the influence of Elizabeth Eisenstein’s scholarship on the printing press (and Bruno Latour’s dependence on this in turn), which very strongly identified the characteristics of the printed work with the cultural changes seen to follow, including the success of the scientific revolution and the experimental method.~{ Eisenstein, The Printing Press as an Agent of Change. Eisenstein’s work makes direct reference to McLuhan’s thesis in The Gutenberg Galaxy, and Latour relies on these works and others in "Drawing Things Together." }~ For example, Eisenstein argued that fixity—the fact that a set of printed books can be exact copies of each other—implied various transformations in knowledge. Johns, however, is at pains to show just how unreliable texts are often perceived to be. From which sources do they come? Are they legitimate? Do they have the backing or support of scholars or the crown? In short, fixity can imply sound knowledge only if there is a system of evaluation already in place. Johns suggests a reversal of this now common-sense notion: "We may consider fixity not as an inherent quality, but as a transitive one. . . . We may adopt the principle that fixity exists only inasmuch as it is recognized and acted upon by people—and not otherwise. The consequence of this change in perspective is that print culture itself is immediately laid open to analysis. It becomes ,{[pg 274]}, a result of manifold representations, practices and conflicts, rather than just the manifold cause with which we are often presented. In contrast to talk of a ‘print logic’ imposed on humanity, this approach allows us to recover the construction of different print cultures in particular historical circumstances."~{ Johns, The Nature of the Book, 19-20. }~ +={Latour, Bruno;enlightenment;fixity+7} + +Johns’s work focuses on the elaborate and difficult cultural, social, and economic work involved, in the sixteenth and seventeenth centuries, in transforming the European book into the kind of authority it is taken to be across the globe today. The creation and standardization not just of books but of a publishing infrastructure involved the kind of careful social engineering, reputation management, and skills of distinction, exclusion, and consensus that science studies has effectively explored in science and engineering. Hence, Johns focuses on "print-in-the-making" and the relationship of the print culture of that period to the reliability of knowledge. Instead of making broad claims for the transformation of knowledge by print (eerily similar in many respects to the broad claims made for the Internet), Johns explores the clash of representations and practices necessary to create the sense, in the twentieth century, that there really is or was only one print culture. +={infrastructure:of publishing} + +The problem of publication that Connexions confronts is thus not simply caused by the invention or spread of the Internet, much less that of Free Software. Rather, it is a confrontation with the problems of producing stability and finality under very different technical, legal, and social conditions—a problem more complex even than the "different print cultures in particular historical circumstances" that Johns speaks of in regard to the book. Connexions faces two challenges: that of figuring out the difference that today introduces with respect to yesterday, and that of creating or modifying an infrastructure in order to satisfy the demands of a properly authoritative knowledge. Connexions textbooks of necessity look different from conventional textbooks; they consist of digital documents, or "modules," that are strung together and made available through the Web, under a Creative Commons license that allows for free use, reuse, and modification. This version of "publication" clearly has implications for the meaning of authorship, ownership, stewardship, editing, validation, collaboration, and verification. +={authorship;Connexions project:textbooks and+15;Connexions project:meaning of publication+15;publication:as notional event+1} + +The conventional appearance of a book—in bookstores, through mail-order, in book clubs, libraries, or universities—was an event that signified, as the name suggests, its official public appearance ,{[pg 275]}, in the world. Prior to this event, the text circulated only privately, which is to say only among the relatively small network of people who could make copies of it or who were involved in its writing, editing, proofreading, reviewing, typesetting, and so on. With the Internet, the same text can be made instantly available at each of these stages to just as many or more potential readers. It effectively turns the event of publication into a notional event—the click of a button—rather than a highly organized, material event. Although it is clear that the practice of publication has become denaturalized or destabilized by the appearance of new information technologies, this hardly implies that the work of stabilizing the meaning of publication—and producing authoritative knowledge as a result—has ceased. The tricky part comes in understanding how Free Software is used as a template by which the authority of publication in the Gutenberg Galaxy is being transformed into the authority of publication in the Turing Universe. +={Connexions project:stages of producing a document in} + +2~ Publication in Connexions + +In the case of Connexions there are roughly three stages to the creation of content. The first, temporally speaking, is whatever happens before Connexions is involved, that is, the familiar practices of what I would call composition, rather than simply writing. Some project must be already under way, perhaps started under the constraints of and in the era of the book, perhaps conceived as a digital textbook or an online textbook, but still, as of yet, written on paper or saved in a Word document or in LaTeX, on a scholar’s desktop. It could be an individual project, as in the case of Rich’s initial plan to write a DSP textbook, or it could be a large collaborative project to write a textbook. +={LaTeX (typesetting language);Connexions project:stages of producing a document in+3} + +The second stage is the one in which the document or set of documents is translated ("Connexified") into the mark-up system used by Connexions. Connexions uses the eXtensible Mark-up Language (XML), in particular a subset of tags that are appropriate to textbooks. These "semantic" tags (e.g., ) refer only to the meaning of the text they enclose, not to the "presentation" or syntactic look of what they enclose; they give the document the necessary structure it needs to be transformed in a number of creative ways. Because XML is related only to content, and not to ,{[pg 276]}, presentation (it is sometimes referred to as "agnostic"), the same document in Connexions can be automatically made to look a number of different ways, as an onscreen presentation in a browser, as a pdf document, or as an on-demand published work that can be printed out as a book, complete with continuous page numbering, footnotes (instead of links), front and back matter, and an index. Therein lies much of Connexions’s technical wizardry. +={Extensible Mark-up Language (XML)+1} + +During the second stage, that of being marked up in XML, the document is not quite public, although it is on the Internet; it is in what is called a workgroup, where only those people with access to the particular workgroup (and those have been invited to collaborate) can see the document. It is only when the document is finished, ready to be distributed, that it will enter the third, "published" stage—the stage at which anyone on the Internet can ask for the XML document and the software will display it, using style sheets or software converters, as an HTML page, a pdf document for printing, or as a section of a larger course. However, publication does not here signify finality; indeed, one of the core advantages of Connexions is that the document is rendered less stable than the book-object it mimics: it can be updated, changed, corrected, deleted, copied, and so on, all without any of the rigmarole associated with changing a published book or article. Indeed, the very powerful notion of fixity theorized by McLuhan and Eisenstein is rendered moot here. The fact that a document has been printed (and printed as a book) no longer means that all copies will be the same; indeed, it may well change from hour to hour, depending on how many people contribute (as in the case of Free Software, which can go through revisions and updates as fast, or faster, than one can download and install new versions). With Wikipedia entries that are extremely politicized or active, for example, a "final" text is impossible, although the dynamics of revision and counter-revision do suggest outlines for the emergence of some kinds of stability. But Connexions differs from Wikipedia with respect to this finality as well, because of the insertion of the second stage, during which a self-defined group of people can work on a nonpublic text before committing changes that a public can see. +={Eisenstein, Elizabeth;McLuhan, Marshall;Hypertext Transfer Mark-up Language (HTML);Wikipedia (collaborative encyclopedia)+1;finality:in Wikipedia and Connexions+1} + +It should be clear, given the example of Connexions, or any similar project such as Wikipedia, that the changing meaning of "publication" in the era of the Internet has significant implications, both practical (they affect the way people can both write and publish ,{[pg 277]}, their works) and legal (they fit uneasily into the categories established for previous media). The tangibility of a textbook is quite obviously transformed by these changes, but so too is the cultural significance of the practice of writing a textbook. And if textbooks are written differently, using new forms of collaboration and allowing novel kinds of transformation, then the validation, certification, and structure of authority of textbooks also change, inviting new forms of open and democratic participation in writing, teaching, and learning. No longer are all of the settled practices of authorship, collaboration, and publication configured around the same institutional and temporal scheme (e.g., the book and its publishing infrastructure). In a colloquial sense, this is obvious, for instance, to any musician today: recording and releasing a song to potentially millions of listeners is now technically possible for anyone, but how that fact changes the cultural significance of music creation is not yet clear. For most musicians, creating music hasn’t changed much with the introduction of digital tools, since new recording and composition technologies largely mimic the recording practices that preceded them (for example, a program like Garage Band literally looks like a four-track recorder on the screen). Similarly, much of the practice of digital publication has been concerned with recreating something that looks like traditional publication.~{ On this subject, cf. Pablo Boczkowski’s study of the digitization of newspapers, Digitizing the News. }~ +={music:production} + +Perhaps unsurprisingly, the Connexions team spent a great deal of time at the outset of the project creating a pdf-document-creation system that would essentially mimic the creation of a conventional textbook, with the push of a button.~{ Conventional here is actually quite historically proximate: the system creates a pdf document by translating the XML document into a LaTeX document, then into a pdf document. LaTeX has been, for some twenty years, a standard text-formatting and typesetting language used by some ,{[pg 345]}, sectors of the publishing industry (notably mathematics, engineering, and computer science). Were it not for the existence of this standard from which to bootstrap, the Connexions project would have faced a considerably more difficult challenge, but much of the infrastructure of publishing has already been partially transformed into a computer-mediated and -controlled system whose final output is a printed book. Later in Connexions’s lifetime, the group coordinated with an Internet-publishing startup called Qoop.com to take the final step and make Connexions courses available as print-on-demand, cloth-bound textbooks, complete with ISBNs and back-cover blurbs. }~ But even this process causes a subtle transformation: the concept of "edition" becomes much harder to track. While a conventional textbook is a stable entity that goes through a series of printings and editions, each of which is marked on its publication page, a Connexions document can go through as many versions as an author wants to make changes, all the while without necessarily changing editions. In this respect, the modulation of the concept of source code translates the practices of updating and "versioning" into the realm of textbook writing. Recall the cases ranging from the "continuum" of UNIX versions discussed by Ken Thompson to the complex struggles over version control in the Linux and Apache projects. In the case of writing source code, exactitude demands that the change of even a single character be tracked and labeled as a version change, whereas a ,{[pg 278]}, conventional-textbook spelling correction or errata issuance would hardly create the need for a new edition. +={Apache (Free Software project);editions, print vs. electronic+3:see also versions;Linux (Free Software project);UNIX operating system:allegiance to versions of} + +In the Connexions repository all changes to a text are tracked and noted, but the identity of the module does not change. "Editions" have thus become "versions," whereas a substantially revised or changed module might require not reissuance but a forking of that module to create one with a new identity. Editions in publishing are not a feature of the medium per se; they are necessitated by the temporal and spatial practices of publication as an event, though this process is obviously made visible only in the book itself. In the same way, versioning is now used to manage a process, but it results in a very different configuration of the medium and the material available in that medium. Connexions traces the template of software production (sharing, porting, and forking and the norms and forms of coordination in Free Software) directly onto older forms of publication. Where the practices match, no change occurs, and where they don’t, it is the reorientation of knowledge and power and the emergence of recursive publics that serves as a guide to the development of the system. +={reorientation of power and knowledge+4} + +Legally speaking, the change from editions to versions and forks raises troubling questions about the boundaries and status of a copyrighted work. It is a peculiar feature of copyright law that it needs to be updated regularly each time the media change, in order to bring certain old practices into line with new possibilities. Scattered throughout the copyright statutes is evidence of old new media: gramophones, jukeboxes, cable TV, photocopiers, peer-to-peer file-sharing programs, and so on. Each new form of communication shifts the assumptions of past media enough that they require a reevaluation of the putative underlying balance of the constitutional mandate that gives (U.S.) intellectual-property law its inertia. Each new device needs to be understood in terms of creation, storage, distribution, production, consumption, and tangibility, in order to assess the dangers it poses to the rights of inventors and artists. +={copyright:specificity of media and+1} + +Because copyright law "hard codes" the particular media into the statutes, copyright law is comfortable with, for example, book editions or musical recordings. But in Connexions, new questions arise: how much change constitutes a new work, and thus demands a new copyright license? If a licensee receives one copy of a work, to which versions will he or she retain rights after changes? Because ,{[pg 279]}, of the complexity of the software involved, there are also questions that the law simply cannot deal with (just as it had not been able to do in the late 1970s with respect to the definition of software): is the XML document equivalent to the viewable document, or must the style sheet also be included? Where does the "content" begin and the "software" end? Until the statutes either incorporate these new technologies or are changed to govern a more general process, rather than a particular medium, these questions will continue to emerge as part of the practice of writing. +={Connexions project:line between content and software} + +This denaturalization of the notion of "publication" is responsible for much of the surprise and concern that greets Connexions and projects like it. Often, when I have shown the system to scholars, they have displayed boredom mixed with fear and frustration: "It can never replace the book." On the one hand, Connexions has made an enormous effort to make its output look as much like conventional books as possible; on the other hand, the anxiety evinced is justified, because what Connexions seeks to replace is not the book, which is merely ink and paper, but the entire publishing process. The fact that it is not replacing the book per se, but the entire process whereby manuscripts are made into stable and tangible objects called books is too overwhelming for most scholars to contemplate—especially scholars who have already mastered the existing process of book writing and creation. The fact that the legal system is built to safeguard something prior to and not fully continuous with the practice of Connexions only adds to the concern that such a transformation is immodest and risky, that it endangers a practice with centuries of stability behind it. Connexions, however, is not the cause of destabilization; rather, it is a response to or recognition of a problem. It is not a new problem, but one that periodically reemerges: a reorientation of knowledge and power that includes questions of enlightenment and rationality, democracy and self-governance, liberal values and problems of the authority and validation of knowledge. The salient moments of correlation are not the invention of the printing press and the Internet, but the struggle to make published books into a source of authoritative knowledge in the seventeenth and eighteenth centuries and the struggle to find ways to do the same with the Internet today.~{ See Johns, The Nature of the Book; Warner, The Letters of the Republic. }~ +={printing press} + +Connexions is, in many ways, understood by its practitioners to be both a response to the changing relations of knowledge and power, ,{[pg 280]}, one that reaffirms the fundamental values of academic freedom and the circulation of knowledge, and also an experiment with, even a radicalization of, the ideals of both Free Software and Mertonian science. The transformation of the meaning of publication implies a fundamental shift in the status, in the finality of knowledge. It seeks to make of knowledge (knowledge in print, not in minds) something living and constantly changing, as opposed to something static and final. The fact that publication no longer signifies finality—that is, no longer signifies a state of fixity that is assumed in theory (and frequently in practice) to account for a text’s reliability—has implications for how the text is used, reused, interpreted, valued, and trusted.~{ On fixity, see Eisenstein’s The Printing Press as an Agent of Change which cites McLuhan’s The Gutenberg Galaxy. The stability of texts is also questioned routinely by textual scholars, especially those who work with manuscripts and complicated varoria (for an excellent introduction, see Bornstein and Williams, Palimpsest). Michel Foucault’s "What Is an Author?" addresses a related but orthogonal problematic and is unconcerned with the relatively sober facts of a changing medium. }~ Whereas the traditional form of the book is the same across all printed versions or else follows an explicit practice of appearing in editions (complete with new prefaces and forewords), a Connexions document might very well look different from week to week or year to year.~{ A salient and recent point of comparison can be found in the form of Lawrence Lessig’s "second edition" of his book Code, which is titled Code: Version 2.0 (version is used in the title, but edition is used in the text). The first book was published in 1999 ("ancient history in Internet time"), and Lessig convinced the publisher to make it available as a wiki, a collaborative Web site which can be directly edited by anyone with access. The wiki was edited and updated by hordes of geeks, then "closed" and reedited into a second edition with a new preface. It is a particularly tightly controlled example of collaboration; although the wiki and the book were freely available, the modification and transformation of them did not amount to a simple free-for-all. Instead, Lessig leveraged his own authority, his authorial voice, and the power of Basic Books to create something that looks very much like a traditional second edition, although it was created by processes unimaginable ten years ago. }~ While a textbook might also change significantly to reflect the changing state of knowledge in a given field, it is an explicit goal of Connexions to allow this to happen "in real time," which is to say, to allow educators to update textbooks as fast as they do scientific knowledge.~{ The most familiar comparison is Wikipedia, which was started after Connexions, but grew far more quickly and dynamically, largely due to the ease of use of the system (a bone of some contention among the Connexions team). Wikipedia has come under assault primarily for being unreliable. The suspicion and fear that surround Wikipedia are similar to those that face Connexions, but in the case of Wikipedia entries, the commitment to openness is stubbornly meritocratic: any article can be edited by anyone at anytime, and it matters not how firmly one is identified as an expert by rank, title, degree, or experience—a twelve year old’s knowledge of the Peloponnesian War is given the same access and status as an eighty-year-old classicist’s. Articles are not owned by individuals, and ,{[pg 346]}, all work is pseudonymous and difficult to track. The range of quality is therefore great, and the mainstream press has focused largely on whether Wikipedia is more or less reliable than conventional encyclopedias, not on the process of knowledge production. See, for instance, George Johnson, "The Nitpicking of the Masses vs. the Authority of the Experts," New York Times, 3 January 2006, Late Edition—Final, F2; Robert McHenry, "The Faith-based Encyclopedia," TCS Daily, 15 November 2004, http://www.techcentralstation.com/111504A.html. }~ +={Merton, Robert:Mertonian norms;Connexions project:roles in;finality:fixity vs.;fixity} + +These implications are not lost on the Connexions team, but neither are they understood as goals or as having simple solutions. There is a certain immodest, perhaps even reckless, enthusiasm surrounding these implications, an enthusiasm that can take both polymath and transhumanist forms. For instance, the destabilization of the contemporary textbook-publishing system that Connexions represents is (according to Rich) a more accurate way to represent the connections between concepts than a linear textbook format. Connexions thus represents a use of technology as an intervention into an existing context of practice. The fact that Connexions could also render the reliability or trustworthiness of scholarly knowledge unstable is sometimes discussed as an inevitable outcome of technical change—something that the world at large, not Connexions, must learn to deal with. +={intervention, technology as;polymaths;transhumanism} + +To put it differently, the "goal" of Connexions was never to destroy publishing, but it has been structured by the same kind of imaginations of moral and technical order that pervade Free Software and the construction of the Internet. In this sense Rich, Brent, and others are geeks in the same sense as Free Software geeks: they ,{[pg 281]}, share a recursive public devoted to achieving a moral and technical order in which openness and modifiability are core values ("If we are successful, we will disappear"). The implication is that the existing model and infrastructure for the publication of textbooks is of a different moral and technical order, and thus that Connexions needs to innovate not only the technology (the source code or the openness of the system) or the legal arrangements (licenses) but also the very norms and forms of textbook writing itself (coordination and, eventually, a movement). If publication once implied the appearance of reliable, final texts—even if the knowledge therein could be routinely contested by writing more texts and reviews and critiques—Connexions implies the denaturalization of not knowledge per se, but of the process whereby that knowledge is stabilized and rendered reliable, trustworthy. +={Hendricks, Brent;geeks;communities:norms and+1;recursive public} + +A keyword for the transformation of textbook writing is community, as in the tagline of the Connexions project: "Sharing Knowledge and Building Communities." Building implies that such communities do not yet exist and that the technology will enable them; however, Connexions began with the assumption that there exist standard academic practices and norms of creating teaching materials. As a result, Connexions both enables these practices and norms, by facilitating a digital version of the textbook, and intervenes in them, by creating a different process for creating a textbook. Communities are both assumed and desired. Sometimes they are real (a group of DSP engineers, networked around Rich and others who work in his subspecialty), and sometimes they are imagined (as when in the process of grant writing we claim that the most important component of the success of the project is the "seeding" of scholarly communities). Communities, furthermore, are not audiences or consumers, and sometimes not even students or learners. They are imagined to be active, creative producers and users of teaching materials, whether for teaching or for the further creation of such materials. The structure of the community has little to do with issues of governance, solidarity, or pedagogy, and much more to do with a set of relationships that might obtain with respect to the creation of teaching materials—a community of collaborative production or collaborative debugging, as in the modulation of forms of coordination, modulated to include the activity of creating teaching materials. ,{[pg 282]}, +={norms:academic;coordination (component of Free Software):modulations of;Digital signal processing (DSP)} + +2~ Agency and Structure in Connexions +={Authorship+29;Connexions project:roles in+29;Roles, in Connexions+29} + +One of the most animated whiteboard conversations I remember having with Brent and Ross concerned difference between the possible "roles" that a Connexions user might occupy and the implications this could have for both the technical features of the system and the social norms that Connexions attempts to maintain and replicate. Most software systems are content to designate only "users," a generic name-and-password account that can be given a set of permissions (and which has behind it a long and robust tradition in computer-operating-system and security research). Users are users, even if they may have access to different programs and files. What Connexions needed was a way to designate that the same person might have two different exogenous roles: a user might be the author, but not the owner of the content, and vice versa. For instance, perhaps Rice University maintains the copyright for a work, but the author is credited for its creation. Such a situation—known, in legal terms, as "work for hire"—is routine in some universities and most corporations. So while the author is generally given the freedom and authority to create and modify the text as he or she sees fit, the university asserts copyright ownership in order to retain the right to commercially exploit the work. Such a situation is far from settled and is, of course, politically fraught, but the Connexions system, in order to be useful at all to anyone, needed to accommodate this fact. Taking an oppositional political stand would render the system useless in too many cases or cause it to become precisely the kind of authorless, creditless system as Wikipedia—a route not desired by many academics. In a perfectly open world all Connexions modules might each have identical authors and owners, but pragmatism demands that the two roles be kept separate. +={Hendricks, Brent+14;copyright:works for hire;credit+5;users, status in Connexions;Wikipedia (collaborative encyclopedia)} + +Furthermore, there are many people involved every day in the creation of academic work who are neither the author nor the owner: graduate students and undergraduates, research scientists, technicians, and others in the grand, contested, complex academic ecology. In some disciplines, all contributors may get authorship credit and some of them may even share ownership, but often many of those who do the work get mentioned only in acknowledgments, or not at all. Again, although the impulse of the creators of Connexions might be to level the playing field and allow only one kind of user, the fact of the matter is that academics simply would not use ,{[pg 283]}, such a system.~{ Again, a comparison with Wikipedia is apposite. Wikipedia is, morally speaking, and especially in the persona of its chief editor, Jimbo Wales, totally devoted to merit-based equality, with users getting no special designation beyond the amount and perceived quality of the material they contribute. Degrees or special positions of employment are anathema. It is a quintessentially American, anti-intellectual-fueled, Horatio Alger-style approach in which the slate is wiped clean and contributors are given a chance to prove themselves independent of background. Connexions, by contrast, draws specifically from the ranks of intellectuals or academics and seeks to replace the infrastructure of publishing. Wikipedia is interested only in creating a better encyclopedia. In this respect, it is transhumanist in character, attributing its distinctiveness and success to the advances in technology (the Internet, wiki, broadband connections, Google). Connexions on the other hand is more polymathic, devoted to intervening into the already complexly constituted organizational practice of scholarship and academia. }~ The need for a role such as "maintainer" (which might also include "editor"), which was different from author or owner, thus also presented itself. +={Connexions project:roles in} + +As Brent, Ross, and I stared at the whiteboard, the discovery of the need for multiple exogenous roles hit all of us in a kind of slow-motion shockwave. It was not simply that the content needed to have different labels attached to it to keep track of these people in a database—something deeper was at work: the law and the practice of authorship actually dictated, to a certain extent, what the software itself should look like. All of sudden, the questions were preformatted, so to speak, by the law and by certain kinds of practices that had been normalized and thus were nearly invisible: who should have permission to change what? Who will have permission to add or drop authors? Who will be allowed to make what changes, and who will have the legal right to do so and who the moral or customary right? What implications follow from the choices the designers make and the choices we present to authors or maintainers? +={permission+9} + +The Creative Commons licenses were key to revealing many of these questions. The licenses were in themselves modulations of Free Software licenses, but created with people like artists, musicians, scholars, and filmmakers in mind. Without them, the content in Connexions would be unlicensed, perhaps intended to be in the public domain, but ultimately governed by copyright statutes that provided no clear answers to any of these questions, as those statutes were designed to deal with older media and a different publication process. Using the Creative Commons licenses, on the other hand, meant that the situation of the content in Connexions became well-defined enough, in a legal sense, to be used as a constraint in defining the structure of the software system. The license itself provided the map of the territory by setting parameters for things such as distribution, modification, attribution, and even display, reading, or copying. +={attribution:copyright licensing and+3;Creative Commons+2;public domain:Creative Commons licenses and+2} + +For instance, when the author and owner are different, it is not at all obvious who should be given credit. Authors, especially academic authors, expect to be given credit (which is often all they get) for an article or a textbook they have written, yet universities often retain ownership of those textbooks, and ownership would seem to imply a legal right to be identified as both owner and author (e.g., Forrester Research reports or UNESCO reports, which hide the ,{[pg 284]}, identity of authors). In the absence of any licenses, such a scenario has no obvious solution or depends entirely on the specific context. However, the Creative Commons licenses specified the meaning of attribution and the requirement to maintain the copyright notice, thus outlining a procedure that gave the Connexions designers fixed constraints against which to measure how they would implement their system. +={authorship:ownership vs.+3} + +A positive result of such constraints is that they allow for a kind of institutional flexibility that would not otherwise be possible. Whether a university insists on expropriating copyright or allows scholars to keep their copyrights, both can use Connexions. Connexions is more "open" than traditional textbook publishing because it allows a greater number of heterogeneous contributors to participate, but it is also more "open" than something like Wikipedia, which is ideologically committed to a single definition of authorship and ownership (anonymous, reciprocally licensed collaborative creation by authors who are also the owners of their work). While Wikipedia makes such an ideological commitment, it cannot be used by institutions that have made the decision to operate as expropriators of content, or even in cases wherein authors willingly allow someone else to take credit. If authors and owners must be identical, then either the author is identified as the owner, which is illegal in some cases, or the owner is identified as the author, a situation no academic is willing to submit to. + +The need for multiple roles also revealed other peculiar and troubling problems, such as the issue of giving an "identity" to long-dead authors whose works are out of copyright. So, for instance, a piece by A. E. Housman was included as a module for a class, and while it is clear that Housman is the author, the work is no longer under copyright, so Housman is no longer the copyright holder (nor is the society which published it in 1921). Yet Connexions requires that a copyright be attached to each module to allow it to be licensed openly. This particular case, of a dead author, necessitated two interesting interventions. Someone has to actually create an account for Housman and also issue the work as an "edition" or derivative under a new copyright. In this case, the two other authors are Scott McGill and Christopher Kelty. A curious question arose in this context: should we be listed both as authors and owners (and maintainers), or only as owners and maintainers? And if someone uses the module in a new context (as they have the right to do, ,{[pg 285]}, under the license), will they be required to give attribution only to Housman, or also to McGill and Kelty as well? What rights to ownership do McGill and Kelty have over the digital version of the public-domain text by Housman?~{ An even more technical feature concerned the issue of the order of authorship. The designers at first decided to allow Connexions to simply display the authors in alphabetical order, a practice adopted by some disciplines, like computer science. However, in the case of the Housman example this resulted in what looked like a module authored principally by me, and only secondarily by A. E. Housman. And without the ability to explicitly designate order of authorship, many disciplines had no way to express their conventions along these lines. As a result, the system was redesigned to allow users to designate the order of authorship as well. }~ +={Housman, A. E.;McGill, Scott;public domain:literary texts in} + +The discussion of roles circulated fluidly across concepts like law (and legal licenses), norms, community, and identity. Brent and Ross and others involved had developed sophisticated imaginations of how Connexions would fit into the existing ecology of academia, constrained all the while by both standard goals, like usability and efficiency, and by novel legal licenses and concerns about the changing practices of authors and scholars. The question, for instance, of how a module can be used (technically, legally) is often confused with, or difficult to disentangle from, how a module should be used (technically, legally, or, more generally, "socially"—with usage shaped by the community who uses it). In order to make sense of this, Connexions programmers and participants like myself are prone to using the language of custom and norm, and the figure of community, as in "the customary norms of a scholarly community." +={communities:norms and} + +2~ From Law and Technology to Norm +={communities:norms and+20} + +The meaning of publication in Connexions and the questions about roles and their proper legal status emerged from the core concern with reuse, which is the primary modulation of Free Software that Connexions carries out: the modulation of the meaning of source code to include textbook writing. What makes source code such a central component of Free Software is the manner in which it is shared and transformed, not the technical features of any particular language or program. So the modulation of source code to include textbooks is not just an attempt to make textbooks exact, algorithmic, or digital, but an experiment in sharing textbook writing in a similar fashion. +={coordination (component of Free Software):modulations of+9;sharing source code (component of Free Software):modulations of;modifiability+3} + +This modulation also affects the other components: it creates a demand for openness in textbook creation and circulation; it demands new kinds of copyright licenses (the Creative Commons licenses); and it affects the meaning of coordination among scholars, ranging from explicit forms of collaboration and co-creation to the entire spectrum of uses and reuses that scholars normally make of their ,{[pg 286]}, peers’ works. It is this modulation of coordination that leads to the second core concern of Connexions: that of the existence of "norms" of scholarly creation, use, reuse, publication, and circulation. +={copyleft licenses (component of Free Software):modulations of|derivative uses and+7;openness (component of Free Software):modulations of;norms:coordination and} + +Since software programmers and engineers are prone to thinking about things in concrete, practical, and detailed ways, discussions of creation, use, and circulation are rarely conducted at the level of philosophical abstraction. They are carried out on whiteboards, using diagrams. +={figuring out+3} + +The whiteboard diagram transcribed in figure 8 was precipitated by a fairly precise question: "When is the reuse of something in a module (or of an entire module) governed by ‘academic norms’ and when is it subject to the legal constraints of the licenses?" For someone to quote a piece of text from one module in another is considered normal practice and thus shouldn’t involve concerns about legal rights and duties to fork the module (create a new modified version, perhaps containing only the section cited, which is something legal licenses explicitly allow). But what if someone borrows, say, all of the equations in a module about information theory and uses them to illustrate a very different point in a different module. Does he or she have either a normal or a legal right to do so? Should the equations be cited? What should that citation look like? What if the equations are particularly hard to mark-up in the MathML language and therefore represent a significant investment in time on the part of the original author? Should the law govern this activity, or should norms? +={forking:in Connexions+16;norms:academic+5} + +{ 2bits_09_08-100.png }image ~[* Whiteboard diagram: the cascade of reuse in Connexions. Conception by Ross Reedstrom, Brent Hendricks, and Christopher Kelty. Transcribed in the author’s fieldnotes, 2003. ]~ + +There is a natural tendency among geeks to answer these questions solely with respect to the law; it is, after all, highly codified and seemingly authoritative on such issues. However, there is often no need to engage the law, because of the presumed consensus ("academic norms") about how to proceed, even if those norms conflict with the law. But these norms are nowhere codified, and this makes geeks (and, increasingly, academics themselves) uneasy. As in the case of a requirement of attribution, the constraints of a written license are perceived to be much more stable and reliable than those of culture, precisely because culture is what remains contested and contestable. So the idea of creating a new "version" of a text is easier to understand when it is clearly circumscribed as a legally defined "derivative work." The Connexions software was therefore implemented in such a way that the legal right to create a derived work (to fork a module) could be done with the press of ,{[pg 287]}, a button: a distinct module is automatically created, and it retains the name of the original author and the original owner, but now also includes the new author’s name as author and maintainer. That new author can proceed to make any number of changes. +={attribution:copyright licenses and} + +But is forking always necessary? What if the derivative work contains only a few spelling corrections and slightly updated information? Why not change the existing module (where such changes would be more akin to issuing a new edition), rather than create a legally defined derivative work? Why not simply suggest the changes to the original author? Why not collaborate? While a legal license gives people the right to do all of these things without ever consulting the person who licensed it, there may well be occasions ,{[pg 288]}, when it makes much more sense to ignore those rights in favor of other norms. The answers to these questions depend a great deal on the kind and the intent of the reuse. A refined version of the whiteboard diagram, depicted in figure 9, attempts to capture the various kinds of reuse and their intersection with laws, norms, and technologies. +={collaboration:forking vs.+3;Copyleft licenses (component of Free Software):forking and} + +{ 2bits_09_09-100.png }image ~[* Whiteboard diagram transformed: forms of reuse in Connexions. Conception by Christopher Kelty, 2004. ]~ + +The center of the diagram contains a list of different kinds of imaginable reuses, arrayed from least interventionist at the top to most interventionist at the bottom, and it implies that as the intended transformations become more drastic, the likelihood of collaboration with the original author decreases. The arrow on the left indicates the legal path from cultural norms to protected fair uses; the arrow on the right indicates the technical path from built-in legal constraints based on the licenses to software tools that make collaboration (according to presumed scholarly norms) easier than the alternative (exercising the legal right to make a derivative work). With the benefit of hindsight, it seems that the arrows on either side should actually be a circle that connect laws, technologies, and norms in a chain of influence and constraint, since it is clear in retrospect that the norms of authorial practice have actually changed (or at least have been made explicit) based on the existence of licenses and the types of tools available (such as blogs and Wikipedia). +={experimentation+1;Wikipedia (collaborative encyclopedia)} + +The diagram can best be understood as a way of representing, to Connexions itself (and its funders), the experiment under way with the components of Free Software. By modulating source code to include the writing of scholarly textbooks, Connexions made visible the need for new copyright licenses appropriate to this content; by making the system Internet-based and relying on open standards such as XML and Open Source components, Connexions also modulated the concept of openness to include textbook publication; and by making the system possible as an open repository of freely licensed textbook modules, Connexions made visible the changed conditions of coordination, not just between two collaborating authors, but within the entire system of publication, citation, use, reuse, borrowing, building on, plagiarizing, copying, emulating, and so on. Such changes to coordination may or may not take hold. For many scholars, they pose an immodest challenge to a working system that has developed over centuries, but for others they represent the removal of arbitrary constraints that prevent ,{[pg 289]}, novel and innovative forms of knowledge creation and association rendered possible in the last thirty to forty years (and especially in the last ten). For some, these modulations might form the basis for a final modulation—a Free Textbooks movement—but as yet no such movement exists. +={Extensible Mark-up Language (XML);movement (component of Free Software):modulations of+2} + +In the case of shared software source code, one of the principal reasons for sharing it was to reuse it: to build on it, to link to it, to employ it in ways that made building more complex objects into an easier task. The very design philosophy of UNIX well articulates the necessity of modularity and reuse, and the idea is no less powerful in other areas, such as textbooks. But just as the reuse of software is not simply a feature of software’s technical characteristics, the idea of "reusing" scholarly materials implies all kinds of questions that are not simply questions of recombining texts. The ability to share source code—and the ability to create complex software based on it—requires modulations of both the legal meaning of software, as in the case of EMACS, and the organizational form, as in the ,{[pg 290]}, emergence of Free Software projects other than the Free Software Foundation (the Linux kernel, Perl, Apache, etc.). +={Free Software Foundation+1;textbooks:model in Connexions+1} + +In the case of textbook reuse (but only after Free Software), the technical and the legal problems that Connexions addresses are relatively well specified: what software to use, whether to use XML, the need for an excellent user interface, and so on. However, the organizational, cultural, or practical meaning of reuse is not yet entirely clear (a point made by figures 8 and 9). In many ways, the recognition that there are cultural norms among academics mirrors the (re)discovery of norms and ethics among Free Software hackers.~{ I refer here to Eric Raymond’s "discovery" that hackers possess unstated norms that govern what they do, in addition to the legal licenses and technical practices they engage in (see Raymond, "Homesteading the Noosphere"). For a critique and background on hacker ethics and norms, see Coleman, "The Social Construction of Freedom." }~ But the label "cultural norms" is a mere catch-all for a problem that is probably better understood as a mixture of concrete technical, organizational, and legal questions and as more or less abstract social imaginaries through which a particular kind of material order is understood and pursued—the creation of a recursive public. How do programmers, lawyers, engineers, and Free Software advocates (and anthropologists) "figure out" how norms work? How do they figure out ways to operationalize or make use of them? How do they figure out how to change them? How do they figure out how to create new norms? They do so through the modulations of existing practices, guided by imaginaries of moral and technical order. Connexions does not tend toward becoming Free Software, but it does tend toward becoming a recursive public with respect to textbooks, education, and the publication of pedagogical techniques and knowledge. The problematic of creating an independent, autonomous public is thus the subterranean ground of both Free Software and Connexions. +={figuring out;norms:cultural|practices and technology vs.+8;practices:norms vs.+8;recursive public;public:autotelic and independent:see also recursive public} + +To some extent, then, the matter of reuse raises a host of questions about the borders and boundaries in and of academia. Brent, Ross, and I assumed at the outset that communities have both borders and norms, and that the two are related. But, as it turns out, this is not a safe assumption. At neither the technical nor the legal level is the use of the software restricted to academics—indeed, there is no feasible way to do that and still offer it on the Internet—nor does anyone involved wish it to be so restricted. However, there is an implicit sense that the people who will contribute content will primarily be academics and educators (just as Free Software participants are expected, but not required to be programmers). As figure 9 makes clear, there may well be tremendous variation in the kinds of reuse that people wish to make, even within academia. ,{[pg 291]}, Scholars in the humanities, for instance, are loath to even imagine others creating derivative works with articles they have written and can envision their work being used only in the conventional manner of being read, cited, and critiqued. Scholars in engineering, biology, or computer science, on the other hand, may well take pleasure in the idea or act of reuse, if it is adequately understood to be a "scientific result" or a suitably stable concept on which to build.~{ Bruno Latour’s Science in Action makes a strong case for the centrality of "black boxes" in science and engineering for precisely this reason. }~ Reuse can have a range of different meanings depending not only on whether it is used by scholars or academics, but within that heterogeneous group itself. +={Hendricks, Brent;Reedstrom, Ross;Copyleft licenses (component of Free Software):derivative uses and} + +The Connexions software does not, however, enforce disciplinary differences. If anything it makes very strong and troubling claims that knowledge is knowledge and that disciplinary constraints are arbitrary. Thus, for instance, if a biologist wishes to transform a literary scholar’s article on Darwin’s tropes to make it reflect current evolutionary theory, he or she could do so; it is entirely possible, both legally and technically. The literary scholar could react in a number of ways, including outrage that the biologist has misread or misunderstood the work or pleasure in seeing the work refined. Connexions adheres rigorously to its ideas of openness in this regard; it neither encourages nor censures such behavior. +={modifiability:relation of different disciplines to} + +By contrast, as figure 9 suggests, the relationship between these two scholars can be governed either by the legal specification of rights contained in the licenses (a privately ordered legal regime dependent on a national-cum-global statutory regime) or by the customary means of collaboration enabled, perhaps enhanced, by software tools. The former is the domain of the state, the legal profession, and a moral and technical order that, for lack of a better word, might be called modernity. The latter, however, is the domain of the cultural, the informal, the practical, the interpersonal; it is the domain of ethics (prior to its modernization, perhaps) and of tradition. +={modernity:tradition and+1;moral and technical order} + +If figure 9 is a recapitulation of modernity and tradition (what better role for an anthropologist to play!), then the presumptive boundaries around "communities" define which groups possess which norms. But the very design of Connexions—its technical and legal exactitude—immediately brings a potentially huge variety of traditions into conflict with one another. Can the biologist and the literary scholar be expected to occupy the same universe of norms? Does the fact of being academics, employees of a university, ,{[pg 292]}, or readers of Darwin ensure this sharing of norms? How are the boundaries policed and the norms communicated and reinforced? +={norms+4:existence of+4} + +The problem of reuse therefore raises a much broader and more complex question: do norms actually exist? In particular, do they exist independent of the particular technical, legal, or organizational practice in which groups of people exist—outside the coordinated infrastructure of scholarship and science? And if Connexions raises this question, can the same question not also be asked of the elaborate system of professions, disciplines, and organizations that coordinate the scholarship of different communities? Are these norms, or are they "technical" and "legal" practices? What difference does formalization make? What difference does bureaucratization make?~{ I should note, in my defense, that my efforts to get my informants to read Max Weber, Ferdinand Tönnies, Henry Maine, or Emile Durkheim ,{[pg 347]}, proved far less successful than my creation of nice Adobe Illustrator diagrams that made explicit the reemergence of issues addressed a century ago. It was not for lack of trying, however. }~ + +The question can also be posed this way: should norms be understood as historically changing constructs or as natural features of human behavior (regular patterns, or conventions, which emerge inevitably wherever human beings interact). Are they a feature of changing institutions, laws, and technologies, or do they form and persist in the same way wherever people congregate? Are norms features of a "calculative agency," as Michael Callon puts it, or are they features of the evolved human mind, as Marc Hauser argues?~{ Callon, The Laws of the Markets; Hauser, Moral Minds. }~ +={norms+4:evolution and+2} + +The answer that my informants give, in practice, concerning the mode of existence of cultural norms is neither. On the one hand, in the Connexions project the question of the mode of existence of academic norms is unanswered; the basic assumption is that certain actions are captured and constrained neither by legal constraints nor technical barriers, and that it takes people who know or study "communities" (i.e., nonlegal and nontechnical constraints) to figure out what those actions may be. On some days, the project is modestly understood to enable academics to do what they do faster and better, but without fundamentally changing anything about the practice, institutions, or legal relations; on other days, however, it is a radically transformative project, changing how people think about creating scholarly work, a project that requires educating people and potentially "changing the culture" of scholarly work, including its technology, its legal relations, and its practices. +={norms:cultural+1} + +In stark contrast (despite the very large degree of simpatico), the principal members of Creative Commons answer the question of the existence of norms quite differently than do those in Connexions: ,{[pg 293]}, they assert that norms not only change but are manipulated and/or channeled by the modulation of technical and legal practices (this is the novel version of law and economics that Creative Commons is founded on). Such an assertion leaves very little for norms or for culture; there may be a deep evolutionary role for rule following or for choosing socially sanctioned behavior over socially unacceptable behavior, but the real action happens in the legal and technical domains. In Creative Commons the question of the existence of norms is answered firmly in the phrase coined by Glenn Brown: "punt to culture." For Creative Commons, norms are a prelegal and pretechnical substrate upon which the licenses they create operate. Norms must exist for the strategy employed in the licenses to make sense—as the following story illustrates. +={Brown, Glen Otis;norms:channeling by legal means} + +2~ On the Nonexistence of Norms in the Culture of No Culture +={culture:punting to+24} + +More than once, I have found myself on the telephone with Glenn Brown, staring at notes, a diagram, or some inscrutable collection of legalese. Usually, the conversations wander from fine legal points to music and Texas politics to Glenn’s travels around the globe. They are often precipitated by some previous conversation and by Glenn’s need to remind himself (and me) what we are in the middle of creating. Or destroying. His are never simple questions. While the Connexions project started with a repository of scholarly content in need of a license, Creative Commons started with licenses in need of particular kinds of content. But both projects required participants to delve into the details of both licenses and the structure of digital content, which qualified me, for both projects, as the intermediary who could help explore these intersections. My phone conversations with Glenn, then, were much like the whiteboard conversations at Connexions: filled with a mix of technical and legal terminology, and conducted largely in order to give Glenn the sense that he had cross-checked his plans with someone presumed to know better. I can’t count the number of times I have hung up the phone or left the conference room wondering, "Have I just sanctioned something mad?" Yet rarely have I felt that my interventions served to do more than confirm suspicions or derail already unstable arguments. ,{[pg 294]}, +={Brown, Glen Otis+23} + +In one particular conversation—the "punt to culture" conversation—I found myself bewildered by a sudden understanding of the process of writing legal licenses and of the particular assumptions about human behavior that need to be present in order to imagine creating these licenses or ensuring that they will be beneficial to the people who will use them. + +These discussions (which often included other lawyers) happened in a kind of hypothetical space of legal imagination, a space highly structured by legal concepts, statutes, and precedents, and one extraordinarily carefully attuned to the fine details of semantics. A core aspect of operating within this imagination is the distinction between law as an abstract semantic entity and law as a practical fact that people may or may not deal with. To be sure, not all lawyers operate this way, but the warrant for thinking this way comes from no less eminent an authority than Oliver Wendell Holmes, for whom the "Path of Law" was always from practice to abstract rule, and not the reverse.~{ Oliver Wendell Holmes, "The Path of Law." }~ The opposition is unstable, but I highlight it here because it was frequently used as a strategy for constructing precise legal language. The ability to imagine the difference between an abstract rule designating legality and a rule encountered in practice was a first step toward seeing how the language of the rule should be constructed. +={Holmes, Oliver Wendell} + +I helped write, read, and think about the first of the Creative Commons licenses, and it was through this experience that I came to understand how the crafting of legal language works, and in particular how the mode of existence of cultural or social norms relates to the crafting of legal language. Creative Commons licenses are not a familiar legal entity, however. They are modulations of the Free Software license, but they differ in important ways. +={Copyleft licenses (component of Free Software):Creative Commons version+20;Creative Commons:writing of licenses+20;participant observation:writing copyright licenses as+20} + +The Creative Commons licenses allow authors to grant the use of their work in about a dozen different ways—that is, the license itself comes in versions. One can, for instance, require attribution, prohibit commercial exploitation, allow derivative or modified works to be made and circulated, or some combination of all these. These different combinations actually create different licenses, each of which grants intellectual-property rights under slightly different conditions. For example, say Marshall Sahlins decides to write a paper about how the Internet is cultural; he copyrights the paper ("© 2004 Marshall Sahlins"), he requires that any use of it or any copies of it maintain the copyright notice and the attribution of ,{[pg 295]}, authorship (these can be different), and he furthermore allows for commercial use of the paper. It would then be legal for a publishing house to take the paper off Sahlins’s Linux-based Web server and publish it in a collection without having to ask permission, as long as the paper remains unchanged and he is clearly and unambiguously listed as author of the paper. The publishing house would not get any rights to the work, and Sahlins would not get any royalties. If he had specified noncommercial use, the publisher would instead have needed to contact him and arrange for a separate license (Creative Commons licenses are nonexclusive), under which he could demand some share of revenue and his name on the cover of the book.~{ In December 2006 Creative Commons announced a set of licenses that facilitate the "follow up" licensing of a work, especially one initially issued under a noncommercial license. }~ But say he was, instead, a young scholar seeking only peer recognition and approbation—then royalties would be secondary to maximum circulation. Creative Commons allows authors to assert, as its members put it, "some rights reserved" or even "no rights reserved." +={intellectual property:strategy and+16;Sahlins, Marshall+2;Copyleft licenses (component of Free Software):derivative uses and+2|disavowal clause in+6;attribution:dissavowal of+6;credit+6:see also attribution} + +But what if Sahlins had chosen a license that allowed modification of his work. This would mean that I, Christopher Kelty, whether in agreement with or in objection to his work, could download the paper, rewrite large sections of it, add in my own baroque and idiosyncratic scholarship, and write a section that purports to debunk (or, what could amount to the same, augment) Sahlins’s arguments. I would then be legally entitled to re-release the paper as "© 2004 Marshall Sahlins, with modifications © 2007 Christopher Kelty," so long as Sahlins is identified as the author of the paper. The nature or extent of the modifications is not legally restricted, but both the original and the modified version would be legally attributed to Sahlins (even though he would own only the first paper). + +In the course of a number of e-mails, chat sessions, and phone conversations with Glenn, I raised this example and proposed that the licenses needed a way to account for it, since it seemed to me entirely possible that were I to produce a modified work that so distorted Sahlins’s original argument that he did not want to be associated with the modified paper, then he should have the right also to repudiate his identification as author. Sahlins should, legally speaking, be able to ask me to remove his name from all subsequent versions of my misrepresentation, thus clearing his good name and providing me the freedom to continue sullying mine into obscurity. After hashing it out with the expensive Palo Alto legal firm that was officially drafting the licenses, we came up with text that said: ,{[pg 296]}, "If You create a Derivative Work, upon notice from any Licensor You must, to the extent practicable, remove from the Derivative Work any reference to such Licensor or the Original Author, as requested." +={norms:academic+5} + +The bulk of our discussion centered around the need for the phrase, "to the extent practicable." Glenn asked me, "How is the original author supposed to monitor all the possible uses of her name? How will she enforce this clause? Isn’t it going to be difficult to remove the name from every copy?" Glenn was imagining a situation of strict adherence, one in which the presence of the name on the paper was the same as the reputation of the individual, regardless of who actually read it. On this theory, until all traces of the author’s name were expunged from each of these teratomata circulating in the world, there could be no peace, and no rest for the wronged. + +I paused, then gave the kind of sigh meant to imply that I had come to my hard-won understandings of culture through arduous dissertation research: "It probably won’t need to be strictly enforced in all cases—only in the significant ones. Scholars tend to respond to each other only in very circumscribed cases, by writing letters to the editor or by sending responses or rebuttals to the journal that published the work. It takes a lot of work to really police a reputation, and it differs from discipline to discipline. Sometimes, drastic action might be needed, usually not. There is so much misuse and abuse of people’s arguments and work going on all the time that people only react when they are directly confronted with serious abuses. And even so, it is only in cases of negative criticism or misuse that people need respond. When a scholar uses someone’s work approvingly, but incorrectly, it is usually considered petulant (at best) to correct them publicly." + +"In short," I said, leaning back in my chair and acting the part of expert, "it’s like, you know, c’mon—it isn’t all law, there are a bunch of, you know, informal rules of civility and stuff that govern that sort of thing." + +Then Glenn said., "Oh, okay, well that’s when we punt to culture." + +When I heard this phrase, I leaned too far back and fell over, joyfully stunned. Glenn had managed to capture what no amount of fieldwork, with however many subjects, could have. Some combination of American football, a twist of Hobbes or Holmes, and a lived understanding of what exactly these copyright licenses are ,{[pg 297]}, meant to achieve gave this phrase a luminosity I usually associate only with Balinese cock-fights. It encapsulated, almost as a slogan, a very precise explanation of what Creative Commons had undertaken. It was not a theory Glenn proposed with this phrase, but a strategy in which a particular, if vague, theory of culture played a role. +={culture:Creative Commons version of+12} + +For those unfamiliar, a bit of background on U.S. football may help. When two teams square off on the football field, the offensive team gets four attempts, called "downs," to move the ball either ten yards forward or into the end zone for a score. The first three downs usually involve one of two strategies: run or pass, run or pass. On the fourth down, however, the offensive team must either "go for it" (run or pass), kick a field goal (if close enough to the end zone), or "punt" the ball to the other team. Punting is a somewhat disappointing option, because it means giving up possession of the ball to the other team, but it has the advantage of putting the other team as far back on the playing field as possible, thus decreasing its likelihood of scoring. + +To "punt to culture," then, suggests that copyright licenses try three times to legally restrict what a user or consumer of a work can make of it. By using the existing federal intellectual-property laws and the rules of license and contract writing, copyright licenses articulate to people what they can and cannot do with that work according to law. While the licenses do not (they cannot) force people, in any tangible sense, to do one thing or another, they can use the language of law and contract to warn people, and perhaps obliquely, to threaten them. If the licenses end up silent on a point—if there is no "score," to continue the analogy—then it’s time to punt to culture. Rather than make more law, or call in the police, the license strategy relies on culture to fill in the gaps with people’s own understandings of what is right and wrong, beyond the law. It operationalizes a theory of culture, a theory that emphasizes the sovereignty of nonstate customs and the diversity of systems of cultural norms. Creative Commons would prefer that its licenses remain legally minimalist. It would much prefer to assume—indeed, the licenses implicitly require—the robust, powerful existence of this multifarious, hetero-physiognomic, and formidable opponent to the law with neither uniform nor mascot, hunched at the far end of the field, preparing to, so to speak, clean law’s clock. ,{[pg 298]}, +={norms:cultural} + +Creative Commons’s "culture" thus seems to be a somewhat vague mixture of many familiar theories. Culture is an unspecified but finely articulated set of given, evolved, designed, informal, practiced, habitual, local, social, civil, or historical norms that are expected to govern the behavior of individuals in the absence of a state, a court, a king, or a police force, at one of any number of scales. It is not monolithic (indeed, my self-assured explanation concerned only the norms of "academia"), but assumes a diversity beyond enumeration. It employs elements of relativism—any culture should be able to trump the legal rules. It is not a hereditary biological theory, but one that assumes historical contingency and arbitrary structures. +={norms:channeling by legal means+6} + +Certainly, whatever culture is, it is separate from law. Law is, to borrow Sharon Traweek’s famous phrase, "a culture of no culture" in this sense. It is not the cultural and normative practices of legal scholars, judges, lawyers, legislators, and lobbyists that determine what laws will look like, but their careful, expert, noncultural ratiocination. In this sense, punting to culture implies that laws are the result of human design, whereas culture is the result of human action, but not of human design. Law is systematic and tractable; culture may have a deep structure, but it is intractable to human design. It can, however, be channeled and tracked, nudged or guided, by law. +={Traweek, Sharon;culture:law vs.+3} + +Thus, Lawrence Lessig, one of the founders of Creative Commons has written extensively about the "regulation of social meaning," using cases such as those involving the use or nonuse of seatbelts or whether or not to allow smoking in public places. The decision not to wear a seatbelt, for instance, may have much more to do with the contextual meaning of putting on a seatbelt (don’t you trust the cab driver?) than with either the existence of the seatbelt (or automatic seatbelts, for that matter) or with laws demanding their use. According to Lessig, the best law can do in the face of custom is to change the meaning of wearing the seatbelt: to give the refusal a dishonorable rather than an honorable meaning. Creative Commons licenses are based on a similar assumption: the law is relatively powerless in the face of entrenched academic or artistic customs, and so the best the licenses can do is channel the meaning of sharing and reuse, of copyright control or infringement. As Glenn explained in the context of a discussion about a license that would allow music sampling. ,{[pg 299]}, +={Lessig, Lawrence:law and economics and;meaning, regulation through law;music+3;sampling, musical+3} + +_1 We anticipate that the phrase "as appropriate to the medium, genre, and market niche" might prompt some anxiety, as it leaves things relatively undefined. But there’s more method here than you might expect: The definition of "sampling" or "collage" varies across different media. Rather than try to define all possible scenarios (including ones that haven’t happened yet)—which would have the effect of restricting the types of re-uses to a limited set—we took the more laissez faire approach. + +_1 This sort of deference to community values—think of it as "punting to culture"—is very common in everyday business and contract law. The idea is that when lawyers have trouble defining the specialized terms of certain subcultures, they should get out of the way and let those subcultures work them out. It’s probably not a surprise Creative Commons likes this sort of notion a lot.~{ Message from the cc-sampling mailing list, Glenn Brown, Subject: BACKGROUND: "AS APPROPRIATE TO THE MEDIUM, GENRE, AND MARKET NICHE," 23 May 2003, http://lists.ibiblio.org/pipermail/cc-sampling/2003-May/000004.html. }~ + +As in the case of reuse in Connexions, sampling in the music world can imply a number of different, perhaps overlapping, customary meanings of what is acceptable and what is not. For Connexions, the trick was to differentiate the cases wherein collaboration should be encouraged from the cases wherein the legal right to "sample"—to fork or to create a derived work—was the appropriate course of action. For Creative Commons, the very structure of the licenses attempts to capture this distinction as such and to allow for individuals to make determinations about the meaning of sampling themselves.~{ Sampling offers a particularly clear example of how Creative Commons differs from the existing practice and infrastructure of music creation and intellectual-property law. The music industry has actually long recognized the fact of sampling as something musicians do and has attempted to deal with it by making it an explicit economic practice; the music industry thus encourages sampling by facilitating the sale between labels and artists of rights to make a sample. Record companies will negotiate prices, lengths, quality, and quantity of sampling and settle on a price.
This practice is set opposite the assumption, also codified in law, that the public has a right to a fair use of copyrighted material without payment or permission. Sampling a piece of music might seem to fall into this category of use, except that one of the tests of fair use is that the use not impact any existing market for such uses, and the fact that the music industry has effectively created a market for the buying and selling of samples means that sampling now routinely falls outside the fair uses codified in the statute, thus removing sampling from the domain of fair use. Creative Commons licenses, on the other hand, say that owners should be able to designate their material as "sample-able," to give permission ahead of time, and by this practice to encourage others to do the same. They give an "honorable" meaning to the practice of sampling for free, rather than the dishonorable one created by the industry. It thus becomes a war over the meaning of norms, in the law-and-economics language of Creative Commons and its founders. }~ + +At stake, then, is the construction of both technologies and legal licenses that, as Brent and Rich would assert, "make it easy for users to do the right thing." The "right thing," however, is precisely what goes unstated: the moral and technical order that guides the design of both licenses and tools. Connexions users are given tools that facilitate citation, acknowledgment, attribution, and certain kinds of reuse instead of tools that privilege anonymity or facilitate proliferation or encourage nonreciprocal collaborations. By the same token, Creative Commons licenses, while legally binding, are created with the aim of changing norms: they promote attribution and citation; they promote fair use and clearly designated uses; they are written to give users flexibility to decide what kinds of things should be allowed and what kinds shouldn’t. Without a doubt, the "right thing" is right for some people and not for others—and it is thus political. But the criteria for what is right are not ,{[pg 300]}, merely political; the criteria are what constitute the affinity of these geeks in the first place, what makes them a recursive public. They see in these instruments the possibility for the creation of authentic publics whose role is to stand outside power, outside markets, and to participate in sovereignty, and through this participation to produce liberty without sacrificing stability. +={Baraniuk, Richard;Hendricks, Brent;affinity (of geeks);fair use;moral and technical order;recursive public} + +2~ Conclusion + +What happens when geeks modulate the practices that make up Free Software? What is the intuition or the cultural significance of Free Software that makes people want to emulate and modulate it? Creative Commons and Connexions modulate the practices of Free Software and extend them in new ways. They change the meaning of shared source code to include shared nonsoftware, and they try to apply the practices of license writing, coordination, and openness to new domains. At one level, such an activity is fascinating simply because of what it reveals: in the case of Connexions, it reveals the problem of determining the finality of a work. How should the authority, stability, and reliability of knowledge be assessed when work can be rendered permanently modifiable? It is an activity that reveals the complexity of the system of authorization and evaluation that has been built in the past. + +The intuition that Connexions and Creative Commons draw from Free Software is an intuition about the authority of knowledge, about a reorientation of knowledge and power that demands a response. That response needs to be technical and legal, to be sure, but it also needs to be public—a response that defines the meaning of finality publicly and openly and makes modifiability an irreversible aspect of the process of stabilizing knowledge. Such a commitment is incompatible with the provision of stable knowledge by unaccountable private parties, whether individuals or corporations or governments, or by technical fiat. There must always remain the possibility that someone can question, change, reuse, and modify according to their needs. + +1~conclusion Conclusion + +% ,{[pg 301]}, + +2~ The Cultural Consequences of Free Software + +Free Software is changing. In all aspects it looks very different from when I started, and in many ways the Free Software described herein is not the Free Software readers will encounter if they turn to the Internet to find it. But how could it be otherwise? If the argument I make in Two Bits is at all correct, then modulation must constantly be occurring, for experimentation never seeks its own conclusion. A question remains, though: in changing, does Free Software and its kin preserve the imagination of moral and technical order that created it? Is the recursive public something that survives, orders, or makes sense of these changes? Does Free Software exist for more than its own sake? +={modulation:of Free Software+5;moral and technical order} + +In Two Bits I have explored not only the history of Free Software but also the question of where such future changes will have come ,{[pg 302]}, from. I argue for seeing continuity in certain practices of everyday life precisely because the Internet and Free Software pervade everyday life to a remarkable, and growing, degree. Every day, from here to there, new projects and ideas and tools and goals emerge everywhere out of the practices that I trace through Free Software: Connexions and Creative Commons, open access, Open Source synthetic biology, free culture, access to knowledge (a2k), open cola, open movies, science commons, open business, Open Source yoga, Open Source democracy, open educational resources, the One Laptop Per Child project, to say nothing of the proliferation of wiki-everything or the "peer production" of scientific data or consumer services—all new responses to a widely felt reorientation of knowledge and power.~{ See http://cnx.org, http://www.creativecommons.org, http://www.earlham.edu/~peters/fos/overview.htm, http://www.biobricks.org, http://www.freebeer.org, http://freeculture.org, http://www.cptech.org/a2k, ,{[pg 348]}, http://www.colawp.com/colas/400/cola467_recipe.html, http://www.elephantsdream.org, http://www.sciencecommons.org, http://www.plos.org, http://www.openbusiness.cc, http://www.yogaunity.org, http://osdproject.com, http://www.hewlett.org/Programs/Education/oer/, and http://olpc.com. }~ How is one to know the difference between all these things? How is one to understand the cultural significance and consequence of them? Can one distinguish between projects that promote a form of public sphere that can direct the actions of our society versus those that favor corporate, individual, or hierarchical control over decision making? +={practices+2:five components of Free Software+2;public+5:see also recursive public+5;reorientation of power and knowledge+19} + +Often the first response to such emerging projects is to focus on the promises and ideology of the people involved. On the one hand, claiming to be open or free or public or democratic is something nearly everyone does (including unlikely candidates such as the defense intelligence agencies of the United States), and one should therefore be suspicious and critical of all such claims.~{ See Clive Thompson, "Open Source Spying," New York Times Magazine, 3 December 2006, 54. }~ While such arguments and ideological claims are important, it would be a grave mistake to focus only on these statements. The "movement"—the ideological, critical, or promissory aspect—is just one component of Free Software and, indeed, the one that has come last, after the other practices were figured out and made legible, replicable, and modifiable. On the other hand, it is easy for geeks and Free Software advocates to denounce emerging projects, to say, "But that isn’t really Open Source or Free Software." And while it may be tempting to fix the definition of Free Software once and for all in order to ensure a clear dividing line between the true sons and the carpetbaggers, to do so would reduce Free Software to mere repetition without difference, would sacrifice its most powerful and distinctive attribute: its responsive, emergent, public character. + +But what questions should one ask? Where should scholars or curious onlookers focus their attention in order to see whether or not a recursive public is at work? Many of these questions are simple, ,{[pg 303]}, practical ones: are software and networks involved at any level? Do the participants claim to understand Free Software or Open Source, either in their details or as an inspiration? Is intellectual-property law a key problem? Are participants trying to coordinate each other through the Internet, and are they trying to take advantage of voluntary, self-directed contributions of some kind? More specifically, are participants modulating one of these practices? Are they thinking about something in terms of source code, or source and binary? Are they changing or creating new forms of licenses, contracts, or privately ordered legal arrangements? Are they experimenting with forms of coordinating the voluntary actions of large numbers of unevenly distributed people? Are the people who are contributing aware of or actively pursuing questions of ideology, distinction, movement, or opposition? Are these practices recognized as something that creates the possibility for affinity, rather than simply arcane "technical" practices that are too complex to understand or appreciate? +={affinity (of geeks)+2} + +In the last few years, talk of "social software" or "Web 2.0" has dominated the circuit of geek and entrepreneur conferences and discussions: Wikipedia, MySpace, Flickr, and YouTube, for example. For instance, there are scores and scores of "social" music sites, with collaborative rating, music sharing, music discovery, and so forth. Many of these directly use or take inspiration from Free Software. For all of them, intellectual property is a central and dominating concern. Key to their novelty is the leveraging and coordinating of massive numbers of people along restricted lines (i.e., music preferences that guide music discovery). Some even advocate or lobby for free(er) access to digital music. But they are not (yet) what I would identify as recursive publics: most of them are commercial entities whose structure and technical specifications are closely guarded and not open to modification. While some such entities may deal in freely licensed content (for instance, Creative Commons-licensed music), few are interested in allowing strangers to participate in, modulate, or modify the system as such; they are interested in allowing users to become consumers in more and more sophisticated ways, and not necessarily in facilitating a public culture of music. They want information and knowledge to be free, to be sure, but not necessarily the infrastructure that makes that information available and knowledge possible. Such entities lack the "recursive" commitment. ,{[pg 304]}, +={music:recursive public and} + +By contrast, some corners of the open-access movement are more likely to meet this criteria. As the appellation suggests, participants see it as a movement, not a corporate or state entity, a movement founded on practices of copyleft and the modulation of Free Software licensing ideas. The use of scientific data and the tools for making sense of open access are very often at the heart of controversy in science (a point often reiterated by science and technology studies), and so there is often an argument about not only the availability of data but its reuse, modification, and modulation as well. Projects like the BioBricks Foundation (biobricks.org) and new organizations like the Public Library of Science (plos.org) are committed to both availability and certain forms of collective modification. The commitment to becoming a recursive public, however, raises unprecedented issues about the nature of quality, reliability, and finality of scientific data and results—questions that will reverberate throughout the sciences as a result. +={movement (component of Free Software):modulations of;open access:recursive public and} + +Farther afield, questions of "traditional heritage" claims, the compulsory licensing of pharmaceuticals, or new forms of "crowdsourcing" in labor markets are also open to analysis in the terms I offer in Two Bits.~{ See especially Christen, "Tracking Properness" and "Gone Digital"; Brown, Who Owns Native Culture? and "Heritage as Property." Crowdsourcing fits into other novel forms of labor arrangements, ranging from conventional outsourcing and off-shoring to newer forms of bodyshopping and "virtual migration" (see Aneesh, Virtual Migration; Xiang, "Global Bodyshopping" ). }~ Virtual worlds like Second Life, "a 3D digital world imagined, created, and owned by its residents," are increasingly laboratories for precisely the kinds of questions raised here: such worlds are far less virtual than most people realize, and the experiments conducted there far more likely to migrate into the so-called real world before we know it—including both economic and democratic experiments.~{ Golub, "Copyright and Taboo"; Dibbell, Play Money. }~ How far will Second Life go in facilitating a recursive public sphere? Can it survive both as a corporation and as a "world"? And of course, there is the question of the "blogosphere" as a public sphere, as a space of opinion and discussion that is radically open to the voices of massive numbers of people. Blogging gives the lie to conventional journalism’s self-image as the public sphere, but it is by no means immune to the same kinds of problematic dynamics and polarizations, no more "rational-critical" than FOX News, and yet . . . +={blogosphere, as recursive public;Second Life, as recursive public} + +Such examples should indicate the degree to which Two Bits is focused on a much longer time span than simply the last couple of years and on much broader issues of political legitimacy and cultural change. Rather than offer immediate policy prescriptions or seek to change the way people think about an issue, I have approached ,{[pg 305]}, Two Bits as a work of history and anthropology, making it less immediately applicable in the hopes that it is more lastingly usable. The stories I have told reach back at least forty years, if not longer. While it is clear that the Internet as most people know it is only ten to fifteen years old, it has been "in preparation" since at least the late 1950s. Students in my classes—especially hip geeks deep in Free Software apprenticeship—are bewildered to learn that the arguments and usable pasts they are rehearsing are refinements and riffs on stories that are as old or older than their parents. This deeper stability is where the cultural significance of Free Software lies: what difference does Free Software today introduce with respect to knowledge and power yesterday? +={cultural significance;legitimacy, circulation of knowledge and+6} + +Free Software is a response to a problem, in much the same way that the Royal Society in the sixteenth century, the emergence of a publishing industry in the eighteenth century, and the institutions of the public sphere in the eighteenth and nineteenth centuries were responses. They responded to the collective challenge of creating regimes of governance that required—and encouraged—reliable empirical knowledge as a basis for their political legitimacy. Such political legitimacy is not an eternal or theoretical problem; it is a problem of constant real-world practice in creating the infrastructures by which individuals come to inhabit and understand their own governance, whether by states, corporations, or machines. If power seeks consent of the governed—and especially the consent of the democratic, self-governing kind that has become the global dominant ideal since the seventeenth century—it must also seek to ensure the stability and reliability of the knowledge on which that consent is propped. +={public sphere:recursive public vs.+4:see also public, recursive public+4} + +Debates about the nature and history of publics and public spheres have served as one of the main arenas for this kind of questioning, but, as I hope I have shown here, it is a question not only of public spheres but of practices, technologies, laws, and movements, of going concerns which undergo modulation and experimentation in accord with a social imagination of order both moral and technical. "Recursive public" as a concept is not meant to replace that of public sphere. I intend neither for actors nor really for many scholars to find it generally applicable. I would not want to see it suddenly discovered everywhere, but principally in tracking the transformation, proliferation, and differentiation of Free Software and its derivatives. ,{[pg 306]}, +={social imaginary} + +Several threads from the three parts of Two Bits can now be tied together. The detailed descriptions of Free Software and its modulations should make clear that (1) the reason the Internet looks the way it does is due to the work of figuring out Free Software, both before and after it was recognized as such; (2) neither the Internet nor the computer is the cause of a reorientation of knowledge and power, but both are tools that render possible modulations of settled practices, modulations that reveal a much older problem regarding the legitimacy of the means of circulation and production of knowledge; (3) Free Software is not an ethical stance, but a practical response to the revelation of these older problems; and (4) the best way to understand this response is to see it as a kind of public sphere, a recursive public that is specific to the technical and moral imaginations of order in the contemporary world of geeks. +={figuring out} + +It is possible now to return to the practical and political meaning of the "singularity" of the Internet, that is, to the fact that there is only one Internet. This does not mean that there are no other networks, but only that the Internet is a singular entity and not an instance of a general type. How is it that the Internet is open in the same way to everyone, whether an individual or a corporate or a national entity? How has it become extensible (and, by extension, defensible) by and to everyone, regardless of their identity, locale, context, or degree of power? +={Internet:singularity of+7} + +The singularity of the Internet is both an ontological and an epistemological fact; it is a feature of the Internet’s technical configurations and modes of ordering the actions of humans and machines by protocols and software. But it is also a feature of the technical and moral imaginations of the people who build, manage, inhabit, and expand the Internet. Ontologically, the creation and dissemination of standardized protocols, and novel standard-setting processes are at the heart of the story. In the case of the Internet, differences in standards-setting processes are revealed clearly in the form of the famous Request for Comments system of creating, distributing, and modifying Internet protocols. The RFC system, just as much as the Geneva-based International Organization for Standards, reveal the fault lines of international legitimacy in complex societies dependent on networks, software, and other high-tech forms of knowledge production, organization, and governance. The legitimacy of standards has massive significance for the abilities of individual actors to participate in their own recursive publics, whether they ,{[pg 307]}, be publics that address software and networks or those that address education and development. But like the relationship between "law on the books" and "law in action," standards depend on the coordinated action and order of human practices. +={International Organization for Standardization (ISO);Request for Comments (RFC);standards processes+1;standards+1} + +What’s more, the seemingly obvious line between a legitimate standard and a marketable product based on these standards causes nothing but trouble. The case of open systems in the 1980s high-end computer industry demonstrates how the logic of standardization is not at all clearly distinguished from the logic of the market. The open-systems battles resulted in novel forms of cooperation-within-competition that sought both standardization and competitive advantage at the same time. Open systems was an attempt to achieve a kind of "singularity," not only for a network but for a market infrastructure as well. Open systems sought ways to reform technologies and markets in tandem. What it ignored was the legal structure of intellectual property. The failure of open systems reveals the centrality of the moral and technical order of intellectual property—to both technology and markets—and shows how a reliance on this imagination of order literally renders impossible the standardization of singular market infrastructure. By contrast, the success of the Internet as a market infrastructure and as a singular entity comes in part because of the recognition of the limitations of the intellectual-property system—and Free Software in the 1990s was the main experimental arena for trying out alternatives. +={collaboration:competition vs.;intellectual property+3;moral and technical order+5;Open Systems+3} + +The singularity of the Internet rests in turn on a counterintuitive multiplicity: the multiplicity of the UNIX operating system and its thousands of versions and imitations and reimplementations. UNIX is a great example of how novel, unexpected kinds of order can emerge from high-tech practices. UNIX is neither an academic (gift) nor a market phenomenon; it is a hybrid model of sharing that emerged from a very unusual technical and legal context. UNIX demonstrates how structured practices of sharing produce their own kind of order. Contrary to the current scholarly consensus that Free Software and its derivatives are a kind of "shadow economy" (a "sharing" economy, a "peer production" economy, a "noncommercial" economy), UNIX was never entirely outside of the mainstream market. The meanings of sharing, distribution, and profitability are related to the specific technical, legal, and organizational context. Because AT&T was prevented from commercializing UNIX, because UNIX users were keen to expand and ,{[pg 308]}, adapt it for their own uses, and because its developers were keen to encourage and assist in such adaptations, UNIX proliferated and differentiated in ways that few commercial products could have. But it was never "free" in any sense. Rather, in combination with open systems, it set the stage for what "free" could come to mean in the 1980s and 1990s. It was a nascent recursive public, confronting the technical and legal challenges that would come to define the practices of Free Software. To suggest that it represents some kind of "outside" to a functioning economic market based in money is to misperceive how transformative of markets UNIX and the Internet (and Free Software) have been. They have initiated an imagination of moral and technical order that is not at all opposed to ideologies of market-based governance. Indeed, if anything, what UNIX and Free Software represent is an imagination of how to change an entire market-based governance structure—not just specific markets in things—to include a form of public sphere, a check on the power of existing authority. +={AT&T;peer production;UNIX operating system:allegiance to versions of;proliferation of software} + +UNIX and Open Systems should thus be seen as early stages of a collective technical experiment in transforming our imaginations of order, especially of the moral order of publics, markets, and self-governing peoples. The continuities and the gradualness of the change are more apparent in these events than any sudden rupture or discontinuity that the "invention of the Internet" or the passing of new intellectual-property laws might suggest. The "reorientation of knowledge and power" is more dance than earthquake; it is stratified in time, complex in its movements, and takes an experimental form whose concrete traces are the networks, infrastructures, machines, laws, and standards left in the wake of the experiments. +={availability:reorientation of power knowledge and+5;experiment, collective technical+3;infrastructure} + +Availability, reusability, and modifiability are at the heart of this reorientation. The experiments of UNIX and open systems would have come to nothing if they had not also prompted a concurrent experimentation with intellectual-property law, of which the copyleft license is the central and key variable. Richard Stallman’s creation of GNU EMACS and the controversy over propriety that it engendered was in many ways an attempt to deal with exactly the same problem that UNIX vendors and open-systems advocates faced: how to build extensibility into the software market—except that Stallman never saw it as a market. For him, software was and is part of the human itself, constitutive of our very freedom and, hence, inalienable. Extending software, through collective mutual ,{[pg 309]}, aid, is thus tantamount to vitality, progress, and self-actualization. But even for those who insist on seeing software as mere product, the problem of extensibility remains. Standardization, standards processes, and market entry all appear as political problems as soon as extensibility is denied—and thus the legal solution represented by copyleft appears as an option, even though it raises new and troubling questions about the nature of competition and profitability. +={Stallman, Richard;EMACS (text editor):controversy about;modifiability+4;Copyleft licenses (component of Free Software)} + +New questions about competition and profitability have emerged from the massive proliferation of hybrid commercial and academic forms, forms that bring with them different traditions of sharing, credit, reputation, control, creation, and dissemination of knowledge and products that require it. The new economic demands on the university—all too easily labeled neoliberalization or corporatization—mirror changing demands on industry that it come to look more like universities, that is, that it give away more, circulate more, and cooperate more. The development of UNIX, in its details, is a symptom of these changes, and the success of Free Software is an unambiguous witness to them. +={credit:see also attribution} + +The proliferation of hybrid commercial-academic forms in an era of modifiability and reusability, among the debris of standards, standards processes, and new experiments in intellectual property, results in a playing field with a thousand different games, all of which revolve around renewed experimentation with coordination, collaboration, adaptability, design, evolution, gaming, playing, worlds, and worlding. These games are indicative of the triumph of the American love of entrepreneurialism and experimentalism; they relinquish the ideals of planning and hierarchy almost absolutely in favor of a kind of embedded, technically and legally complex anarchism. It is here that the idea of a public reemerges: the ambivalence between relinquishing control absolutely and absolute distrust of government by the few. A powerful public is a response, and a solution, so long as it remains fundamentally independent of control by the few. Hence, a commitment, widespread and growing, to a recursive public, an attempt to maintain and extend the kinds of independent, authentic, autotelic public spheres that people encounter when they come to an understanding of how Free Software and the Internet have evolved. +={anarchism;entrepreneurialism} + +The open-access movement, and examples like Connexions, are attempts at maintaining such publics. Some are conceived as bulwarks ,{[pg 310]}, against encroaching corporatization, while others see themselves as novel and innovative, but most share some of the practices hashed out in the evolution of Free Software and the Internet. In terms of scholarly publishing and open access, the movement has reignited discussions of ethics, norms, and method. The Mertonian ideals are in place once more, this time less as facts of scientific method than as goals. The problem of stabilizing collective knowledge has moved from being an inherent feature of science to being a problem that needs our attention. The reorientation of knowledge and power and the proliferation of hybrid commercial-academic entities in an era of massive dependence on scientific knowledge and information leads to a question about the stabilization of that knowledge. +={Merton, Robert:Mertonian norms} + +Understanding how Free Software works and how it has developed along with the Internet and certain practices of legal and cultural critique may be essential to understanding the reliable foundation of knowledge production and circulation on which we still seek to ground legitimate forms of governance. Without Free Software, the only response to the continuing forms of excess we associate with illegitimate, unaccountable, unjust forms of governance might just be mute cynicism. With it, we are in possession of a range of practical tools, structured responses and clever ways of working through our complexity toward the promises of a shared imagination of legitimate and just governance. There is no doubt room for critique—and many scholars will demand it—but scholarly critique will have to learn how to sit, easily or uneasily, with Free Software as critique. Free Software can also exclude, just as any public or public sphere can, but this is not, I think, cause for resistance, but cause for joining. The alternative would be to create no new rules, no new practices, no new procedures—that is, to have what we already have. Free Software does not belong to geeks, and it is not the only form of becoming public, but it is one that will have a profound structuring effect on any forms that follow. + +:B~ Bibliography + +1~bibliography Bibliography + +% ,{[pg 349]}, + +Abbate, Janet. Inventing the Internet. Cambridge, Mass: MIT Press, 1999. + +Abbate, Janet, and Brian Kahin, eds. Standards Policy for Information Infrastructure. Cambridge, Mass.: MIT Press, 1995. + +Abelson, Harold, and Gerald J. Sussman. The Structure and Interpretation of Computer Programs. Cambridge, Mass.: MIT Press, 1985. + +Akera, Atsushi. "Volunteerism and the Fruits of Collaboration: The IBM User Group SHARE." Technology and Culture 42.4 (October 2001): 710-736. + +Akera, Atsushi, and Frederik Nebeker, eds. From 0 to 1: An Authoritative History of Modern Computing. New York: Oxford University Press, 2002. + +Anderson, Benedict. Imagined Communities: Reflections on the Origins and Spread of Nationalism. London: Verso, 1983. + +Anderson, Jane, and Kathy Bowery. "The Imaginary Politics of Access to Knowledge." Paper presented at the Contexts of Invention Conference, Cleveland, Ohio, 20-23 April 2006. + +Aneesh, A. Virtual Migration: The Programming of Globalization. Durham, N.C.: Duke University Press, 2006. ,{[pg 350]}, + +Arendt, Hannah. The Human Condition. 2d ed. University of Chicago Press, 1958. + +Balkin, Jack. Cultural Software: A Theory of Ideology. New Haven, Conn.: Yale University Press, 1998. + +Baraniuk, Richard, and W. Joseph King. "Connexions: Sharing Knowledge and Building Communities." Sloan-C Review: Perspectives in Quality Online Education 4.9 (September 2005): 8. http://www.aln.org/publications/view/v4n9/coverv4n9.htm. + +Barbrook, Richard, and Andy Cameron. "The California Ideology." Science as Culture 26 (1996): 44-72. + +Bardini, Thierry. Bootstrapping: Douglas Engelbart, Co-evolution and the Origins of Personal Computing. Stanford, Calif.: Stanford University Press, 2001. + +Barlow, John Perry. "The Economy of Ideas." Wired 2.3 (March 1994). + +Barry, Andrew. Political Machines: Governing a Technological Society. London: Athlone Press, 2001. + +Battaglia, Deborah. "‘For Those Who Are Not Afraid of the Future’: Raëlian Clonehood in the Public Sphere." In E.T. Culture: Anthropology in Outerspaces, ed. Deborah Battaglia, 149-79. Durham, N.C.: Duke University Press, 2005. + +Benkler, Yochai. "Coase’s Penguin, or Linux and the Nature of the Firm." Yale Law Journal 112.3 (2002): 369-446. + +———. "Sharing Nicely: On Shareable Goods and the Emergence of Sharing as a Modality of Economic Production." Yale Law Journal 114.2 (2004): 273-358. + +———. The Wealth of Networks: How Social Production Transforms Markets and Freedom. New Haven, Conn.: Yale University Press, 2006. + +Bergin, Thomas J., Jr., and Richard G. Gibson Jr., eds. History of Programming Languages 2. New York: Association for Computing Machinery Press, 1996. + +Berners-Lee, Tim, with Mark Fischetti. Weaving the Web: The Original Design and Ultimate Destiny of the World Wide Web by Its Inventor. San Francisco: Harper San Francisco, 1999. + +Biagioli, Mario. Galileo, Courtier: The Practice of Science in the Culture of Absolutism. Chicago: University of Chicago Press, 1993. + +Boczkowski, Pablo. Digitizing the News: Innovation in Online Newspapers. Cambridge, Mass.: MIT Press, 2004. + +Bollier, David. Silent Theft: The Private Plunder of Our Common Wealth. New York: Routledge, 2002. + +Bornstein, George, and Ralph G. Williams, eds. Palimpsest: Editorial Theory in the Humanities. Ann Arbor: University of Michigan Press, 1993. ,{[pg 351]}, + +Borsook, Paulina. Cyberselfish: A Critical Romp through the Terribly Libertarian Culture of High Tech. New York: Public Affairs, 2000. + +Bowker, Geoffrey. Memory Practices in the Sciences. Cambridge, Mass.: MIT Press, 2006. + +Bowker, Geoffrey C., and Susan Leigh Star. Sorting Things Out: Classification and Its Consequences. Cambridge, Mass.: MIT Press, 1999. + +Boyle, James. "Conservatives and Intellectual Property." Engage 1 (April 2000): 83. http://www.law.duke.edu/boylesite/Federalist.htm. + +———. "Mertonianism Unbound? Imagining Free, Decentralized Access to Most Cultural and Scientific Material." In Understanding Knowledge as a Common: From Theory to Practice, ed. Charlotte Hess and Elinor Ostrom, 123-44. Cambridge, Mass.: MIT Press, 2006. http://www.james-boyle.com/mertonianism.pdf. + +———. "A Politics of Intellectual Property: Environmentalism for the Net?" Duke Law Journal 47.1 (October 1997): 87-116. + +———, ed. "The Public Domain." Special issue, Law and Contemporary Problems 66.1-2 (winter-spring 2003). + +———. "The Second Enclosure Movement and the Construction of the Public Domain." In James Boyle, ed., "The Public Domain," special issue, Law and Contemporary Problems 66.1-2 (winter-spring 2003): 33-74. + +Brock, Gerald. The Second Information Revolution. Cambridge, Mass.: Harvard University Press, 2003. + +Brooks, Frederick. The Mythical Man-month: Essays on Software Engineering. Reading, Mass.: Addison-Wesley, 1975. + +Brown, Michael. "Heritage as Property." In Property in Question: Value Transformation in the Global Economy, ed. Katherine Verdery and Caroline Humphrey, 49-68. Oxford: Berg, 2004. + +———. Who Owns Native Culture? Cambridge, Mass.: Harvard University Press, 2003. + +Calhoun, Craig, ed. Habermas and the Public Sphere. Cambridge, Mass.: MIT Press, 1992. + +Callon, Michel. The Laws of the Markets. London: Blackwell, 1998. + +———. "Some Elements of a Sociology of Translation: Domestication of the Scallops and the Fishermen of St Brieuc Bay." In Power, Action and Belief: A New Sociology of Knowledge, ed. John Law, 196-233. London: Routledge and Kegan Paul, 1986. + +Callon, Michel, Cécile Méadel, and Vololona Rabeharisoa. "The Economy of Qualities." Economy and Society 31.2 (May 2002): 194-217. + +Campbell-Kelly, Martin. From Airline Reservations to Sonic the Hedgehog: A History of the Software Industry. Cambridge, Mass.: MIT Press, 2003. ,{[pg 352]}, + +Campbell-Kelly, Martin, and William Aspray. Computer: A History of the Information Machine. New York: Basic Books, 1996. + +Carrington, Paul D., and Erika King. "Law and the Wisconsin Idea." Journal of Legal Education 47 (1997): 297. + +Castells, Manuel. The Internet Galaxy: Reflections on the Internet, Business and Society. New York: Oxford University Press, 2001. + +———. The Rise of the Network Society. Cambridge, Mass.: Blackwell, 1996. + +Castoriadis, Cornelius. The Imaginary Institution of Society. Cambridge, Mass.: MIT Press, 1987. + +Cerf, Vinton G., and Robert Kahn. "A Protocol for Packet Network Interconnection." IEEE Transactions on Communications 22.5 (May 1974): 637-48. + +Chadwick, Owen. The Early Reformation on the Continent. Oxford: Oxford University Press, 2001. + +Chan, Anita. "Coding Free Software, Coding Free States: Free Software Legislation and the Politics of Code in Peru." Anthropological Quarterly 77.3 (summer 2004): 531-45. + +Chartier, Roger. The Cultural Uses of Print in Early Modern France. Princeton: Princeton University Press, 1988. + +———. The Order of Books: Readers, Authors, and Libraries in Europe between the Fourteenth and Eighteenth Centuries. Trans. Lydia G. Cochrane. Stanford, Calif.: Stanford University Press, 1994. + +Chatterjee, Partha. "A Response to Taylor’s ‘Modes of Civil Society.’" Public Culture 3.1 (1990): 120-21. + +Christen, Kim. "Gone Digital: Aboriginal Remix and the Cultural Commons." International Journal of Cultural Property 12 (August 2005): 315-45. + +———. "Tracking Properness: Repackaging Culture in a Remote Australian Town." Cultural Anthropology 21.3 (August 2006): 416-46. + +Christensen, Clayton. The Innovator’s Dilemma: When New Technologies Cause Great Firms to Fail. Boston: Harvard Business School Press, 1997. + +Chun, Wendy Hui Kyong. Control and Freedom: Power and Paranoia in the Age of Fiber Optics. Cambridge, Mass.: MIT Press, 2006. + +Clark, David. "The Design Philosophy of the DARPA Internet Protocols." 1988. In Computer Communications: Architectures, Protocols, and Standards, 3d ed., ed. William Stallings, 54-62. Los Alamitos, Calif.: IEEE Computer Society Press, 1992. + +Cohen, Julie, Lydia Pallas Loren, Ruth Gana Okediji, and Maureen O’Rourke, eds. Copyright in a Global Information Economy. Aspen, Colo.: Aspen Law and Business Publishers, 2001. ,{[pg 353]}, + +Coleman, E. Gabriella. "The Political Agnosticism of Free and Open Source Software and the Inadvertent Politics of Contrast." Anthropological Quarterly 77.3 (summer 2004): 507-19. + +———. "The Social Construction of Freedom: Hackers, Ethics and the Liberal Tradition." Ph.D. diss., University of Chicago, 2005. + +Comaroff, Jean, and John Comaroff. Ethnography and the Historical Imagination. Boulder, Colo.: Westview, 1992. + +Comer, Douglas E. Internetworking with TCP/IP. 4th ed. Upper Saddle River, N.J.: Prentice Hall, 2000. + +———. Operating System Design. 1st ed. 2 vols. Englewood Cliffs, N.J.: Prentice Hall, 1984. + +Coombe, Rosemary, and Andrew Herman. "Rhetorical Virtues: Property, Speech, and the Commons on the World-Wide Web." Anthropological Quarterly 77.3 (summer 2004): 559-574. + +———. "Your Second Life? Goodwill and the Performativity of Intellectual Property in Online Digital Gaming." Cultural Studies 20.2-3 (March-May 2006): 184-210. + +Crain, Patricia. The Story of A: The Alphabetization of America from The New England Primer to The Scarlet Letter. Stanford, Calif.: Stanford University Press, 2000. + +Critchley, Terry A., and K. C. Batty. Open Systems: The Reality. Englewood Cliffs, N.J.: Prentice Hall, 1993. + +Cussins, Charis. "Ontological Choreography: Agency through Objectification in Infertility Clinics." Social Studies of Science 26.3 (1996): 575-610. + +Daston, Lorraine, ed. Biographies of Scientific Objects. Chicago: University of Chicago Press, 2000. + +Davis, Martin. Engines of Logic: Mathematicians and the Origin of the Computer. W. W. Norton, 2001. + +Dean, Jodi. "Why the Net Is Not a Public Sphere." Constellations 10.1 (March 2003): 95. + +DeLanda, Manuel. Intensive Science and Virtual Philosophy. London: Continuum Press, 2002. + +———. "Open Source: A Movement in Search of a Philosophy." Paper presented to the Institute for Advanced Study, Princeton, N.J., 2001. http://www.cddc.vt.edu/host/delanda/pages/opensource.htm. + +———. A Thousand Years of Non-linear History. New York: Zone Books, 1997. + +Dewey, John. Freedom and Culture. 1939; repr., Amherst, N.Y.: Prometheus Books, 1989. + +———. Liberalism and Social Action. New York: G. P. Putnam’s Sons, 1935. + +———. The Public and Its Problems. Chicago: Swallow Press, 1927; repr., Sage Books / Swallow Press, 1954. ,{[pg 354]}, + +Dibbell, Julian. Play Money: Or, How I Quit My Day Job and Made Millions Trading Virtual Loot. New York: Basic Books, 2006. + +———. "A Rape in Cyberspace." Village Voice 38.51 (December 1993): 21. + +Dibona, Chris, et al. Open Sources: Voices from the Open Source Revolution. Sebastopol, Calif.: O’Reilly Press, 1999. + +DiMaggio, Paul, Esther Hargittai, C. Celeste, and S. Shafer. "From Unequal Access to Differentiated Use: A Literature Review and Agenda for Research on Digital Inequality." In Social Inequality, ed. Kathryn Neckerman, 355-400. New York: Russell Sage Foundation, 2004. + +Downey, Gary L. The Machine in Me: An Anthropologist Sits among Computer Engineers. London: Routledge, 1998. + +Doyle, Richard. Wetwares: Experiments in Postvital Living. Minneapolis: University of Minnesota Press, 2003. + +Drake, William. "The Internet Religious War." Telecommunications Policy 17 (December 1993): 643-49. + +Dreyfus, Hubert. On the Internet. London: Routledge, 2001. + +Dumit, Joseph. Picturing Personhood: Brain Scans and Biomedical Identity. Princeton: Princeton University Press, 2004. + +Eagleton, Terry. Ideology: An Introduction. London: Verso Books, 1991. + +———. The Ideology of the Aesthetic. Cambridge, Mass.: Blackwell, 1990. + +Edwards, Paul N. The Closed World: Computers and the Politics of Discourse in the Cold War. Cambridge, Mass.: MIT Press, 1996. + +———. "Infrastructure and Modernity: Force, Time, and Social Organization in the History of Sociotechnical Systems." In Modernity and Technology, ed. Thomas Misa, Philip Brey, and Andrew Feenberg, 185-225. Cambridge, Mass.: MIT Press, 2003. + +Eisenstein, Elizabeth. The Printing Press as an Agent of Change: Communications and Cultural Transformations in Early Modern Europe. 2 vols. Cambridge: Cambridge University Press, 1979. + +Faulkner, W. "Dualisms, Hierarchies and Gender in Engineering." Social Studies of Science 30.5 (2000): 759-92. + +Febvre, Lucien, and Henri-Jean Martin. The Coming of the Book: The Impact of Printing 1450-1800. Trans. David Gerard. 1958; repr., London: Verso, 1976. + +Feller, Joseph, Brian Fitzgerald, Scott A. Hissam, and Karim R. Lakhani, eds. Perspectives on Free and Open Source Software. Cambridge, Mass.: MIT Press, 2005. + +Feyerabend, Paul. Against Method. 3rd ed. 1975. London: Verso Books, 1993. + +Fielding, Roy T. "Shared Leadership in the Apache Project." Communications of the ACM 42.4 (April 1999): 42-43. ,{[pg 355]}, + +Fischer, Franklin M. Folded, Spindled, and Mutilated. Cambridge, Mass.: MIT Press, 1983. + +Fischer, Michael M. J. "Culture and Cultural Analysis as Experimental Systems." Cultural Anthropology 22.1 (Feburary 2007): 1-65. + +———. Emergent Forms of Life and the Anthropological Voice. Durham, N.C.: Duke University Press, 2003. + +———. "Worlding Cyberspace." In Critical Anthropology Now, ed. George Marcus, 245-304. Santa Fe, N.M.: School for Advanced Research Press, 1999. + +Flichy, Patrice. The Internet Imaginaire. Trans. Liz Carey-Libbrecht. Cambridge, Mass.: MIT Press, 2007. + +Fortun, Kim. Advocating Bhopal: Environmentalism, Disaster, New Global Orders. Chicago: University of Chicago Press, 2003. + +———. "Figuring Out Ethnography." In Fieldwork Isn’t What It Used to Be, ed. George Marcus and James Faubion. Chicago: University of Chicago Press, forthcoming. + +Fortun, Kim, and Mike Fortun. "Scientific Imaginaries and Ethical Plateaus in Contemporary U.S. Toxicology." American Anthropologist 107.1 (2005): 43-54. + +Foucault, Michel. La naissance de la biopolitique: Cours au Collège de France (1978-1979). Paris: Gallimard / Le Seuil, 2004. + +———. "What Is an Author?" In The Foucault Reader, ed. P. Rabinow, 101-20. New York: Pantheon Books, 1984. + +———. 1997. "What Is Enlightenment?" In Ethics, ed. Paul Rabinow, 303-17. Vol. 2 of The Essential Works of Foucault 1954-1984. New York: New Press, 1997. + +Freeman, Carla. High Tech and High Heels in the Global Economy. Durham, N.C.: Duke University Press, 2000. + +Freeman, Jo, and Victoria Johnson, eds. Waves of Protest: Social Movements since the Sixties. Lanham, Md.: Rowman and Littlefield, 1999. + +Galison, Peter. How Experiments End. Chicago: University of Chicago Press, 1987. + +———. Image and Logic: The Material Culture of Microphysics. Chicago: University of Chicago Press, 1997. + +Galloway, Alexander. Protocol, or How Control Exists after Decentralization. Cambridge, Mass.: MIT Press, 2004. + +Gancarz, Mike. Linux and the UNIX Philosophy. Boston: Digital Press, 2003. + +———. The Unix Philosophy. Boston: Digital Press, 1994. + +Gaonkar, Dilip. "Toward New Imaginaries: An Introduction." Public Culture 14.1 (2002): 1-19. ,{[pg 356]}, + +Geertz, Clifford. "Ideology as a Cultural System." In The Interpretation of Cultures, 193-233. New York: Basic Books, 1973. + +Gerlach, Luther P., and Virginia H. Hine. People, Power, Change: Movements of Social Transformation. Indianapolis: Bobbs-Merrill, 1970. + +Ghosh, Rishab Ayer. "Cooking Pot Markets: An Economic Model for the Trade in Free Goods." First Monday 3.3 (1998). http://www.firstmonday.org/issues/issue3_3/ghosh/. + +Gillespie, Tarleton. "Engineering a Principle: ‘End to End’ in the Design of the Internet." Social Studies of Science 36.3 (2006): 427-57. + +Golub, Alex. "Copyright and Taboo." Anthropological Quarterly 77.3 (2004): 521-30. + +Gray, Pamela. Open Systems: A Business Strategy for the 1990s. London: McGraw-Hill, 1991. + +Green, Ellen, and Allison Adam. Virtual Gender: Technology, Consumption and Identity. London: Routledge, 2001. + +Green, Ian. The Christian’s ABCs: Catechisms and Catechizing in England c1530-1740. Oxford: Oxford University Press, 1996. + +———. Print and Protestantism in Early Modern England. Oxford: Oxford University Press, 2000. + +Green, Sarah, Penny Harvey, and Hannah Knox. "Scales of Place and Networks: An Ethnography of the Imperative to Connect through Information and Communication Technologies." Current Anthropology 46.5 (December 2005): 805-26. + +Grier, David Alan. When Computers Were Human. Princeton: Princeton University Press, 2005. + +Grier, David Alan, and Mary Campbell. "A Social History of Bitnet and Listserv 1985-1991." IEEE Annals of the History of Computing (April-June 2000): 32-41. + +Grint, Keith, and Rosalind Gill. The Gender-Technology Relation: Contemporary Theory and Research. London: Taylor and Francis, 1995. + +Habermas, Jürgen. The Structural Transformation of the Public Sphere: An Inquiry into a Category of Bourgeois Society. Trans. Thomas Burger, with the assistance of Frederick Lawrence. Cambridge, Mass.: MIT Press, 1991. + +Hafner, Katie. Where Wizards Stay Up Late: The Origins of the Internet. New York: Simon and Schuster, 1998. + +Hamerly, Jim, and Tom Paquin, with Susan Walton. "Freeing the Source." In Open Sources: Voices from the Open Source Revolution, by Chris Dibona et al., 197-206. Sebastopol, Calif.: O’Reilly Press, 1999. + +Hardin, Garrett. "The Tragedy of the Commons." Science 162 (1968): 1,243-48. ,{[pg 357]}, + +Hashagen, Ulf, Reinhard Keil-Slawik, and Arthur Norberg, eds. History of Computing—Software Issues. Berlin: Springer Verlag, 2002. + +Hauben, Michael, and Rhonda Hauben. Netizens: On the History and Impact of Usenet and the Internet. Los Alamitos, Calif.: IEEE Computer Society Press, 1997. + +Hauser, Marc. Moral Minds: How Nature Designed Our Universal Sense of Right and Wrong. New York: Ecco Press, 2006. + +Hayden, Cori. When Nature Goes Public: The Making and Unmaking of Bioprospecting in Mexico. Princeton: Princeton University Press, 2003. + +Hayek, Friedrich A. Law, Legislation and Liberty. Vol. 1, Rules and Order. Chicago: University of Chicago Press, 1970. + +Helmreich, Stefan. Silicon Second Nature: Culturing Artificial Life in a Digital World. Berkeley: University of California Press, 1998. + +Herring, Susan C. "Gender and Democracy in Computer-Mediated Communication." In Computerization and Controversy: Value Conflicts and Social Choices, ed. Rob Kling and Charles Dunlop, 476-89. 2d ed. Orlando: Academic Press, 1995. + +Hess, Charlotte, and Elinor Ostrom, eds. Understanding Knowledge as a Common: From Theory to Practice. Cambridge, Mass.: MIT Press, 2006. + +Himanen, Pekka. The Hacker Ethic and the Spirit of the Information Age. New York: Random House, 2001. + +Hine, Christine. Virtual Ethnography. London: Sage, 2000. + +Holmes, Douglas, and George Marcus. "Cultures of Expertise and the Manage¬ment of Globalization: Toward the Re-Functioning of Ethnography." In Global Assemblages: Technology, Politics, and Ethics as Anthropological Problems, ed. Aiwa Ong and Stephen J. Collier, 235-52. Boston: Blackwell, 2005. + +Holmes, Oliver Wendell. "The Path of Law." Harvard Law Review 10 (1897): 457. + +Hopkins, Patrick D., ed. Sex/Machine: Readings in Culture, Gender and Technology. Bloomington: Indiana University Press, 1998. + +Huberman, Bernardo A., ed. The Ecology of Computation. Amsterdam: North-Holland, 1988. + +Huxley, Julian. New Bottles for New Wine: Essays. New York: Harper, 1957. + +Jaszi, Peter, and Martha Woodmansee, eds. The Construction of Authorship: Textual Appropriation in Law and Literature. Durham, N.C.: Duke University Press, 1994. + +Johns, Adrian. The Nature of the Book: Print and Knowledge in the Making. Chicago: University of Chicago Press, 1998. ,{[pg 358]}, + +Jorgensen, Neils. "Incremental and Decentralized Integration in FreeBSD." In Perspectives on Free and Open Source Software, ed. Feller et al., 227-44. Cambridge, Mass.: MIT Press, 2004. + +———. "Putting It All in the Trunk: Incremental Software Development in the FreeBSD Open Source Project." Information Systems Journal 11.4 (2001): 321-36. + +Kahn, Robert, et al. "The Evolution of the Internet as a Global Information System." International Information and Libraries Review 29 (1997): 129-51. + +Kahn, Robert, and Vint Cerf. "A Protocol for Packet Network Intercommunication." IEEE Transactions on Communications Com-22.5 (May 1974): 637-44. + +Keating, Peter, and Alberto Cambrosio. Biomedical Platforms: Realigning the Normal and the Pathological in Late-twentieth-century Medicine. Cambridge, Mass.: MIT Press, 2003. + +Kelty, Christopher, ed. "Culture’s Open Sources." Anthropological Quarterly 77.3 (summer 2004): 499-506. http://aq.gwu.edu/archive/table_summer04.htm. + +———. "Punt to Culture." Anthropological Quarterly 77.3 (summer 2004): 547-58. + +Kendall, Lori. "‘Oh No! I’m a NERD!’ Hegemonic Masculinity on an Online Forum." Gender and Society 14.2 (2000): 256-74. + +Keves, Brian William. "Open Systems Formal Evaluation Process." Paper presented at the USENIX Association Proceedings of the Seventh Systems Administration Conference (LISA VII), Monterey, California, 1-5 November 1993. + +Kidder, Tracy. The Soul of a New Machine. Boston: Little, Brown, 1981. + +Kirkup, Gill, Linda Janes, Kath Woodward, and Fiona Hovenden. The Gendered Cyborg: A Reader. London: Routledge, 2000. + +Kittler, Friedrich. Discourse Networks 1800/1900. Trans. Michael Metteer, with Chris Cullens. 1985; repr., Stanford, Calif.: Stanford University Press, 1990. + +———. Gramophone, Film, Typewriter. Trans. Geoffry Winthrop-Young and Michael Wutz. 1986; repr., Stanford, Calif.: Stanford University Press, 1999. + +Kling, Rob. Computeriza¬tion and Controversy: Value Conflicts and Social Choices. San Diego: Academic Press, 1996. + +Knuth, Donald. The Art of Computer Programming. 3d ed. Reading, Mass.: Addison-Wesley, 1997. + +Kohler, Robert. Lords of the Fly: Drosophila Genetics and the Experimental Life. Chicago: University of Chicago Press, 1994. ,{[pg 359]}, + +Laclau, Ernesto, and Chantal Mouffe. Hegemony and Socialist Strategy. London: Verso, 1985. + +Landecker, Hannah. Culturing Life: How Cells Became Technologies. Cambridge, Mass.: Harvard University Press, 2007. + +Latour, Bruno. "Drawing Things Together." In Representation in Scientific Practice, ed. Michael Lynch and Steve Woolgar, 19-68. Cambridge, Mass.: MIT Press, 1990. + +———. Pandora’s Hope: Essays on the Reality of Science Studies. Cambridge, Mass.: Harvard University Press, 1999. + +———. Re-assembling the Social: An Introduction to Actor-Network Theory. Oxford: Oxford University Press, 2005. + +———. Science in Action: How to Follow Scientists and Engineers through Society. Cambridge, Mass.: Harvard University Press, 1987. + +———. "What Rules of Method for the New Socio-scientific Experiments." In Experimental Cultures: Configurations between Science, Art and Technology 1830-1950, Conference Proceedings, 123. Berlin: Max Planck Institute for the History of Science, 2001. + +Latour, Bruno, and Peter Weibel, eds. Making Things Public: Atmospheres of Democracy. Cambridge, Mass.: MIT Press, 2005. + +Law, John. Aircraft Stories: Decentering the Object in Technoscience. Durham, N.C.: Duke University Press, 2002. + +———. "Technology and Heterogeneous Engineering: The Case of Portuguese Expansion." In The Social Construction of Technological Systems: New Directions in the Sociology and History of Technology, ed. W. E. Bijker, T. P. Hughes, and T. J. Pinch, 111-134. Cambridge, Mass.: MIT Press, 1987. + +Law, John, and John Hassard. Actor Network Theory and After. Sociological Review Monograph. Malden, Mass.: Blackwell 1999. + +Leach, James, Dawn Nafus, and Berbard Krieger. Gender: Integrated Report of Findings. Free/Libre and Open Source Software: Policy Support (FLOSSPOLS) D 16, 2006. http://www.jamesleach.net/downloads/FLOSSPOLS-D16-Gender_Integrated_Report_of_Findings.pdf. + +Lee, J. A. N., R. M. Fano, A. L. Scherr, F. J. Corbato, and V. A. Vyssotsky. "Project MAC." Annals of the History of Computing 14.2 (1992): 9-42. + +Lerner, Josh, and Jean Tirole. "Some Simple Economics of Open Source." Industrial Economics 50.2 (June 2002): 197-234. + +Lessig, Lawrence. Code: Version 2.0. New York: Basic Books, 2006. + +———. Code and Other Laws of Cyber Space. New York: Basic Books, 1999. + +———. Free Culture: The Nature and Future of Creativity. New York: Penguin, 2003. + +———. The Future of Ideas: The Fate of the Commons in a Connected World. New York: Random House, 2001. ,{[pg 360]}, + +———. "The New Chicago School." Legal Studies 27.2 (1998): 661-91. + +Levy, Steven. Hackers: Heroes of the Computer Revolution. New York: Basic Books, 1984. + +Libes, Don, and Sandy Ressler. Life with UNIX: A Guide for Everyone. Englewood Cliffs, N.J.: Prentice Hall, 1989. + +Light, Jennifer. "When Computers Were Women." Technology and Culture 40.3 (July 1999): 455-483. + +Lions, John. Lions’ Commentary on UNIX 6th Edition with Source Code. 1977; repr., San Jose: Peer to Peer Communications, 1996. + +Lippmann, Walter. The Phantom Public. New York: Macmillan, 1927. + +Litman, Jessica. Digital Copyright. New York: Prometheus Books, 2001. + +Liu, Alan. The Laws of Cool: Knowledge Work and the Culture of Information. Chicago: University of Chicago Press, 2004. + +MacKenzie, Adrian. Cutting Code: Software and Sociality. Digital Formations Series. New York: Peter Lang, 2005. + +MacKenzie, Donald A. Mechanizing Proof: Computing, Risk, and Trust. Cambridge, Mass.: MIT Press, 2001. + +Mahoney, Michael. "Finding a History for Software Engineering." Annals of the History of Computing 26.1 (2004): 8-19. + +———. "The Histories of Computing(s)." Interdisciplinary Science Reviews 30.2 (2005): 119-35. + +———. "In Our Own Image: Creating the Computer." In The Changing Image of the Sciences, ed. Ida Stamhuis, Teun Koetsier, and Kees de Pater, 9-28. Dordrecht: Kluwer Academic Publishers, 2002. + +———. "The Roots of Software Engineering." CWI Quarterly 3.4 (1990): 325-34. + +———. "The Structures of Computation." In The First Computers: History and Architectures, ed. Raul Rojas and Ulf Hashagen, 17-32. Cambridge, Mass.: MIT Press, 2000. + +Malamud, Carl. Exploring the Internet: A Technical Travelogue. Englewood Cliffs, N.J.: Prentice Hall, 1992. + +Mannheim, Karl. Ideology and Utopia: Introduction to the Sociology of Knowledge. New York: Harcourt and Brace, 1946. + +Marcus, George. Ethnography through Thick and Thin. Chicago: University of Chicago Press, 1998. + +Marcus, George, and James Clifford. Writing Culture: The Poetics and Politics of Ethnography. Berkeley: University of California Press, 1986. + +Marcus, George, and Michael M. J. Fischer. Anthropology as Cultural Critique: An Experimental Moment in the Human Sciences. Chicago: University of Chicago Press, 1986. ,{[pg 361]}, + +Margolis, Jane, and Allen Fisher. Unlocking the Clubhouse: Women in Computing. Cambridge, Mass.: MIT Press, 2002. + +Martin, James. Viewdata and the Information Society. Englewood Cliffs, N.J.: Prentice Hall, 1982. + +Matheson, Peter. The Imaginative World of the Reformation. Edinburgh, Scotland: T and T Clark, 2000. + +McKenna, Regis. Who’s Afraid of Big Blue? How Companies Are Challenging IBM—and Winning. Reading, Mass.: Addison-Wesley, 1989. + +McKusick, M. Kirk. "Twenty Years of Berkeley Unix: From AT&T-owned to Freely Redistributable." In Open Sources: Voices from the Open Source Revolution, Chris Dibona et al., 31-46. ACM Sebastopol, Calif.: O’Reilly Press, 1999. + +McLuhan, Marshall. The Gutenberg Galaxy: The Making of Typographic Man. Toronto: University of Toronto Press, 1966. + +———. Understanding Media: The Extensions of Man. 1964; repr., Cambridge, Mass.: MIT Press, 1994. + +Merges, Robert, Peter Menell, and Mark Lemley, eds. Intellectual Property in the New Technological Age. 3d ed. New York: Aspen Publishers, 2003. + +Merton, Robert. "The Normative Structure of Science." In The Sociology of Science: Theoretical and Empirical Investigations, 267-80. Chicago: University of Chicago Press, 1973. + +Miller, Daniel, and Don Slater. The Internet: An Ethnography. Oxford: Berg, 2000. + +Misa, Thomas, Philip Brey, and Andrew Feenberg, eds. Modernity and Technology. Cambridge, Mass.: MIT Press, 2003. + +Mockus, Audris, Roy T. Fielding, and James Herbsleb. "Two Case Studies of Open Source Software Development: Apache and Mozilla." ACM Transactions in Software Engineering and Methodology 11.3 (2002): 309-46. + +Mol, Annemarie. The Body Multiple: Ontology in Medical Practice. Durham, N.C.: Duke University Press, 2002. + +Moody, Glyn. Rebel Code: Inside Linux and the Open Source Revolution. Cambridge, Mass.: Perseus, 2001. + +Mooers, Calvin. "Computer Software and Copyright." Computer Surveys 7.1 (March 1975): 45-72. + +Mueller, Milton. Ruling the Root: Internet Governance and the Taming of Cyberspace. Cambridge, Mass.: MIT Press, 2004. + +Naughton, John. A Brief History of the Future: From Radio Days to Internet Years in a Lifetime. Woodstock, N.Y.: Overlook Press, 2000. + +Noble, David. "Digital Diploma Mills: The Automation of Higher Education." First Monday 3.1 (5 January 1998). http://www.firstmonday.org/issues/issue3_1/. ,{[pg 362]}, + +Norberg, Arthur L., and Judy O’Neill. A History of the Information Techniques Processing Office of the Defense Advanced Research Projects Agency. Minneapolis: Charles Babbage Institute, 1992. + +———. Transforming Computer Technology: Information Processing for the Pentagon, 1962-1986. Baltimore: Johns Hopkins University Press, 1996. + +Ong, Walter. Ramus, Method, and the Decay of Dialogue: From the Art of Discourse to the Art of Reason. 1983; repr., Chicago: University of Chicago Press, 2004. + +Ostrom, Elinor. Governing the Commons: The Evolution of Institutions for Collective Action. Cambridge: Cambridge University Press, 1991. + +Perens, Bruce. "The Open Source Definition." In Open Sources: Voices from the Open Source Revolution, Dibona et al., 171-188. Sebastopol, Calif.: O’Reilly Press, 1999. http://perens.com/OSD.html and http://www.oreilly.com/catalog/opensources/book/perens.html. + +Pfaffenberger, Bryan. "‘A Standing Wave in the Web of our Communications’: USENet and the Socio-technical Construction of Cyberspace Values." In From Usenet to CoWebs: Interacting with Social Information Spaces, ed. Christopher Lueg and Danyel Fisher, 20-43. London: Springer, 2003. + +Rabinow, Paul. Anthropos Today: Reflections on Modern Equipment. Prince¬ton: Princeton University Press, 2003. + +———. Essays on the Anthropology of Reason. Princeton: Princeton University Press, 1997. + +Ratto, Matt. "Embedded Technical Expression: Code and the Leveraging of Functionality." Information Society 21.3 (July 2005): 205-13. + +———. "The Pressure of Openness: The Hybrid work of Linux Free/Open Source Kernel Developers." Ph.D. diss., University of California, San Diego, 2003. + +Raymond, Eric S. The Art of UNIX Programming. Boston: Addison-Wesley, 2004. + +———. The Cathedral and the Bazaar: Musings on Linux and Open Source by an Accidental Revolutionary. Sebastopol, Calif.: O’Reilly Press, 2001. See esp. "Homesteading the Noosphere," 79-135. + +———, ed. The New Hackers’ Dictionary. 3d ed. Cambridge, Mass.: MIT Press, 1996. + +Rheinberger, Hans-Jörg. Towards a History of Epistemic Things: Synthesizing Proteins in the Test Tube. Stanford, Calif.: Stanford University Press, 1997. + +Rheingold, Howard. The Virtual Community: Homesteading on the Electronic Frontier. Rev. ed. 1993; repr., Cambridge, Mass.: MIT Press, 2000. + +Ricoeur, Paul. Lectures on Ideology and Utopia. New York: Columbia University Press, 1986. ,{[pg 363]}, + +Riles, Annelise. "Real Time: Unwinding Technocratic and Anthropological Knowledge." American Ethnologist 31.3 (August 2004): 392-405. + +Ritchie, Dennis. "The UNIX Time-Sharing System: A Retrospective." Bell System Technical Journal 57.6, pt. 2 (July-August 1978). http://cm.bell-labs.com/cm/cs/who/dmr/retroindex.html. + +Rose, Mark. Authors and Owners: The Invention of Copyright. Cambridge, Mass.: Harvard University Press, 1995. + +Salus, Peter. Casting the Net: From ARPANET to Internet and Beyond. Reading, Mass.: Addison-Wesley, 1995. + +———. A Quarter Century of UNIX. Reading, Mass.: Addison-Wesley, 1994. + +Schmidt, Susanne K., and Raymund Werle. Coordinating Technology: Studies in the International Standardization of Telecommunications. Cambridge, Mass.: MIT Press, 1998. + +Segaller, Stephen. Nerds 2.0.1: A Brief History of the Internet. New York: TV Books, 1998. + +Shaikh, Maha, and Tony Cornford. "Version Management Tools: CVS to BK in the Linux Kernel." Paper presented at the Twenty-fifth International Conference on Software Engineering—Taking Stock of the Bazaar: The Third Workshop on Open Source Software Engineering, Portland, Oregon, 3-10 May 2003. + +Shapin, Steven. The Social History of Truth: Civility and Science in Seventeenth Century England. Chicago: University of Chicago Press, 1994. + +Shapin, Steven, and Simon Schaffer. Leviathan and the Air Pump: Hobbes, Boyle and the Experimental Life. Princeton: Princeton University Press, 1985. + +Smith, Adam. The Theory of Moral Sentiments. 1759; repr., Cambridge: Cambridge University Press, 2002. + +Stallings, William. Data and Computer Communications. London: Macmillan, 1985. + +Stallman, Richard. "The GNU Manifesto." Dr. Dobb’s 10.3 (March 1985): 30-35. + +St. Amour, Paul K. The Copywrights: Intellectual Property and the Literary Imagination. Ithaca, N.Y.: Cornell University Press, 2003. + +Star, Susan Leigh, ed. The Cultures of Computing. Malden, Mass.: Blackwell, 1995. + +Star, Susan Leigh, and Karen Ruhleder. "Steps towards an Ecology of Infrastructure: Complex Problems in Design and Access for Large-scale Collaborative Systems." Information Systems Research 7 (1996): 111-33. + +Stephenson, Neal. In the Beginning Was the Command Line. New York: Avon / Perennial, 1999. ,{[pg 364]}, + +Sunshine, Carl. Computer Network Architectures and Protocols. 2d ed. New York: Plenum Press, 1989. + +Takahashi, Shigeru. "The Rise and Fall of the Plug Compatible Manufacturers." IEEE Annals of the History of Computing (January-March 2005): 4-16. + +Tanenbaum, Andrew. Computer Networks. 1st ed. Upper Saddle River, N.J.: Prentice Hall, 1981. + +———. Operating Systems: Design and Implementation. 1st ed. Englewood Cliffs, N.J.: Prentice Hall, 1987. + +———. "The UNIX Marketplace in 1987: Life, the UNIverse and Everything." In Proceedings of the Summer 1987 USENIX Conference, 419-24. Phoenix, Ariz.: USENIX, 1987. + +Taylor, Charles. Modern Social Imaginaries. Durham, N.C.: Duke University Press, 2004. + +———. "Modes of Civil Society." Public Culture 3.1 (1990): 95-132. + +———. Multiculturalism and the Politics of Recognition. Princeton, N.J.: Princeton University Press, 1992. + +———. Sources of the Self: The Making of the Modern Identity. Cambridge, Mass.: Harvard University Press, 1989. + +Thompson, Charis. Making Parents: The Ontological Choreography of Reproductive Technologies. Cambridge, Mass.: MIT Press, 2005. + +Thompson, Ken, and Dennis Ritchie. "The UNIX Time-Sharing System." Communications of the ACM 17.7 (July 1974): 365-75. + +Tichy, Walter F. "RCS: A System for Version Control." Software: Practice and Experience 15.7 (July 1985): 637-54. + +Torvalds, Linus, with David Diamond. Just for Fun: The Story of an Accidental Revolutionary. New York: HarperCollins, 2002. + +Tuomi, Ilkka. Networks of Innovation: Change and Meaning in the Age of the Internet. New York: Oxford University Press, 2002. + +Turing, Alan. "On Computable Numbers, with an Application to the Ent¬scheidungsproblem." Proceedings of the London Mathematical Society 2.1 (1937): 230. + +Turkle, Sherry. Life on the Screen: Identity in the Age of the Internet. New York: Simon and Schuster, 1995. + +———. The Second Self: Computers and the Human Spirit. New York: Simon and Schuster, 1984. + +Turner, Fred. From Counterculture to Cyberculture: Stewart Brand, the Whole Earth Network, and the Rise of Digital Utopianism. Chicago: University of Chicago Press, 2006. + +———. "Where the Counterculture Met the New Economy." Technology and Culture 46.3 (July 2005): 485-512. ,{[pg 365]}, + +Ullman, Ellen. The Bug: A Novel. New York: Nan A. Talese, 2003. + +———. Close to the Machine: Technophilia and Its Discontents. San Francisco: City Lights, 1997. + +Vaidhyanathan, Siva. Copyrights and Copywrongs; The Rise of Intellectual Property and How It Threatens Creativity. New York: New York University Press, 2001. + +Vetter, Greg R. "The Collaborative Integrity of Open-Source Software." Utah Law Review 2004.2 (2004): 563-700. + +———. "‘Infectious Open Source Software: Spreading Incentives or Promoting Resistance?" Rutgers Law Journal 36.1 (fall 2004): 53-162. + +Vinge, Vernor. "The Coming Technological Singularity: How to Survive in the Post-Human Era" (1993). http://www.rohan.sdsu.edu/faculty/vinge/misc/singularity.html (accessed 18 August 2006). + +Von Hippel, Eric. Democratizing Innovation. Cambridge, Mass.: MIT Press, 2005. + +Wajcman, Judy. Feminism Confronts Technology. Cambridge: Polity, 1991. + +———. "Reflections on Gender and Technology Studies: In What State Is the Art?" Social Studies of Science 30.3 (2000): 447-64. + +Waldrop, Mitchell. The Dream Machine: J. C. R. Licklider and the Revolution that Made Computing Personal. New York: Viking, 2002. + +Walsh, John, and Todd Bayma. "Computer Networks and Scientific Work." Social Studies of Science 26.3 (August 1996): 661-703. + +Warner, Michael. The Letters of the Republic: Publication and the Public Sphere in Eighteenth-century America. Cambridge, Mass.: Harvard University Press, 1990. + +———. "Publics and Counterpublics." Public Culture 14.1 (2002): 49-90. + +———. Publics and Counterpublics. New York: Zone Books, 2003. + +Wayner, Peter. Free for All: How LINUX and the Free Software Movement Undercut the High-Tech Titans. New York: Harper Business, 2000. + +Weber, Max. "Objectivity in the Social Sciences and Social Policy." In The Methodology of the Social Sciences, trans. and ed. Edward Shils and Henry A. Finch, 50-112. New York: Free Press, 1949. + +Weber, Steven. The Success of Open Source. Cambridge, Mass.: Harvard University Press, 2004. + +Wexelblat, Richard L., ed. History of Programming Languages. New York: Academic Press, 1981. + +Williams, Sam. Free as in Freedom: Richard Stallman’s Crusade for Free Software. Sebastopol, Calif.: O’Reilly Press, 2002. ,{[pg 366]}, + +Wilson, Fiona. "Can’t Compute, Won’t Compute: Women’s Participation in the Culture of Computing." New Technology, Work and Employment 18.2 (2003): 127-42. + +Wilson, Samuel M., and Leighton C. Peterson. "The Anthropology of Online Communities." Annual Reviews of Anthropology 31 (2002): 449-67. + +Xiang, Biao. "Global Bodyshopping": An Indian Labor System in the Information Technology Industry. Princeton: Princeton University Press, 2006. + +Žižek, Slavoj, ed. Mapping Ideology. London: Verso, 1994. + +:B~ Acknowledgement + +1~acknowledgement Acknowledgment + +% ,{[pg 379]}, + +Parts of this book have been published elsewhere. A much earlier version of chapter 1 was published as "Geeks, Social Imaginaries and Recursive Publics," Cultural Anthropology 20.2 (summer 2005); chapter 6 as "The EMACS Controversy," in Mario Biagioli, Martha Woodmansee, and Peter Jaszi, eds., Contexts of Invention (forthcoming); and parts of chapter 9 as "Punt to Culture," Anthropological Quarterly 77.3. + +:B~ Library of Congress + +1~loc Library of Congress Catalog + +% ,{[pg 380]}, + +group{ + +christopher m. kelty +is an assistant professor of anthropology +at Rice University. + +Library of Congress Cataloging-in-Publication Data +Kelty, Christopher M. + +Two bits : the cultural significance of free software / Christopher M. Kelty. p. cm. --(Experimental futures) +Includes bibliographical references and index. +ISBN-13: 978-0-8223-4242-7 (cloth : alk. paper) +ISBN-13: 978-0-8223-4264-9 (pbk. : alk. paper) +1. Information society. 2. Open source software—Social aspects. I. Title. +HM851K45 2008 +303.48'33—dc22 2007049447 + +}group + +% errata? text uses Leitl, Eugen index uses Leitl, Eugene -- cgit v1.2.3 From bf080062360f820c5f6540b2a8b46f925128e372 Mon Sep 17 00:00:00 2001 From: Ralph Amissah Date: Fri, 5 Feb 2010 14:30:49 -0500 Subject: COPYRIGHT, added to ~/. --- COPYRIGHT | 101 ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ 1 file changed, 101 insertions(+) create mode 100644 COPYRIGHT diff --git a/COPYRIGHT b/COPYRIGHT new file mode 100644 index 0000000..795e850 --- /dev/null +++ b/COPYRIGHT @@ -0,0 +1,101 @@ +Author: Ralph Amissah +Download: http://www.jus.uio.no/sisu/ + +Files: * +Copyright: (C) 1997...2009 Ralph Amissah +License: GPL-3+ + This program is free software: you can redistribute it and/or modify + it under the terms of the GNU General Public License as published by + the Free Software Foundation, either version 3 of the License, or + (at your option) any later version. + . + This program is distributed in the hope that it will be useful, + but WITHOUT ANY WARRANTY; without even the implied warranty of + MERCHANTABILITY or FITNESS FOR A PARTICULAR PURPOSE. See the + GNU General Public License for more details. + . + You should have received a copy of the GNU General Public License + along with this program. If not, see . + . + On Debian systems, the complete text of the GNU General Public License + can be found in /usr/share/common-licenses/GPL-3 file. + +Files: setup.rb +Copyright: Minero Aoki +License: LGPL-2.1 + This library is free software; you can redistribute it and/or + modify it under the terms of the GNU Library General Public + License as published by the Free Software Foundation; either + version 2.1 of the License. + . + This library is distributed in the hope that it will be useful, + but WITHOUT ANY WARRANTY; without even the implied warranty of + MERCHANTABILITY or FITNESS FOR A PARTICULAR PURPOSE. See the GNU + Library General Public License for more details. + . + You should have received a copy of the GNU Library General Public + License along with this library; if not, write to the Free + Foundation, Inc., 51 Franklin Street, Fifth Floor, Boston, MA 02110-1301 USA + . + On Debian systems, the complete text of the GNU Library General Public License + can be found in /usr/share/common-licenses/LGPL-2 file. + +Files: +Copyright: +License: + +[...] + +The documents found in this package are marked up for SiSU which is licensed +under the GPL2 or later. + +The content of the documents follows the rights granted by the author or +original publisher, which is contained within the rights field in each document + +Text: Free Culture - How Big Media Uses Technology and the Law to Lock Down Culture and Control Creativity +Author: Lawrence Lessig +Copyright: Lawrence Lessig, 2004 +License: + URL: http://creativecommons.org/licenses/by-nc/1.0/ + +Text: The Wealth of Networks - How Social Production Transforms Markets and Freedom +Author: Yochai Benkler +Copyright: 2006 Yochai Benkler +License: + URL: http://creativecommons.org/licenses/by-nc-sa/2.5/ + +Text: Two Bits - The Cultural Significance of Free Software +Author: Christopher Kelty +Copyright: Duke University Press, 2008 +License: + URL: http://creativecommons.org/licenses/by-nc-sa/3.0/ + +Text: Free For All - How Linux and the Free Software Movement Undercut the High Tech Titans +Author: Peter Wayner +Copyright: Peter Wayner, 2000 +License: + URL: http://creativecommons.org/licenses/by-nc/1.0/ + +Text: The Cathederal and the Bazaar +Author: Eric Raymond +Copyright: Eric S Raymond, 2000 +License: Open Publication License, v 2.0 + URL: + +Text: Little Brother +Author: Cory Doctrow +Copyright: Cory Doctrow +License: + URL: http://creativecommons.org/licenses/by-nc-sa/3.0/ + +Text: Accelerando +Author: Charles Stross +Copyright: Charles Stross, 2005 +License: + URL: http://creativecommons.org/licenses/by-nc-nd/2.0/ +Note: The SiSU preparation (presentations) of Accelerando are done with the kind permission of the author Charles Stross + +Text: UN Contracts for International Sale of Goods +Author: UN, UNCITRAL +Copyright: +License: -- cgit v1.2.3 From 0642d44a7682f671e02eaf947033779dcad4e142 Mon Sep 17 00:00:00 2001 From: Ralph Amissah Date: Fri, 5 Feb 2010 15:17:23 -0500 Subject: Little Brother, Cory Doctrow, (skin and image to be added) --- .../samples/little_brother.cory_doctorow.sst | 6544 ++++++++++++++++++++ 1 file changed, 6544 insertions(+) create mode 100644 data/v1/sisu_markup_samples/samples/little_brother.cory_doctorow.sst diff --git a/data/v1/sisu_markup_samples/samples/little_brother.cory_doctorow.sst b/data/v1/sisu_markup_samples/samples/little_brother.cory_doctorow.sst new file mode 100644 index 0000000..6cb1597 --- /dev/null +++ b/data/v1/sisu_markup_samples/samples/little_brother.cory_doctorow.sst @@ -0,0 +1,6544 @@ +% SiSU 0.72 + +@title: Little Brother + +@creator: Doctorow, Cory |email doctorow@craphound.com + +@rights: Copyright (C) Cory Doctrow. This book is distributed under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 license. That means:
You are free:
* to Share - to copy, distribute and transmit the work
* to Remix - to adapt the work
Under the following conditions:
* Attribution. You must attribute the work in the manner specified by the author or licensor (but not in any way that suggests that they endorse you or your use of the work).
* Noncommercial. You may not use this work for commercial purposes.
* Share Alike. If you alter, transform, or build upon this work, you may distribute the resulting work only under the same or similar license to this one.
* For any reuse or distribution, you must make clear to others the license terms of this work. The best way to do this is with a link http://craphound.com/littlebrother
* Any of the above conditions can be waived if you get my permission
More info here: http://creativecommons.org/licenses/by-nc-sa/3.0/
See the end of this file for the complete legalese. [Creative Commons Attribution-Noncommercial-Share Alike 3.0 United States License] + +@topic_register: SiSU:markup sample:book;book:novel:fiction + +@level: break=1 + +% @skin: skin_little_brother + +@links: { Little Brother home }http://craphound.com/littlebrother +{ Little Brother by Cory Doctrow @ SiSU }http://www.jus.uio.no/sisu/little_brother.cory_doctrow +{ @ Wikipedia }http://en.wikipedia.org/wiki/Little_Brother_(Cory_Doctorow_novel) +{@ Amazon.com}http://www.amazon.com/Little-Brother-Cory-Doctorow/dp/B002IT5OMA +{@ Barnes & Noble}http://search.barnesandnoble.com/Little-Brother/Cory-Doctorow/e/9780765319852 + +:A~ @title @author + +1~cc READ THIS FIRST + +group{ + +This book is distributed under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 license. That means: + +You are free: + +_* to Share - to copy, distribute and transmit the work + +_* to Remix - to adapt the work + +Under the following conditions: + +_* Attribution. You must attribute the work in the manner specified by the author or licensor (but not in any way that suggests that they endorse you or your use of the work). + +_* Noncommercial. You may not use this work for commercial purposes. + +_* Share Alike. If you alter, transform, or build upon this work, you may distribute the resulting work only under the same or similar license to this one. + +_* For any reuse or distribution, you must make clear to others the license terms of this work. The best way to do this is with a link http://craphound.com/littlebrother + +_* Any of the above conditions can be waived if you get my permission + +More info here: http://creativecommons.org/licenses/by-nc-sa/3.0/ + +See the end of this file for the complete legalese. + +}group + +1~intro INTRODUCTION + +I wrote Little Brother in a white-hot fury between May 7, 2007 and July 2, 2007: exactly eight weeks from the day I thought it up to the day I finished it (Alice, to whom this book is dedicated, had to put up with me clacking out the final chapter at 5AM in our hotel in Rome, where we were celebrating our anniversary). I'd always dreamed of having a book just materialize, fully formed, and come pouring out of my fingertips, no sweat and fuss -- but it wasn't nearly as much fun as I'd thought it would be. There were days when I wrote 10,000 words, hunching over my keyboard in airports, on subways, in taxis -- anywhere I could type. The book was trying to get out of my head, no matter what, and I missed so much sleep and so many meals that friends started to ask if I was unwell. + +When my dad was a young university student in the 1960s, he was one of the few "counterculture" people who thought computers were a good thing. For most young people, computers represented the de-humanization of society. University students were reduced to numbers on a punchcard, each bearing the legend "DO NOT BEND, SPINDLE, FOLD OR MUTILATE," prompting some of the students to wear pins that said, "I AM A STUDENT: DO NOT BEND, SPINDLE, FOLD OR MUTILATE ME." Computers were seen as a means to increase the ability of the authorities to regiment people and bend them to their will. + +When I was a 17, the world seemed like it was just going to get more free. The Berlin Wall was about to come down. Computers -- which had been geeky and weird a few years before -- were everywhere, and the modem I'd used to connect to local bulletin board systems was now connecting me to the entire world through the Internet and commercial online services like GEnie. My lifelong fascination with activist causes went into overdrive as I saw how the main difficulty in activism -- organizing -- was getting easier by leaps and bounds (I still remember the first time I switched from mailing out a newsletter with hand-written addresses to using a database with mail-merge). In the Soviet Union, communications tools were being used to bring information -- and revolution -- to the farthest-flung corners of the largest authoritarian state the Earth had ever seen. + +But 17 years later, things are very different. The computers I love are being co-opted, used to spy on us, control us, snitch on us. The National Security Agency has illegally wiretapped the entire USA and gotten away with it. Car rental companies and mass transit and traffic authorities are watching where we go, sending us automated tickets, finking us out to busybodies, cops and bad guys who gain illicit access to their databases. The Transport Security Administration maintains a "no-fly" list of people who'd never been convicted of any crime, but who are nevertheless considered too dangerous to fly. The list's contents are secret. The rule that makes it enforceable is secret. The criteria for being added to the list are secret. It has four-year-olds on it. And US senators. And decorated veterans -- actual war heroes. + +The 17 year olds I know understand to a nicety just how dangerous a computer can be. The authoritarian nightmare of the 1960s has come home for them. The seductive little boxes on their desks and in their pockets watch their every move, corral them in, systematically depriving them of those new freedoms I had enjoyed and made such good use of in my young adulthood. + +What's more, kids were clearly being used as guinea-pigs for a new kind of technological state that all of us were on our way to, a world where taking a picture was either piracy (in a movie theater or museum or even a Starbucks), or terrorism (in a public place), but where we could be photographed, tracked and logged hundreds of times a day by every tin-pot dictator, cop, bureaucrat and shop-keeper. A world where any measure, including torture, could be justified just by waving your hands and shouting "Terrorism! 9/11! Terrorism!" until all dissent fell silent. + +We don't have to go down that road. + +If you love freedom, if you think the human condition is dignified by privacy, by the right to be left alone, by the right to explore your weird ideas provided you don't hurt others, then you have common cause with the kids whose web-browsers and cell phones are being used to lock them up and follow them around. + +If you believe that the answer to bad speech is more speech -- not censorship -- then you have a dog in the fight. + +If you believe in a society of laws, a land where our rulers have to tell us the rules, and have to follow them too, then you're part of the same struggle that kids fight when they argue for the right to live under the same Bill of Rights that adults have. + +This book is meant to be part of the conversation about what an information society means: does it mean total control, or unheard-of liberty? It's not just a noun, it's a verb, it's something you do. + +2~ DO SOMETHING + +This book is meant to be something you do, not just something you read. The technology in this book is either real or nearly real. You can build a lot of it. You can share it and remix it (see THE COPYRIGHT THING, below). You can use the ideas to spark important discussions with your friends and family. You can use those ideas to defeat censorship and get onto the free Internet, even if your government, employer or school doesn't want you to. + +Making stuff: The folks at Instructables have put up some killer HOWTOs for building the technology in this book. It's easy and incredibly fun. There's nothing so rewarding in this world as making stuff, especially stuff that makes you more free: http://www.instructables.com/member/w1n5t0n/ + +Discussions: There's an educator's manual for this book that my publisher, Tor, has put together that has tons of ideas for classroom, reading group and home discussions of the ideas in it: http://www.tor-forge.com/static/Little_Brother_Readers_Guide.pdf + +Defeat censorship: The afterword for this book has lots of resources for increasing your online freedom, blocking the snoops and evading the censorware blocks. The more people who know about this stuff, the better. + +Your stories: I'm collecting stories of people who've used technology to get the upper hand when confronted with abusive authority. I'm going to be including the best of these in a special afterword to the UK edition (see below) of the book, and I'll be putting them online as well. Send me your stories at doctorow@craphound.com, with the subject line "Abuses of Authority". + +2~ GREAT BRITAIN + +I'm a Canadian, and I've lived in lots of places (including San Francisco, the setting for Little Brother), and now I live in London, England, with my wife Alice and our little daughter, Poesy. I've lived here (off and on) for five years now, and though I love it to tiny pieces, there's one thing that's always bugged me: my books aren't available here. Some stores carried them as special items, imported from the USA, but it wasn't published by a British publisher. + +That's changed! HarperCollins UK has bought the British rights to this book (along with my next young adult novel, FOR THE WIN), and they're publishing it just a few months after the US edition, on November 17, 2008 (the day after I get back from my honeymoon!). + +UPDATE: November 27, 2008: And it's on shelves now! The HarperCollins edition's a knockout, too! + +I'm so glad about this, I could bust, honestly. Not just because they're finally selling my books in my adopted homeland, but because /{I'm raising a daughter here, dammit}/, and the surveillance and control mania in this country is starting to scare me bloodless. It seems like the entire police and governance system in Britain has fallen in love with DNA-swabbing, fingerprinting and video-recording everyone, on the off chance that someday you might do something wrong. In early 2008, the head of Scotland Yard seriously proposed taking DNA from /{five-year-olds}/ who display "offending traits" because they'll probably grow up to be criminals. The next week, the London police put up posters asking us all to turn in people who seem to be taking pictures of the ubiquitous CCTV spy-cameras because anyone who pays too much attention to the surveillance machine is probably a terrorist. + +America isn't the only country that lost its mind this decade. Britain's right there in the nuthouse with it, dribbling down its shirt front and pointing its finger at the invisible bogeymen and screaming until it gets its meds. + +We need to be having this conversation all over the planet. + +Want to get a copy in the UK? Sure thing! http://craphound.com/littlebrother/buy/#uk + +2~ OTHER EDITIONS + +My agent, Russell Galen (and his sub-agent Danny Baror) did an amazing job of pre-selling rights to Little Brother in many languages and formats. Here's the list as of today (May 4, 2008). I'll be updating it as more editions are sold, so feel free to grab another copy of this file (http://craphound.com/littlebrother/download) if there's an edition you're hoping to see, or see http://craphound.com/littlebrother/buy/ for links to buy all the currently shipping editions. + +_* Audiobook from Random House: http://www.randomhouse.com/audio/littlebrotheraudiobook + +A condition of my deal with Random House is that they're not allowed to release this on services that use "DRM" (Digital Rights Management) systems intended to control use and copying. That means that you won't find this book on Audible or iTunes, because Audible refuses to sell books without DRM (even if the author and publisher don't want DRM), and iTunes only carries Audible audiobooks. However, you can buy the MP3 file direct from RandomHouse or many other fine etailers, or through this widget: http://www.zipidee.com/zipidAudioPreview.aspx?aid=c5a8e946-fd2c-4b9e-a748-f297bba17de8 + +_* My foreign rights agent, Danny Baror, has presold a number of foreign editions: + +_* Greece: Pataki + +_* Russia: AST Publishing + +_* France: Universe Poche + +_* Norway: Det Norske Samlaget + +No publication dates yet for these, but I'll keep updating this file as more information is available. You can also subscribe to my mailing list for more info. + +2~ THE COPYRIGHT THING + +The Creative Commons license at the top of this file probably tipped you off to the fact that I've got some pretty unorthodox views about copyright. Here's what I think of it, in a nutshell: a little goes a long way, and more than that is too much. + +I like the fact that copyright lets me sell rights to my publishers and film studios and so on. It's nice that they can't just take my stuff without permission and get rich on it without cutting me in for a piece of the action. I'm in a pretty good position when it comes to negotiating with these companies: I've got a great agent and a decade's experience with copyright law and licensing (including a stint as a delegate at WIPO, the UN agency that makes the world's copyright treaties). What's more, there's just not that many of these negotiations -- even if I sell fifty or a hundred different editions of Little Brother (which would put it in top millionth of a percentile for fiction), that's still only a hundred negotiations, which I could just about manage. + +I /{hate}/ the fact that fans who want to do what readers have always done are expected to play in the same system as all these hotshot agents and lawyers. It's just /{stupid}/ to say that an elementary school classroom should have to talk to a lawyer at a giant global publisher before they put on a play based on one of my books. It's ridiculous to say that people who want to "loan" their electronic copy of my book to a friend need to get a /{license}/ to do so. Loaning books has been around longer than any publisher on Earth, and it's a fine thing. + +I recently saw Neil Gaiman give a talk at which someone asked him how he felt about piracy of his books. He said, "Hands up in the audience if you discovered your favorite writer for free -- because someone loaned you a copy, or because someone gave it to you? Now, hands up if you found your favorite writer by walking into a store and plunking down cash." Overwhelmingly, the audience said that they'd discovered their favorite writers for free, on a loan or as a gift. When it comes to my favorite writers, there's no boundaries: I'll buy every book they publish, just to own it (sometimes I buy two or three, to give away to friends who /{must}/ read those books). I pay to see them live. I buy t-shirts with their book-covers on them. I'm a customer for life. + +Neil went on to say that he was part of the tribe of readers, the tiny minority of people in the world who read for pleasure, buying books because they love them. One thing he knows about everyone who downloads his books on the Internet without permission is that they're /{readers}/, they're people who love books. + +People who study the habits of music-buyers have discovered something curious: the biggest pirates are also the biggest spenders. If you pirate music all night long, chances are you're one of the few people left who also goes to the record store (remember those?) during the day. You probably go to concerts on the weekend, and you probably check music out of the library too. If you're a member of the red-hot music-fan tribe, you do lots of /{everything}/ that has to do with music, from singing in the shower to paying for black-market vinyl bootlegs of rare Eastern European covers of your favorite death-metal band. + +Same with books. I've worked in new bookstores, used bookstores and libraries. I've hung out in pirate ebook ("bookwarez") places online. I'm a stone used bookstore junkie, and I go to book fairs for fun. And you know what? It's the same people at all those places: book fans who do lots of everything that has to do with books. I buy weird, fugly pirate editions of my favorite books in China because they're weird and fugly and look great next to the eight or nine other editions that I paid full-freight for of the same books. I check books out of the library, google them when I need a quote, carry dozens around on my phone and hundreds on my laptop, and have (at this writing) more than 10,000 of them in storage lockers in London, Los Angeles and Toronto. + +If I could loan out my physical books without giving up possession of them, I /{would}/. The fact that I can do so with digital files is not a bug, it's a feature, and a damned fine one. It's embarrassing to see all these writers and musicians and artists bemoaning the fact that art just got this wicked new feature: the ability to be shared without losing access to it in the first place. It's like watching restaurant owners crying down their shirts about the new free lunch machine that's feeding the world's starving people because it'll force them to reconsider their business-models. Yes, that's gonna be tricky, but let's not lose sight of the main attraction: free lunches! + +Universal access to human knowledge is in our grasp, for the first time in the history of the world. This is not a bad thing. + +In case that's not enough for you, here's my pitch on why giving away ebooks makes sense at this time and place: + +Giving away ebooks gives me artistic, moral and commercial satisfaction. The commercial question is the one that comes up most often: how can you give away free ebooks and still make money? + +For me -- for pretty much every writer -- the big problem isn't piracy, it's obscurity (thanks to Tim O'Reilly for this great aphorism). Of all the people who failed to buy this book today, the majority did so because they never heard of it, not because someone gave them a free copy. Mega-hit best-sellers in science fiction sell half a million copies -- in a world where 175,000 attend the San Diego Comic Con alone, you've got to figure that most of the people who "like science fiction" (and related geeky stuff like comics, games, Linux, and so on) just don't really buy books. I'm more interested in getting more of that wider audience into the tent than making sure that everyone who's in the tent bought a ticket to be there. + +Ebooks are verbs, not nouns. You copy them, it's in their nature. And many of those copies have a destination, a person they're intended for, a hand-wrought transfer from one person to another, embodying a personal recommendation between two people who trust each other enough to share bits. That's the kind of thing that authors (should) dream of, the proverbial sealing of the deal. By making my books available for free pass-along, I make it easy for people who love them to help other people love them. + +What's more, I don't see ebooks as substitute for paper books for most people. It's not that the screens aren't good enough, either: if you're anything like me, you already spend every hour you can get in front of the screen, reading text. But the more computer-literate you are, the less likely you are to be reading long-form works on those screens -- that's because computer-literate people do more things with their computers. We run IM and email and we use the browser in a million diverse ways. We have games running in the background, and endless opportunities to tinker with our music libraries. The more you do with your computer, the more likely it is that you'll be interrupted after five to seven minutes to do something else. That makes the computer extremely poorly suited to reading long-form works off of, unless you have the iron self-discipline of a monk. + +The good news (for writers) is that this means that ebooks on computers are more likely to be an enticement to buy the printed book (which is, after all, cheap, easily had, and easy to use) than a substitute for it. You can probably read just enough of the book off the screen to realize you want to be reading it on paper. + +So ebooks sell print books. Every writer I've heard of who's tried giving away ebooks to promote paper books has come back to do it again. That's the commercial case for doing free ebooks. + +Now, onto the artistic case. It's the twenty-first century. Copying stuff is never, ever going to get any harder than it is today (or if it does, it'll be because civilization has collapsed, at which point we'll have other problems). Hard drives aren't going to get bulkier, more expensive, or less capacious. Networks won't get slower or harder to access. If you're not making art with the intention of having it copied, you're not really making art for the twenty-first century. There's something charming about making work you don't want to be copied, in the same way that it's nice to go to a Pioneer Village and see the olde-timey blacksmith shoeing a horse at his traditional forge. But it's hardly, you know, /{contemporary}/. I'm a science fiction writer. It's my job to write about the future (on a good day) or at least the present. Art that's not supposed to be copied is from the past. + +Finally, let's look at the moral case. Copying stuff is natural. It's how we learn (copying our parents and the people around us). My first story, written when I was six, was an excited re-telling of Star Wars, which I'd just seen in the theater. Now that the Internet -- the world's most efficient copying machine -- is pretty much everywhere, our copying instinct is just going to play out more and more. There's no way I can stop my readers, and if I tried, I'd be a hypocrite: when I was 17, I was making mix-tapes, photocopying stories, and generally copying in every way I could imagine. If the Internet had been around then, I'd have been using it to copy as much as I possibly could. + +There's no way to stop it, and the people who try end up doing more harm than piracy ever did. The record industry's ridiculous holy war against file-sharers (more than 20,000 music fans sued and counting!) exemplifies the absurdity of trying to get the food-coloring out of the swimming pool. If the choice is between allowing copying or being a frothing bully lashing out at anything he can reach, I choose the former. + +2~ DONATIONS AND A WORD TO TEACHERS AND LIBRARIANS + +Every time I put a book online for free, I get emails from readers who want to send me donations for the book. I appreciate their generous spirit, but I'm not interested in cash donations, because my publishers are really important to me. They contribute immeasurably to the book, improving it, introducing it to audience I could never reach, helping me do more with my work. I have no desire to cut them out of the loop. + +But there has to be some good way to turn that generosity to good use, and I think I've found it. + +Here's the deal: there are lots of teachers and librarians who'd love to get hard-copies of this book into their kids' hands, but don't have the budget for it (teachers in the US spend around $1,200 out of pocket each on classroom supplies that their budgets won't stretch to cover, which is why I sponsor a classroom at Ivanhoe Elementary in my old neighborhood in Los Angeles; you can adopt a class yourself here: http://www.adoptaclassroom.org/). + +There are generous people who want to send some cash my way to thank me for the free ebooks. + +I'm proposing that we put them together. + +If you're a teacher or librarian and you want a free copy of Little Brother, email freelittlebrother@gmail.com with your name and the name and address of your school. It'll be posted to http://craphound.com/littlebrother/category/donate/ by my fantastic helper, Olga Nunes, so that potential donors can see it. + +If you enjoyed the electronic edition of Little Brother and you want to donate something to say thanks, go to http://craphound.com/littlebrother/donate/ and find a teacher or librarian you want to support. Then go to Amazon, BN.com, or your favorite electronic bookseller and order a copy to the classroom, then email a copy of the receipt (feel free to delete your address and other personal info first!) to freelittlebrother@gmail.com so that Olga can mark that copy as sent. If you don't want to be publicly acknowledged for your generosity, let us know and we'll keep you anonymous, otherwise we'll thank you on the donate page. + +I have no idea if this will end up with hundreds, dozens or just a few copies going out -- but I have high hopes! + +1~dedication DEDICATION + +For Alice, who makes me whole + +1~quotes QUOTES + +group{ + +"A rousing tale of techno-geek rebellion, as necessary and dangerous as file sharing, free speech, and bottled water on a plane." + +*{Scott Westerfeld}*, author of UGLIES and EXTRAS + +}group + +group{ + +"I can talk about Little Brother in terms of its bravura political speculation or its brilliant uses of technology -- each of which make this book a must-read -- but, at the end of it all, I'm haunted by the universality of Marcus's rite-of-passage and struggle, an experience any teen today is going to grasp: the moment when you choose what your life will mean and how to achieve it." + +*{Steven C Gould}*, author of JUMPER and REFLEX + +}group + +group{ + +I'd recommend Little Brother over pretty much any book I've read this year, and I'd want to get it into the hands of as many smart 13 year olds, male and female, as I can. + +Because I think it'll change lives. Because some kids, maybe just a few, won't be the same after they've read it. Maybe they'll change politically, maybe technologically. Maybe it'll just be the first book they loved or that spoke to their inner geek. Maybe they'll want to argue about it and disagree with it. Maybe they'll want to open their computer and see what's in there. I don't know. It made me want to be 13 again right now and reading it for the first time, and then go out and make the world better or stranger or odder. It's a wonderful, important book, in a way that renders its flaws pretty much meaningless. + +*{Neil Gaiman}*, author of ANANSI BOYS + +}group + +group{ + +Little Brother is a scarily realistic adventure about how homeland security technology could be abused to wrongfully imprison innocent Americans. A teenage hacker-turned-hero pits himself against the government to fight for his basic freedoms. This book is action-packed with tales of courage, technology, and demonstrations of digital disobedience as the technophile's civil protest." + +*{Bunnie Huang}*, author of HACKING THE XBOX + +}group + +group{ + +Cory Doctorow is a fast and furious storyteller who gets all the details of alternate reality gaming right, while offering a startling, new vision of how these games might play out in the high-stakes context of a terrorist attack. Little Brother is a brilliant novel with a bold argument: hackers and gamers might just be our country's best hope for the future. + +*{Jane McGonical}*, Designer, I Love Bees + +}group + +group{ + + +The right book at the right time from the right author -- and, not entirely coincidentally, Cory Doctorow's best novel yet. + +*{John Scalzi}*, author of OLD MAN'S WAR + +}group + +group{ + +It's about growing up in the near future where things have kept going on the way they've been going, and it's about hacking as a habit of mind, but mostly it's about growing up and changing and looking at the world and asking what you can do about that. The teenage voice is pitch-perfect. I couldn't put it down, and I loved it. + +*{Jo Walton}*, author of FARTHING + +}group + +group{ + +A worthy younger sibling to Orwell's 1984, Cory Doctorow's LITTLE BROTHER is lively, precocious, and most importantly, a little scary. + +*{Brian K Vaughn}*, author of Y: THE LAST MAN + +}group + +group{ + +"Little Brother" sounds an optimistic warning. It extrapolates from current events to remind us of the ever-growing threats to liberty. But it also notes that liberty ultimately resides in our individual attitudes and +actions. In our increasingly authoritarian world, I especially hope that teenagers and young adults will read it -- and then persuade their peers, parents and teachers to follow suit. + +*{Dan Gillmor}*, author of WE, THE MEDIA + +}group + +1~bookstores ABOUT THE BOOKSTORE DEDICATIONS + +Every chapter of this file has been dedicated to a different bookstore, and in each case, it's a store that I love, a store that's helped me discover books that opened my mind, a store that's helped my career along. The stores didn't pay me anything for this -- I haven't even told them about it -- but it seems like the right thing to do. After all, I'm hoping that you'll read this ebook and decide to buy the paper book, so it only makes sense to suggest a few places you can pick it up! + +1~ Chapter 1 + +_1 /{ [This chapter is dedicated to BakkaPhoenix Books in Toronto, Canada.~{ BakkaPhoenix Books: http://www.bakkaphoenixbooks.com/ 697 Queen Street West, Toronto ON Canada M6J1E6, +1 416 963 9993 }~ Bakka is the oldest science fiction bookstore in the world, and it made me the mutant I am today. I wandered in for the first time around the age of 10 and asked for some recommendations. Tanya Huff (yes, /{the}/ Tanya Huff, but she wasn't a famous writer back then!) took me back into the used section and pressed a copy of H. Beam Piper's "Little Fuzzy" into my hands, and changed my life forever. By the time I was 18, I was working at Bakka -- I took over from Tanya when she retired to write full time -- and I learned life-long lessons about how and why people buy books. I think every writer should work at a bookstore (and plenty of writers have worked at Bakka over the years! For the 30th anniversary of the store, they put together an anthology of stories by Bakka writers that included work by Michelle Sagara (AKA Michelle West), Tanya Huff, Nalo Hopkinson, Tara Tallan --and me!)] }/ + +I'm a senior at Cesar Chavez high in San Francisco's sunny Mission district, and that makes me one of the most surveilled people in the world. My name is Marcus Yallow, but back when this story starts, I was going by w1n5t0n. Pronounced "Winston." + +/{Not}/ pronounced "Double-you-one-enn-five-tee-zero-enn" -- unless you're a clueless disciplinary officer who's far enough behind the curve that you still call the Internet "the information superhighway." + +I know just such a clueless person, and his name is Fred Benson, one of three vice-principals at Cesar Chavez. He's a sucking chest wound of a human being. But if you're going to have a jailer, better a clueless one than one who's really on the ball. + +"Marcus Yallow," he said over the PA one Friday morning. The PA isn't very good to begin with, and when you combine that with Benson's habitual mumble, you get something that sounds more like someone struggling to digest a bad burrito than a school announcement. But human beings are good at picking their names out of audio confusion -- it's a survival trait. + +I grabbed my bag and folded my laptop three-quarters shut -- I didn't want to blow my downloads -- and got ready for the inevitable. + +"Report to the administration office immediately." + +My social studies teacher, Ms Galvez, rolled her eyes at me and I rolled my eyes back at her. The Man was always coming down on me, just because I go through school firewalls like wet kleenex, spoof the gait-recognition software, and nuke the snitch chips they track us with. Galvez is a good type, anyway, never holds that against me (especially when I'm helping get with her webmail so she can talk to her brother who's stationed in Iraq). + +My boy Darryl gave me a smack on the ass as I walked past. I've known Darryl since we were still in diapers and escaping from play-school, and I've been getting him into and out of trouble the whole time. I raised my arms over my head like a prizefighter and made my exit from Social Studies and began the perp-walk to the office. + +I was halfway there when my phone went. That was another no-no -- phones are muy prohibido at Chavez High -- but why should that stop me? I ducked into the toilet and shut myself in the middle stall (the furthest stall is always grossest because so many people head straight for it, hoping to escape the smell and the squick -- the smart money and good hygiene is down the middle). I checked the phone -- my home PC had sent it an email to tell it that there was something new up on Harajuku Fun Madness, which happens to be the best game ever invented. + +I grinned. Spending Fridays at school was teh suck anyway, and I was glad of the excuse to make my escape. + +I ambled the rest of the way to Benson's office and tossed him a wave as I sailed through the door. + +"If it isn't Double-you-one-enn-five-tee-zero-enn," he said. Fredrick Benson -- Social Security number 545-03-2343, date of birth August 15 1962, mother's maiden name Di Bona, hometown Petaluma -- is a lot taller than me. I'm a runty 5'8", while he stands 6'7", and his college basketball days are far enough behind him that his chest muscles have turned into saggy man-boobs that were painfully obvious through his freebie dot-com polo-shirts. He always looks like he's about to slam-dunk your ass, and he's really into raising his voice for dramatic effect. Both these start to lose their efficacy with repeated application. + +"Sorry, nope," I said. "I never heard of this R2D2 character of yours." + +"W1n5t0n," he said, spelling it out again. He gave me a hairy eyeball and waited for me to wilt. Of course it was my handle, and had been for years. It was the identity I used when I was posting on message-boards where I was making my contributions to the field of applied security research. You know, like sneaking out of school and disabling the minder-tracer on my phone. But he didn't know that this was my handle. Only a small number of people did, and I trusted them all to the end of the earth. + +"Um, not ringing any bells," I said. I'd done some pretty cool stuff around school using that handle -- I was very proud of my work on snitch-tag killers -- and if he could link the two identities, I'd be in trouble. No one at school ever called me w1n5t0n or even Winston. Not even my pals. It was Marcus or nothing. + +Benson settled down behind his desk and tapped his class-ring nervously on his blotter. He did this whenever things started to go bad for him. Poker players call stuff like this a "tell" -- something that let you know what was going on in the other guy's head. I knew Benson's tells backwards and forwards. + +"Marcus, I hope you realize how serious this is." + +"I will just as soon as you explain what this is, sir." I always say "sir" to authority figures when I'm messing with them. It's my own tell. + +He shook his head at me and looked down, another tell. Any second now, he was going to start shouting at me. "Listen, kiddo! It's time you came to grips with the fact that we know about what you've been doing, and that we're not going to be lenient about it. You're going to be lucky if you're not expelled before this meeting is through. Do you want to graduate?" + +"Mr Benson, you still haven't explained what the problem is --" + +He slammed his hand down on the desk and then pointed his finger at me. "The /{problem}/, Mr Yallow, is that you've been engaged in criminal conspiracy to subvert this school's security system, and you have supplied security countermeasures to your fellow students. You know that we expelled Graciella Uriarte last week for using one of your devices." Uriarte had gotten a bad rap. She'd bought a radio-jammer from a head-shop near the 16th Street BART station and it had set off the countermeasures in the school hallway. Not my doing, but I felt for her. + +"And you think I'm involved in that?" + +"We have reliable intelligence indicating that you are w1n5t0n" -- again, he spelled it out, and I began to wonder if he hadn't figured out that the 1 was an I and the 5 was an S. "We know that this w1n5t0n character is responsible for the theft of last year's standardized tests." That actually hadn't been me, but it was a sweet hack, and it was kind of flattering to hear it attributed to me. "And therefore liable for several years in prison unless you cooperate with me." + +"You have 'reliable intelligence'? I'd like to see it." + +He glowered at me. "Your attitude isn't going to help you." + +"If there's evidence, sir, I think you should call the police and turn it over to them. It sounds like this is a very serious matter, and I wouldn't want to stand in the way of a proper investigation by the duly constituted authorities." + +"You want me to call the police." + +"And my parents, I think. That would be for the best." + +We stared at each other across the desk. He'd clearly expected me to fold the second he dropped the bomb on me. I don't fold. I have a trick for staring down people like Benson. I look slightly to the left of their heads, and think about the lyrics to old Irish folk songs, the kinds with three hundred verses. It makes me look perfectly composed and unworried. + +/{And the wing was on the bird and the bird was on the egg and the egg was in the nest and the nest was on the leaf and the leaf was on the twig and the twig was on the branch and the branch was on the limb and the limb was in the tree and the tree was in the bog -- the bog down in the valley-oh! High-ho the rattlin' bog, the bog down in the valley-oh --}/ + +"You can return to class now," he said. "I'll call on you once the police are ready to speak to you." + +"Are you going to call them now?" + +"The procedure for calling in the police is complicated. I'd hoped that we could settle this fairly and quickly, but since you insist --" + +"I can wait while you call them is all," I said. "I don't mind." + +He tapped his ring again and I braced for the blast. + +"/{Go!}/" he yelled. "Get the hell out of my office, you miserable little --" + +I got out, keeping my expression neutral. He wasn't going to call the cops. If he'd had enough evidence to go to the police with, he would have called them in the first place. He hated my guts. I figured he'd heard some unverified gossip and hoped to spook me into confirming it. + +I moved down the corridor lightly and sprightly, keeping my gait even and measured for the gait-recognition cameras. These had been installed only a year before, and I loved them for their sheer idiocy. Beforehand, we'd had face-recognition cameras covering nearly every public space in school, but a court ruled that was unconstitutional. So Benson and a lot of other paranoid school administrators had spent our textbook dollars on these idiot cameras that were supposed to be able to tell one person's walk from another. Yeah, right. + +I got back to class and sat down again, Ms Galvez warmly welcoming me back. I unpacked the school's standard-issue machine and got back into classroom mode. The SchoolBooks were the snitchiest technology of them all, logging every keystroke, watching all the network traffic for suspicious keywords, counting every click, keeping track of every fleeting thought you put out over the net. We'd gotten them in my junior year, and it only took a couple months for the shininess to wear off. Once people figured out that these "free" laptops worked for the man -- and showed a never-ending parade of obnoxious ads to boot -- they suddenly started to feel very heavy and burdensome. + +Cracking my SchoolBook had been easy. The crack was online within a month of the machine showing up, and there was nothing to it -- just download a DVD image, burn it, stick it in the SchoolBook, and boot it while holding down a bunch of different keys at the same time. The DVD did the rest, installing a whole bunch of hidden programs on the machine, programs that would stay hidden even when the Board of Ed did its daily remote integrity checks of the machines. Every now and again I had to get an update for the software to get around the Board's latest tests, but it was a small price to pay to get a little control over the box. + +I fired up IMParanoid, the secret instant messenger that I used when I wanted to have an off-the-record discussion right in the middle of class. Darryl was already logged in. + +> The game's afoot! Something big is going down with Harajuku Fun Madness, dude. You in? + +> No. Freaking. Way. If I get caught ditching a third time, I'm expelled. Man, you know that. We'll go after school. + +> You've got lunch and then study-hall, right? That's two hours. Plenty of time to run down this clue and get back before anyone misses us. I'll get the whole team out. + +Harajuku Fun Madness is the best game ever made. I know I already said that, but it bears repeating. It's an ARG, an Alternate Reality Game, and the story goes that a gang of Japanese fashion-teens discovered a miraculous healing gem at the temple in Harajuku, which is basically where cool Japanese teenagers invented every major subculture for the past ten years. They're being hunted by evil monks, the Yakuza (AKA the Japanese mafia), aliens, tax-inspectors, parents, and a rogue artificial intelligence. They slip the players coded messages that we have to decode and use to track down clues that lead to more coded messages and more clues. + +Imagine the best afternoon you've ever spent prowling the streets of a city, checking out all the weird people, funny hand-bills, street-maniacs, and funky shops. Now add a scavenger hunt to that, one that requires you to research crazy old films and songs and teen culture from around the world and across time and space. And it's a competition, with the winning team of four taking a grand prize of ten days in Tokyo, chilling on Harajuku bridge, geeking out in Akihabara, and taking home all the Astro Boy merchandise you can eat. Except that he's called "Atom Boy" in Japan. + +That's Harajuku Fun Madness, and once you've solved a puzzle or two, you'll never look back. + +> No man, just no. NO. Don't even ask. + +> I need you D. You're the best I've got. I swear I'll get us in and out without anyone knowing it. You know I can do that, right? + +> I know you can do it + +> So you're in? + +> Hell no + +> Come on, Darryl. You're not going to your deathbed wishing you'd spent more study periods sitting in school + +> I'm not going to go to my deathbed wishing I'd spent more time playing ARGs either + +> Yeah but don't you think you might go to your death-bed wishing you'd spent more time with Vanessa Pak? + +Van was part of my team. She went to a private girl's school in the East Bay, but I knew she'd ditch to come out and run the mission with me. Darryl has had a crush on her literally for years -- even before puberty endowed her with many lavish gifts. Darryl had fallen in love with her mind. Sad, really. + +> You suck + +> You're coming? + +He looked at me and shook his head. Then he nodded. I winked at him and set to work getting in touch with the rest of my team. + +# + +I wasn't always into ARGing. I have a dark secret: I used to be a LARPer. LARPing is Live Action Role Playing, and it's just about what it sounds like: running around in costume, talking in a funny accent, pretending to be a super-spy or a vampire or a medieval knight. It's like Capture the Flag in monster-drag, with a bit of Drama Club thrown in, and the best games were the ones we played in Scout Camps out of town in Sonoma or down on the Peninsula. Those three-day epics could get pretty hairy, with all-day hikes, epic battles with foam-and-bamboo swords, casting spells by throwing beanbags and shouting "Fireball!" and so on. Good fun, if a little goofy. Not nearly as geeky as talking about what your elf planned on doing as you sat around a table loaded with Diet Coke cans and painted miniatures, and more physically active than going into a mouse-coma in front of a massively multiplayer game at home. + +The thing that got me into trouble were the mini-games in the hotels. Whenever a science fiction convention came to town, some LARPer would convince them to let us run a couple of six-hour mini-games at the con, piggybacking on their rental of the space. Having a bunch of enthusiastic kids running around in costume lent color to the event, and we got to have a ball among people even more socially deviant than us. + +The problem with hotels is that they have a lot of non-gamers in them, too -- and not just sci-fi people. Normal people. From states that begin and end with vowels. On holidays. + +And sometimes those people misunderstand the nature of a game. + +Let's just leave it at that, OK? + +# + +Class ended in ten minutes, and that didn't leave me with much time to prepare. The first order of business were those pesky gait-recognition cameras. Like I said, they'd started out as face-recognition cameras, but those had been ruled unconstitutional. As far as I know, no court has yet determined whether these gait-cams are any more legal, but until they do, we're stuck with them. + +"Gait" is a fancy word for the way you walk. People are pretty good at spotting gaits -- next time you're on a camping trip, check out the bobbing of the flashlight as a distant friend approaches you. Chances are you can identify him just from the movement of the light, the characteristic way it bobs up and down that tells our monkey brains that this is a person approaching us. + +Gait recognition software takes pictures of your motion, tries to isolate you in the pics as a silhouette, and then tries to match the silhouette to a database to see if it knows who you are. It's a biometric identifier, like fingerprints or retina-scans, but it's got a lot more "collisions" than either of those. A biometric "collision" is when a measurement matches more than one person. Only you have your fingerprint, but you share your gait with plenty other people. + +Not exactly, of course. Your personal, inch-by-inch walk is yours and yours alone. The problem is your inch-by-inch walk changes based on how tired you are, what the floor is made of, whether you pulled your ankle playing basketball, and whether you've changed your shoes lately. So the system kind of fuzzes-out your profile, looking for people who walk kind of like you. + +There are a lot of people who walk kind of like you. What's more, it's easy not to walk kind of like you -- just take one shoe off. Of course, you'll always walk like you-with-one-shoe-off in that case, so the cameras will eventually figure out that it's still you. Which is why I prefer to inject a little randomness into my attacks on gait-recognition: I put a handful of gravel into each shoe. Cheap and effective, and no two steps are the same. Plus you get a great reflexology foot massage in the process (I kid. Reflexology is about as scientifically useful as gait-recognition). + +The cameras used to set off an alert every time someone they didn't recognize stepped onto campus. + +This did /{not}/ work. + +The alarm went off every ten minutes. When the mailman came by. When a parent dropped in. When the grounds-people went to work fixing up the basketball court. When a student showed up wearing new shoes. + +So now it just tries to keep track of who's where and when. If someone leaves by the school-gates during classes, their gait is checked to see if it kinda-sorta matches any student gait and if it does, whoop-whoop-whoop, ring the alarm! + +Chavez High is ringed with gravel walkways. I like to keep a couple handsful of rocks in my shoulder-bag, just in case. I silently passed Darryl ten or fifteen pointy little bastards and we both loaded our shoes. + +Class was about to finish up -- and I realized that I still hadn't checked the Harajuku Fun Madness site to see where the next clue was! I'd been a little hyper-focused on the escape, and hadn't bothered to figure out where we were escaping /{to}/. + +I turned to my SchoolBook and hit the keyboard. The web-browser we used was supplied with the machine. It was a locked-down spyware version of Internet Explorer, Microsoft's crashware turd that no one under the age of 40 used voluntarily. + +I had a copy of Firefox on the USB drive built into my watch, but that wasn't enough -- the SchoolBook ran Windows Vista4Schools, an antique operating system designed to give school administrators the illusion that they controlled the programs their students could run. + +But Vista4Schools is its own worst enemy. There are a lot of programs that Vista4Schools doesn't want you to be able to shut down -- keyloggers, censorware -- and these programs run in a special mode that makes them invisible to the system. You can't quit them because you can't even see they're there. + +Any program whose name starts with $SYS$ is invisible to the operating system. it doesn't show up on listings of the hard drive, nor in the process monitor. So my copy of Firefox was called $SYS$Firefox -- and as I launched it, it became invisible to Windows, and so invisible to the network's snoopware. + +Now I had an indie browser running, I needed an indie network connection. The school's network logged every click in and out of the system, which was bad news if you were planning on surfing over to the Harajuku Fun Madness site for some extra-curricular fun. + +The answer is something ingenious called TOR -- The Onion Router. An onion router is an Internet site that takes requests for web-pages and passes them onto other onion routers, and on to other onion routers, until one of them finally decides to fetch the page and pass it back through the layers of the onion until it reaches you. The traffic to the onion-routers is encrypted, which means that the school can't see what you're asking for, and the layers of the onion don't know who they're working for. There are millions of nodes -- the program was set up by the US Office of Naval Research to help their people get around the censorware in countries like Syria and China, which means that it's perfectly designed for operating in the confines of an average American high school. + +TOR works because the school has a finite blacklist of naughty addresses we aren't allowed to visit, and the addresses of the nodes change all the time -- no way could the school keep track of them all. Firefox and TOR together made me into the invisible man, impervious to Board of Ed snooping, free to check out the Harajuku FM site and see what was up. + +There it was, a new clue. Like all Harajuku Fun Madness clues, it had a physical, online and mental component. The online component was a puzzle you had to solve, one that required you to research the answers to a bunch of obscure questions. This batch included a bunch of questions on the plots in dojinshi -- those are comic books drawn by fans of manga, Japanese comics. They can be as big as the official comics that inspire them, but they're a lot weirder, with crossover story-lines and sometimes really silly songs and action. Lots of love stories, of course. Everyone loves to see their favorite toons hook up. + +I'd have to solve those riddles later, when I got home. They were easiest to solve with the whole team, downloading tons of dojinshi files and scouring them for answers to the puzzles. + +I'd just finished scrap-booking all the clues when the bell rang and we began our escape. I surreptitiously slid the gravel down the side of my short boots -- ankle-high Blundstones from Australia, great for running and climbing, and the easy slip-on/slip-off laceless design makes them convenient at the never-ending metal-detectors that are everywhere now. + +We also had to evade physical surveillance, of course, but that gets easier every time they add a new layer of physical snoopery -- all the bells and whistles lull our beloved faculty into a totally false sense of security. We surfed the crowd down the hallways, heading for my favorite side-exit. We were halfway along when Darryl hissed, "Crap! I forgot, I've got a library book in my bag." + +"You're kidding me," I said, and hauled him into the next bathroom we passed. Library books are bad news. Every one of them has an arphid -- Radio Frequency ID tag -- glued into its binding, which makes it possible for the librarians to check out the books by waving them over a reader, and lets a library shelf tell you if any of the books on it are out of place. + +But it also lets the school track where you are at all times. It was another of those legal loopholes: the courts wouldn't let the schools track /{us}/ with arphids, but they could track /{library books}/, and use the school records to tell them who was likely to be carrying which library book. + +I had a little Faraday pouch in my bag -- these are little wallets lined with a mesh of copper wires that effectively block radio energy, silencing arphids. But the pouches were made for neutralizing ID cards and toll-booth transponders, not books like -- + +"Introduction to Physics?" I groaned. The book was the size of a dictionary. + +1~ Chapter 2 + +_1 /{ [This chapter is dedicated to Amazon.com,~{ Amazon: http://www.amazon.com/exec/obidos/ASIN/0765319853/downandoutint-20 }~ the largest Internet bookseller in the world. Amazon is /{amazing}/ -- a "store" where you can get practically any book ever published (along with practically everything else, from laptops to cheese-graters), where they've elevated recommendations to a high art, where they allow customers to directly communicate with each other, where they are constantly inventing new and better ways of connecting books with readers. Amazon has always treated me like gold -- the founder, Jeff Bezos, even posted a reader-review for my first novel! -- and I shop there like crazy (looking at my spreadsheets, it appears that I buy something from Amazon approximately every /{six days}/). Amazon's in the process of reinventing what it means to be a bookstore in the twenty-first century and I can't think of a better group of people to be facing down that thorny set of problems.] }/ + +"I'm thinking of majoring in physics when I go to Berkeley," Darryl said. His dad taught at the University of California at Berkeley, which meant he'd get free tuition when he went. And there'd never been any question in Darryl's household about whether he'd go. + +"Fine, but couldn't you research it online?" + +"My dad said I should read it. Besides, I didn't plan on committing any crimes today." + +"Skipping school isn't a crime. It's an infraction. They're totally different." + +"What are we going to do, Marcus?" + +"Well, I can't hide it, so I'm going to have to nuke it." Killing arphids is a dark art. No merchant wants malicious customers going for a walk around the shop-floor and leaving behind a bunch of lobotomized merchandise that is missing its invisible bar-code, so the manufacturers have refused to implement a "kill signal" that you can radio to an arphid to get it to switch off. You can reprogram arphids with the right box, but I hate doing that to library books. It's not exactly tearing pages out of a book, but it's still bad, since a book with a reprogrammed arphid can't be shelved and can't be found. It just becomes a needle in a haystack. + +That left me with only one option: nuking the thing. Literally. 30 seconds in a microwave will do in pretty much every arphid on the market. And because the arphid wouldn't answer at all when D checked it back in at the library, they'd just print a fresh one for it and recode it with the book's catalog info, and it would end up clean and neat back on its shelf. + +All we needed was a microwave. + +"Give it another two minutes and the teacher's lounge will be empty," I said. + +Darryl grabbed his book at headed for the door. "Forget it, no way. I'm going to class." + +I snagged his elbow and dragged him back. "Come on, D, easy now. It'll be fine." + +"The /{teacher's lounge}/? Maybe you weren't listening, Marcus. If I get busted /{just once more}/, I am /{expelled.}/ You hear that? /{Expelled.}/" + +"You won't get caught," I said. The one place a teacher wouldn't be after this period was the lounge. "We'll go in the back way." The lounge had a little kitchenette off to one side, with its own entrance for teachers who just wanted to pop in and get a cup of joe. The microwave -- which always reeked of popcorn and spilled soup -- was right in there, on top of the miniature fridge. + +Darryl groaned. I thought fast. "Look, the bell's /{already rung}/. if you go to study hall now, you'll get a late-slip. Better not to show at all at this point. I can infiltrate and exfiltrate any room on this campus, D. You've seen me do it. I'll keep you safe, bro." + +He groaned again. That was one of Darryl's tells: once he starts groaning, he's ready to give in. + +"Let's roll," I said, and we took off. + +It was flawless. We skirted the classrooms, took the back stairs into the basement, and came up the front stairs right in front of the teachers' lounge. Not a sound came from the door, and I quietly turned the knob and dragged Darryl in before silently closing the door. + +The book just barely fit in the microwave, which was looking even less sanitary than it had the last time I'd popped in here to use it. I conscientiously wrapped it in paper towels before I set it down. "Man, teachers are /{pigs}/," I hissed. Darryl, white faced and tense, said nothing. + +The arphid died in a shower of sparks, which was really quite lovely (though not nearly as pretty as the effect you get when you nuke a frozen grape, which has to be seen to be believed). + +Now, to exfiltrate the campus in perfect anonymity and make our escape. + +Darryl opened the door and began to move out, me on his heels. A second later, he was standing on my toes, elbows jammed into my chest, as he tried to back-pedal into the closet-sized kitchen we'd just left. + +"Get back," he whispered urgently. "Quick -- it's Charles!" + +Charles Walker and I don't get along. We're in the same grade, and we've known each other as long as I've known Darryl, but that's where the resemblance ends. Charles has always been big for his age, and now that he's playing football and on the juice, he's even bigger. He's got anger management problems -- I lost a milk-tooth to him in the third grade, and he's managed to keep from getting in trouble over them by becoming the most active snitch in school. + +It's a bad combination, a bully who also snitches, taking great pleasure in going to the teachers with whatever infractions he's found. Benson /{loved}/ Charles. Charles liked to let on that he had some kind of unspecified bladder problem, which gave him a ready-made excuse to prowl the hallways at Chavez, looking for people to fink on. + +The last time Charles had caught some dirt on me, it had ended with me giving up LARPing. I had no intention of being caught by him again. + +"What's he doing?" + +"He's coming this way is what he's doing," Darryl said. He was shaking. + +"OK," I said. "OK, time for emergency countermeasures." I got my phone out. I'd planned this well in advance. Charles would never get me again. I emailed my server at home, and it got into motion. + +A few seconds later, Charles's phone spazzed out spectacularly. I'd had tens of thousands of simultaneous random calls and text messages sent to it, causing every chirp and ring it had to go off and keep on going off. The attack was accomplished by means of a botnet, and for that I felt bad, but it was in the service of a good cause. + +Botnets are where infected computers spend their afterlives. When you get a worm or a virus, your computer sends a message to a chat channel on IRC -- the Internet Relay Chat. That message tells the botmaster -- the guy who deployed the worm -- that the computers are there ready to do his bidding. Botnets are supremely powerful, since they can comprise thousands, even hundreds of thousands of computers, scattered all over the Internet, connected to juicy high-speed connections and running on fast home PCs. Those PCs normally function on behalf of their owners, but when the botmaster calls them, they rise like zombies to do his bidding. + +There are so many infected PCs on the Internet that the price of hiring an hour or two on a botnet has crashed. Mostly these things work for spammers as cheap, distributed spambots, filling your mailbox with come-ons for boner-pills or with new viruses that can infect you and recruit your machine to join the botnet. + +I'd just rented 10 seconds' time on three thousand PCs and had each of them send a text message or voice-over-IP call to Charles's phone, whose number I'd extracted from a sticky note on Benson's desk during one fateful office-visit. + +Needless to say, Charles's phone was not equipped to handle this. First the SMSes filled the memory on his phone, causing it to start choking on the routine operations it needed to do things like manage the ringer and log all those incoming calls' bogus return numbers (did you know that it's /{really easy}/ to fake the return number on a caller ID? There are about fifty ways of doing it -- just google "spoof caller id"). + +Charles stared at it dumbfounded, and jabbed at it furiously, his thick eyebrows knotting and wiggling as he struggled with the demons that had possessed his most personal of devices. The plan was working so far, but he wasn't doing what he was supposed to be doing next -- he was supposed to go find some place to sit down and try to figure out how to get his phone back. +Darryl shook me by the shoulder, and I pulled my eye away from the crack in the door. + +"What's he doing?" Darryl whispered. + +"I totaled his phone, but he's just staring at it now instead of moving on." It wasn't going to be easy to reboot that thing. Once the memory was totally filled, it would have a hard time loading the code it needed to delete the bogus messages -- and there was no bulk-erase for texts on his phone, so he'd have to manually delete all of the thousands of messages. + +Darryl shoved me back and stuck his eye up to the door. A moment later, his shoulders started to shake. I got scared, thinking he was panicking, but when he pulled back, I saw that he was laughing so hard that tears were streaming down his cheeks. + +"Galvez just totally busted him for being in the halls during class /{and}/ for having his phone out -- you should have seen her tear into him. She was really enjoying it." + +We shook hands solemnly and snuck back out of the corridor, down the stairs, around the back, out the door, past the fence and out into the glorious sunlight of afternoon in the Mission. Valencia Street had never looked so good. I checked my watch and yelped. + +"Let's move! The rest of the gang is meeting us at the cable-cars in twenty minutes!" + +# + +Van spotted us first. She was blending in with a group of Korean tourists, which is one of her favorite ways of camouflaging herself when she's ditching school. Ever since the truancy moblog went live, our world is full of nosy shopkeepers and pecksniffs who take it upon themselves to snap our piccies and put them on the net where they can be perused by school administrators. + +She came out of the crowd and bounded toward us. Darryl has had a thing for Van since forever, and she's sweet enough to pretend she doesn't know it. She gave me a hug and then moved onto Darryl, giving him a quick sisterly kiss on the cheek that made him go red to the tops of his ears. + +The two of them made a funny pair: Darryl is a little on the heavy side, though he wears it well, and he's got a kind of pink complexion that goes red in the cheeks whenever he runs or gets excited. He's been able to grow a beard since we were 14, but thankfully he started shaving after a brief period known to our gang as "the Lincoln years." And he's tall. Very, very tall. Like basketball player tall. + +Meanwhile, Van is half a head shorter than me, and skinny, with straight black hair that she wears in crazy, elaborate braids that she researches on the net. She's got pretty coppery skin and dark eyes, and she loves big glass rings the size of radishes, which click and clack together when she dances. + +"Where's Jolu?" she said. + +"How are you, Van?" Darryl asked in a choked voice. He always ran a step behind the conversation when it came to Van. + +"I'm great, D. How's your every little thing?" Oh, she was a bad, bad person. Darryl nearly fainted. + +Jolu saved him from social disgrace by showing up just then, in an oversize leather baseball jacket, sharp sneakers, and a meshback cap advertising our favorite Mexican masked wrestler, El Santo Junior. Jolu is Jose Luis Torrez, the completing member of our foursome. He went to a super-strict Catholic school in the Outer Richmond, so it wasn't easy for him to get out. But he always did: no one exfiltrated like our Jolu. He liked his jacket because it hung down low -- which was pretty stylish in parts of the city -- and covered up all his Catholic school crap, which was like a bulls-eye for nosy jerks with the truancy moblog bookmarked on their phones. + +"Who's ready to go?" I asked, once we'd all said hello. I pulled out my phone and showed them the map I'd downloaded to it on the BART. "Near as I can work out, we wanna go up to the Nikko again, then one block past it to O'Farrell, then left up toward Van Ness. Somewhere in there we should find the wireless signal." + +Van made a face. "That's a nasty part of the Tenderloin." I couldn't argue with her. That part of San Francisco is one of the weird bits -- you go in through the Hilton's front entrance and it's all touristy stuff like the cable-car turnaround and family restaurants. Go through to the other side and you're in the 'Loin, where every tracked out transvestite hooker, hard-case pimp, hissing drug dealer and cracked up homeless person in town was concentrated. What they bought and sold, none of us were old enough to be a part of (though there were plenty of hookers our age plying their trade in the 'Loin.) + +"Look on the bright side," I said. "The only time you want to go up around there is broad daylight. None of the other players are going to go near it until tomorrow at the earliest. This is what we in the ARG business call a /{monster head start.}/" + +Jolu grinned at me. "You make it sound like a good thing," he said. + +"Beats eating uni," I said. + +"We going to talk or we going to win?" Van said. After me, she was hands-down the most hardcore player in our group. She took winning very, very seriously. + +We struck out, four good friends, on our way to decode a clue, win the game -- and lose everything we cared about, forever. + +# + +The physical component of today's clue was a set of GPS coordinates -- there were coordinates for all the major cities where Harajuku Fun Madness was played -- where we'd find a WiFi access-point's signal. That signal was being deliberately jammed by another, nearby WiFi point that was hidden so that it couldn't be spotted by conventional wifinders, little key-fobs that told you when you were within range of someone's open access-point, which you could use for free. + +We'd have to track down the location of the "hidden" access point by measuring the strength of the "visible" one, finding the spot where it was most mysteriously weakest. There we'd find another clue -- last time it had been in the special of the day at Anzu, the swanky sushi restaurant in the Nikko hotel in the Tenderloin. The Nikko was owned by Japan Airlines, one of Harajuku Fun Madness's sponsors, and the staff had all made a big fuss over us when we finally tracked down the clue. They'd given us bowls of miso soup and made us try uni, which is sushi made from sea urchin, with the texture of very runny cheese and a smell like very runny dog-droppings. But it tasted /{really}/ good. Or so Darryl told me. I wasn't going to eat that stuff. + +I picked up the WiFi signal with my phone's wifinder about three blocks up O'Farrell, just before Hyde Street, in front of a dodgy "Asian Massage Parlor" with a red blinking CLOSED sign in the window. The network's name was HarajukuFM, so we knew we had the right spot. + +"If it's in there, I'm not going," Darryl said. + +"You all got your wifinders?" I said. + +Darryl and Van had phones with built-in wifinders, while Jolu, being too cool to carry a phone bigger than his pinky finger, had a separate little directional fob. + +"OK, fan out and see what we see. You're looking for a sharp drop off in the signal that gets worse the more you move along it." + +I took a step backward and ended up standing on someone's toes. A female voice said "oof" and I spun around, worried that some crack-ho was going to stab me for breaking her heels. + +Instead, I found myself face to face with another kid my age. She had a shock of bright pink hair and a sharp, rodent-like face, with big sunglasses that were practically air-force goggles. She was dressed in striped tights beneath a black granny dress, with lots of little Japanese decorer toys safety pinned to it -- anime characters, old world leaders, emblems from foreign soda-pop. + +She held up a camera and snapped a picture of me and my crew. + +"Cheese," she said. "You're on candid snitch-cam." + +"No way," I said. "You wouldn't --" + +"I will," she said. "I will send this photo to truant watch in thirty seconds unless you four back off from this clue and let me and my friends here run it down. You can come back in one hour and it'll be all yours. I think that's more than fair." + +I looked behind her and noticed three other girls in similar garb -- one with blue hair, one with green, and one with purple. "Who are you supposed to be, the Popsicle Squad?" + +"We're the team that's going to kick your team's ass at Harajuku Fun Madness," she said. "And I'm the one who's /{right this second}/ about to upload your photo and get you in /{so much trouble}/ --" + +Behind me I felt Van start forward. Her all-girls school was notorious for its brawls, and I was pretty sure she was ready to knock this chick's block off. + +Then the world changed forever. + +We felt it first, that sickening lurch of the cement under your feet that every Californian knows instinctively -- /{earthquake}/. My first inclination, as always, was to get away: "when in trouble or in doubt, run in circles, scream and shout." But the fact was, we were already in the safest place we could be, not in a building that could fall in on us, not out toward the middle of the road where bits of falling cornice could brain us. + +Earthquakes are eerily quiet -- at first, anyway -- but this wasn't quiet. This was loud, an incredible roaring sound that was louder than anything I'd ever heard before. The sound was so punishing it drove me to my knees, and I wasn't the only one. Darryl shook my arm and pointed over the buildings and we saw it then: a huge black cloud rising from the northeast, from the direction of the Bay. + +There was another rumble, and the cloud of smoke spread out, that spreading black shape we'd all grown up seeing in movies. Someone had just blown up something, in a big way. + +There were more rumbles and more tremors. Heads appeared at windows up and down the street. We all looked at the mushroom cloud in silence. + +Then the sirens started. + +I'd heard sirens like these before -- they test the civil defense sirens at noon on Tuesdays. But I'd only heard them go off unscheduled in old war movies and video games, the kind where someone is bombing someone else from above. Air raid sirens. The wooooooo sound made it all less real. + +"Report to shelters immediately." It was like the voice of God, coming from all places at once. There were speakers on some of the electric poles, something I'd never noticed before, and they'd all switched on at once. + +"Report to shelters immediately." Shelters? We looked at each other in confusion. What shelters? The cloud was rising steadily, spreading out. Was it nuclear? Were we breathing in our last breaths? + +The girl with the pink hair grabbed her friends and they tore ass downhill, back toward the BART station and the foot of the hills. + +"REPORT TO SHELTERS IMMEDIATELY." There was screaming now, and a lot of running around. Tourists -- you can always spot the tourists, they're the ones who think CALIFORNIA = WARM and spend their San Francisco holidays freezing in shorts and t-shirts -- scattered in every direction. + +"We should go!" Darryl hollered in my ear, just barely audible over the shrieking of the sirens, which had been joined by traditional police sirens. A dozen SFPD cruisers screamed past us. + +"REPORT TO SHELTERS IMMEDIATELY." + +"Down to the BART station," I hollered. My friends nodded. We closed ranks and began to move quickly downhill. + +1~ Chapter 3 + +_1 /{ [This chapter is dedicated to Borderlands Books,~{ Borderland Books: http://www.borderlands-books.com/ 866 Valencia Ave, San Francisco CA USA 94110 +1 888 893 4008 }~ San Francisco's magnificent independent science fiction bookstore. Borderlands is basically located across the street from the fictional Cesar Chavez High depicted in Little Brother, and it's not just notorious for its brilliant events, signings, book clubs and such, but also for its amazing hairless Egyptian cat, Ripley, who likes to perch like a buzzing gargoyle on the computer at the front of the store. Borderlands is about the friendliest bookstore you could ask for, filled with comfy places to sit and read, and staffed by incredibly knowledgeable clerks who know everything there is to know about science fiction. Even better, they've always been willing to take orders for my book (by net or phone) and hold them for me to sign when I drop into the store, then they ship them within the US for free!] }/ + +We passed a lot of people in the road on the way to the Powell Street BART. They were running or walking, white-faced and silent or shouting and panicked. Homeless people cowered in doorways and watched it all, while a tall black tranny hooker shouted at two mustached young men about something. + +The closer we got to the BART, the worse the press of bodies became. By the time we reached the stairway down into the station, it was a mob-scene, a huge brawl of people trying to crowd their way down a narrow staircase. I had my face crushed up against someone's back, and someone else was pressed into my back. + +Darryl was still beside me -- he was big enough that he was hard to shove, and Jolu was right behind him, kind of hanging on to his waist. I spied Vanessa a few yards away, trapped by more people. + +"Screw you!" I heard Van yell behind me. "Pervert! Get your hands off of me!" + +I strained around against the crowd and saw Van looking with disgust at an older guy in a nice suit who was kind of smirking at her. She was digging in her purse and I knew what she was digging for. + +"Don't mace him!" I shouted over the din. "You'll get us all too." + +At the mention of the word mace, the guy looked scared and kind of melted back, though the crowd kept him moving forward. Up ahead, I saw someone, a middle-aged lady in a hippie dress, falter and fall. She screamed as she went down, and I saw her thrashing to get up, but she couldn't, the crowd's pressure was too strong. As I neared her, I bent to help her up, and was nearly knocked over her. I ended up stepping on her stomach as the crowd pushed me past her, but by then I don't think she was feeling anything. + +I was as scared as I'd ever been. There was screaming everywhere now, and more bodies on the floor, and the press from behind was as relentless as a bulldozer. It was all I could do to keep on my feet. + +We were in the open concourse where the turnstiles were. It was hardly any better here -- the enclosed space sent the voices around us echoing back in a roar that made my head ring, and the smell and feeling of all those bodies made me feel a claustrophobia I'd never known I was prone to. + +People were still cramming down the stairs, and more were squeezing past the turnstiles and down the escalators onto the platforms, but it was clear to me that this wasn't going to have a happy ending. + +"Want to take our chances up top?" I said to Darryl. + +"Yes, hell yes," he said. "This is vicious." + +I looked to Vanessa -- there was no way she'd hear me. I managed to get my phone out and I texted her. + +> We're getting out of here + +I saw her feel the vibe from her phone, then look down at it and then back at me and nod vigorously. Darryl, meanwhile, had clued Jolu in. + +"/{What's the plan?}/ Darryl shouted in my ear. + +"We're going to have to go back!" I shouted back, pointing at the remorseless crush of bodies. + +"It's impossible!" he said. + +"It's just going to get more impossible the longer we wait!" + +He shrugged. Van worked her way over to me and grabbed hold of my wrist. I took Darryl and Darryl took Jolu by the other hand and we pushed out. + +It wasn't easy. We moved about three inches a minute at first, then slowed down even more when we reached the stairway. The people we passed were none too happy about us shoving them out of the way, either. A couple people swore at us and there was a guy who looked like he'd have punched me if he'd been able to get his arms loose. We passed three more crushed people beneath us, but there was no way I could have helped them. By that point, I wasn't even thinking of helping anyone. All I could think of was finding the spaces in front of us to move into, of Darryl's mighty straining on my wrist, of my death-grip on Van behind me. + +We popped free like Champagne corks an eternity later, blinking in the grey smoky light. The air raid sirens were still blaring, and the sound of emergency vehicles' sirens as they tore down Market Street was even louder. There was almost no one on the streets anymore -- just the people trying hopelessly to get underground. A lot of them were crying. I spotted a bunch of empty benches -- usually staked out by skanky winos -- and pointed toward them. + +We moved for them, the sirens and the smoke making us duck and hunch our shoulders. We got as far as the benches before Darryl fell forward. + +We all yelled and Vanessa grabbed him and turned him over. The side of his shirt was stained red, and the stain was spreading. She tugged his shirt up and revealed a long, deep cut in his pudgy side. + +"Someone freaking /{stabbed}/ him in the crowd," Jolu said, his hands clenching into fists. "Christ, that's vicious." + +Darryl groaned and looked at us, then down at his side, then he groaned and his head went back again. + +Vanessa took off her jean jacket and then pulled off the cotton hoodie she was wearing underneath it. She wadded it up and pressed it to Darryl's side. "Take his head," she said to me. "Keep it elevated." To Jolu she said, "Get his feet up -- roll up your coat or something." Jolu moved quickly. Vanessa's mother is a nurse and she'd had first aid training every summer at camp. She loved to watch people in movies get their first aid wrong and make fun of them. I was so glad to have her with us. + +We sat there for a long time, holding the hoodie to Darryl's side. He kept insisting that he was fine and that we should let him up, and Van kept telling him to shut up and lie still before she kicked his ass. + +"What about calling 911?" Jolu said. + +I felt like an idiot. I whipped my phone out and punched 911. The sound I got wasn't even a busy signal -- it was like a whimper of pain from the phone system. You don't get sounds like that unless there's three million people all dialing the same number at once. Who needs botnets when you've got terrorists? + +"What about Wikipedia?" Jolu said. + +"No phone, no data," I said. + +"What about them?" Darryl said, and pointed at the street. I looked where he was pointing, thinking I'd see a cop or an paramedic, but there was no one there. + +"It's OK buddy, you just rest," I said. + +"No, you idiot, what about /{them}/, the cops in the cars? There!" + +He was right. Every five seconds, a cop car, an ambulance or a firetruck zoomed past. They could get us some help. I was such an idiot. + +"Come on, then," I said, "let's get you where they can see you and flag one down." + +Vanessa didn't like it, but I figured a cop wasn't going to stop for a kid waving his hat in the street, not that day. They just might stop if they saw Darryl bleeding there, though. I argued briefly with her and Darryl settled it by lurching to his feet and dragging himself down toward Market Street. + +The first vehicle that screamed past -- an ambulance -- didn't even slow down. Neither did the cop car that went past, nor the firetruck, nor the next three cop-cars. Darryl wasn't in good shape -- he was white-faced and panting. Van's sweater was soaked in blood. + +I was sick of cars driving right past me. The next time a car appeared down Market Street, I stepped right out into the road, waving my arms over my head, shouting "/{STOP}/." The car slewed to a stop and only then did I notice that it wasn't a cop car, ambulance or fire-engine. + +It was a military-looking Jeep, like an armored Hummer, only it didn't have any military insignia on it. The car skidded to a stop just in front of me, and I jumped back and lost my balance and ended up on the road. I felt the doors open near me, and then saw a confusion of booted feet moving close by. I looked up and saw a bunch of military-looking guys in coveralls, holding big, bulky rifles and wearing hooded gas masks with tinted face-plates. + +I barely had time to register them before those rifles were pointed at me. I'd never looked down the barrel of a gun before, but everything you've heard about the experience is true. You freeze where you are, time stops, and your heart thunders in your ears. I opened my mouth, then shut it, then, very slowly, I held my hands up in front of me. + +The faceless, eyeless armed man above me kept his gun very level. I didn't even breathe. Van was screaming something and Jolu was shouting and I looked at them for a second and that was when someone put a coarse sack over my head and cinched it tight around my windpipe, so quick and so fiercely I barely had time to gasp before it was locked on me. I was pushed roughly but dispassionately onto my stomach and something went twice around my wrists and then tightened up as well, feeling like baling wire and biting cruelly. I cried out and my own voice was muffled by the hood. + +I was in total darkness now and I strained my ears to hear what was going on with my friends. I heard them shouting through the muffling canvas of the bag, and then I was being impersonally hauled to my feet by my wrists, my arms wrenched up behind my back, my shoulders screaming. + +I stumbled some, then a hand pushed my head down and I was inside the Hummer. More bodies were roughly shoved in beside me. + +"Guys?" I shouted, and earned a hard thump on my head for my trouble. I heard Jolu respond, then felt the thump he was dealt, too. My head rang like a gong. + +"Hey," I said to the soldiers. "Hey, listen! We're just high school students. I wanted to flag you down because my friend was bleeding. Someone stabbed him." I had no idea how much of this was making it through the muffling bag. I kept talking. "Listen -- this is some kind of misunderstanding. We've got to get my friend to a hospital --" + +Someone went upside my head again. It felt like they used a baton or something -- it was harder than anyone had ever hit me in the head before. My eyes swam and watered and I literally couldn't breathe through the pain. A moment later, I caught my breath, but I didn't say anything. I'd learned my lesson. + +Who were these clowns? They weren't wearing insignia. Maybe they were terrorists! I'd never really believed in terrorists before -- I mean, I knew that in the abstract there were terrorists somewhere in the world, but they didn't really represent any risk to me. There were millions of ways that the world could kill me -- starting with getting run down by a drunk burning his way down Valencia -- that were infinitely more likely and immediate than terrorists. Terrorists killed a lot fewer people than bathroom falls and accidental electrocutions. Worrying about them always struck me as about as useful as worrying about getting hit by lightning. + +Sitting in the back of that Hummer, my head in a hood, my hands lashed behind my back, lurching back and forth while the bruises swelled up on my head, terrorism suddenly felt a lot riskier. + +The car rocked back and forth and tipped uphill. I gathered we were headed over Nob Hill, and from the angle, it seemed we were taking one of the steeper routes -- I guessed Powell Street. + +Now we were descending just as steeply. If my mental map was right, we were heading down to Fisherman's Wharf. You could get on a boat there, get away. That fit with the terrorism hypothesis. Why the hell would terrorists kidnap a bunch of high school students? + +We rocked to a stop still on a downslope. The engine died and then the doors swung open. Someone dragged me by my arms out onto the road, then shoved me, stumbling, down a paved road. A few seconds later, I tripped over a steel staircase, bashing my shins. The hands behind me gave me another shove. I went up the stairs cautiously, not able to use my hands. I got up the third step and reached for the fourth, but it wasn't there. I nearly fell again, but new hands grabbed me from in front and dragged me down a steel floor and then forced me to my knees and locked my hands to something behind me. + +More movement, and the sense of bodies being shackled in alongside of me. Groans and muffled sounds. Laughter. Then a long, timeless eternity in the muffled gloom, breathing my own breath, hearing my own breath in my ears. + +# + +I actually managed a kind of sleep there, kneeling with the circulation cut off to my legs, my head in canvas twilight. My body had squirted a year's supply of adrenalin into my bloodstream in the space of 30 minutes, and while that stuff can give you the strength to lift cars off your loved ones and leap over tall buildings, the payback's always a bitch. + +I woke up to someone pulling the hood off my head. They were neither rough nor careful -- just...impersonal. Like someone at McDonald's putting together burgers. + +The light in the room was so bright I had to squeeze my eyes shut, but slowly I was able to open them to slits, then cracks, then all the way and look around. + +We were all in the back of a truck, a big 16-wheeler. I could see the wheel-wells at regular intervals down the length. But the back of this truck had been turned into some kind of mobile command-post/jail. Steel desks lined the walls with banks of slick flat-panel displays climbing above them on articulated arms that let them be repositioned in a halo around the operators. Each desk had a gorgeous office-chair in front of it, festooned with user-interface knobs for adjusting every millimeter of the sitting surface, as well as height, pitch and yaw. + +Then there was the jail part -- at the front of the truck, furthest away from the doors, there were steel rails bolted into the sides of the vehicle, and attached to these steel rails were the prisoners. + +I spotted Van and Jolu right away. Darryl might have been in the remaining dozen shackled up back here, but it was impossible to say -- many of them were slumped over and blocking my view. It stank of sweat and fear back there. + +Vanessa looked at me and bit her lip. She was scared. So was I. So was Jolu, his eyes rolling crazily in their sockets, the whites showing. I was scared. What's more, I had to piss like a /{race-horse.}/ + +I looked around for our captors. I'd avoided looking at them up until now, the same way you don't look into the dark of a closet where your mind has conjured up a boogey-man. You don't want to know if you're right. + +But I had to get a better look at these jerks who'd kidnapped us. If they were terrorists, I wanted to know. I didn't know what a terrorist looked like, though TV shows had done their best to convince me that they were brown Arabs with big beards and knit caps and loose cotton dresses that hung down to their ankles. + +Not so our captors. They could have been half-time-show cheerleaders on the Super Bowl. They looked /{American}/ in a way I couldn't exactly define. Good jaw-lines, short, neat haircuts that weren't quite military. They came in white and brown, male and female, and smiled freely at one another as they sat down at the other end of the truck, joking and drinking coffees out of go-cups. These weren't Ay-rabs from Afghanistan: they looked like tourists from Nebraska. + +I stared at one, a young white woman with brown hair who barely looked older than me, kind of cute in a scary office-power-suit way. If you stare at someone long enough, they'll eventually look back at you. She did, and her face slammed into a totally different configuration, dispassionate, even robotic. The smile vanished in an instant. + +"Hey," I said. "Look, I don't understand what's going on here, but I really need to take a leak, you know?" + +She looked right through me as if she hadn't heard. + +"I'm serious, if I don't get to a can soon, I'm going to have an ugly accident. It's going to get pretty smelly back here, you know?" + +She turned to her colleagues, a little huddle of three of them, and they held a low conversation I couldn't hear over the fans from the computers. + +She turned back to me. "Hold it for another ten minutes, then you'll each get a piss-call." + +"I don't think I've got another ten minutes in me," I said, letting a little more urgency than I was really feeling creep into my voice. "Seriously, lady, it's now or never." + +She shook her head and looked at me like I was some kind of pathetic loser. She and her friends conferred some more, then another one came forward. He was older, in his early thirties, and pretty big across the shoulders, like he worked out. He looked like he was Chinese or Korean -- even Van can't tell the difference sometimes -- but with that bearing that said /{American}/ in a way I couldn't put my finger on. + +He pulled his sports-coat aside to let me see the hardware strapped there: I recognized a pistol, a tazer and a can of either mace or pepper-spray before he let it fall again. + +"No trouble," he said. + +"None," I agreed. + +He touched something at his belt and the shackles behind me let go, my arms dropping suddenly behind me. It was like he was wearing Batman's utility belt -- wireless remotes for shackles! I guessed it made sense, though: you wouldn't want to lean over your prisoners with all that deadly hardware at their eye-level -- they might grab your gun with their teeth and pull the trigger with their tongues or something. + +My hands were still lashed together behind me by the plastic strapping, and now that I wasn't supported by the shackles, I found that my legs had turned into lumps of cork while I was stuck in one position. Long story short, I basically fell onto my face and kicked my legs weakly as they went pins-and-needles, trying to get them under me so I could rock up to my feet. + +The guy jerked me to my feet and I clown-walked to the very back of the truck, to a little boxed-in porta-john there. I tried to spot Darryl on the way back, but he could have been any of the five or six slumped people. Or none of them. + +"In you go," the guy said. + +I jerked my wrists. "Take these off, please?" My fingers felt like purple sausages from the hours of bondage in the plastic cuffs. + +The guy didn't move. + +"Look," I said, trying not to sound sarcastic or angry (it wasn't easy). "Look. You either cut my wrists free or you're going to have to aim for me. A toilet visit is not a hands-free experience." Someone in the truck sniggered. The guy didn't like me, I could tell from the way his jaw muscles ground around. Man, these people were wired tight. + +He reached down to his belt and came up with a very nice set of multi-pliers. He flicked out a wicked-looking knife and sliced through the plastic cuffs and my hands were my own again. + +"Thanks," I said. + +He shoved me into the bathroom. My hands were useless, like lumps of clay on the ends of my wrists. As I wiggled my fingers limply, they tingled, then the tingling turned to a burning feeling that almost made me cry out. I put the seat down, dropped my pants and sat down. I didn't trust myself to stay on my feet. + +As my bladder cut loose, so did my eyes. I wept, crying silently and rocking back and forth while the tears and snot ran down my face. It was all I could do to keep from sobbing -- I covered my mouth and held the sounds in. I didn't want to give them the satisfaction. + +Finally, I was peed out and cried out and the guy was pounding on the door. I cleaned my face as best as I could with wads of toilet paper, stuck it all down the john and flushed, then looked around for a sink but only found a pump-bottle of heavy-duty hand-sanitizer covered in small-print lists of the bio-agents it worked on. I rubbed some into my hands and stepped out of the john. + +"What were you doing in there?" the guy said. + +"Using the facilities," I said. He turned me around and grabbed my hands and I felt a new pair of plastic cuffs go around them. My wrists had swollen since the last pair had come off and the new ones bit cruelly into my tender skin, but I refused to give him the satisfaction of crying out. + +He shackled me back to my spot and grabbed the next person down, who, I saw now, was Jolu, his face puffy and an ugly bruise on his cheek. + +"Are you OK?" I asked him, and my friend with the utility belt abruptly put his hand on my forehead and shoved hard, bouncing the back of my head off the truck's metal wall with a sound like a clock striking one. "No talking," he said as I struggled to refocus my eyes. + +I didn't like these people. I decided right then that they would pay a price for all this. + +One by one, all the prisoners went to the can, and came back, and when they were done, my guard went back to his friends and had another cup of coffee -- they were drinking out of a big cardboard urn of Starbucks, I saw -- and they had an indistinct conversation that involved a fair bit of laughter. + +Then the door at the back of the truck opened and there was fresh air, not smoky the way it had been before, but tinged with ozone. In the slice of outdoors I saw before the door closed, I caught that it was dark out, and raining, with one of those San Francisco drizzles that's part mist. + +The man who came in was wearing a military uniform. A US military uniform. He saluted the people in the truck and they saluted him back and that's when I knew that I wasn't a prisoner of some terrorists -- I was a prisoner of the United States of America. + +# + +They set up a little screen at the end of the truck and then came for us one at a time, unshackling us and leading us to the back of the truck. As close as I could work it -- counting seconds off in my head, one hippopotami, two hippopotami -- the interviews lasted about seven minutes each. My head throbbed with dehydration and caffeine withdrawal. + +I was third, brought back by the woman with the severe haircut. Up close, she looked tired, with bags under her eyes and grim lines at the corners of her mouth. + +"Thanks," I said, automatically, as she unlocked me with a remote and then dragged me to my feet. I hated myself for the automatic politeness, but it had been drilled into me. + +She didn't twitch a muscle. I went ahead of her to the back of the truck and behind the screen. There was a single folding chair and I sat in it. Two of them -- Severe Haircut woman and utility belt man -- looked at me from their ergonomic super-chairs. + +They had a little table between them with the contents of my wallet and backpack spread out on it. + +"Hello, Marcus," Severe Haircut woman said. "We have some questions for you." + +"Am I under arrest?" I asked. This wasn't an idle question. If you're not under arrest, there are limits on what the cops can and can't do to you. For starters, they can't hold you forever without arresting you, giving you a phone call, and letting you talk to a lawyer. And hoo-boy, was I ever going to talk to a lawyer. + +"What's this for?" she said, holding up my phone. The screen was showing the error message you got if you kept trying to get into its data without giving the right password. It was a bit of a rude message -- an animated hand giving a certain universally recognized gesture -- because I liked to customize my gear. + +"Am I under arrest?" I repeated. They can't make you answer any questions if you're not under arrest, and when you ask if you're under arrest, they have to answer you. It's the rules. + +"You're being detained by the Department of Homeland Security," the woman snapped. + +"Am I under arrest?" + +"You're going to be more cooperative, Marcus, starting right now." She didn't say, "or else," but it was implied. + +"I would like to contact an attorney," I said. "I would like to know what I've been charged with. I would like to see some form of identification from both of you." + +The two agents exchanged looks. + +"I think you should really reconsider your approach to this situation," Severe Haircut woman said. "I think you should do that right now. We found a number of suspicious devices on your person. We found you and your confederates near the site of the worst terrorist attack this country has ever seen. Put those two facts together and things don't look very good for you, Marcus. You can cooperate, or you can be very, very sorry. Now, what is this for?" + +"You think I'm a terrorist? I'm seventeen years old!" + +"Just the right age -- Al Qaeda loves recruiting impressionable, idealistic kids. We googled you, you know. You've posted a lot of very ugly stuff on the public Internet." + +"I would like to speak to an attorney," I said. + +Severe haircut lady looked at me like I was a bug. "You're under the mistaken impression that you've been picked up by the police for a crime. You need to get past that. You are being detained as a potential enemy combatant by the government of the United States. If I were you, I'd be thinking very hard about how to convince us that you are not an enemy combatant. Very hard. Because there are dark holes that enemy combatants can disappear into, very dark deep holes, holes where you can just vanish. Forever. Are you listening to me young man? I want you to unlock this phone and then decrypt the files in its memory. I want you to account for yourself: why were you out on the street? What do you know about the attack on this city?" + +"I'm not going to unlock my phone for you," I said, indignant. My phone's memory had all kinds of private stuff on it: photos, emails, little hacks and mods I'd installed. "That's private stuff." + +"What have you got to hide?" + +"I've got the right to my privacy," I said. "And I want to speak to an attorney." + +"This is your last chance, kid. Honest people don't have anything to hide." + +"I want to speak to an attorney." My parents would pay for it. All the FAQs on getting arrested were clear on this point. Just keep asking to see an attorney, no matter what they say or do. There's no good that comes of talking to the cops without your lawyer present. These two said they weren't cops, but if this wasn't an arrest, what was it? + +In hindsight, maybe I should have unlocked my phone for them. + +1~ Chapter 4 + +_1 /{ [This chapter is dedicated to Barnes and Noble,~{ Barnes and Noble, nationwide: http://search.barnesandnoble.com/Little-Brother/Cory-Doctorow/e/9780765319852/?itm=6 }~ a US national chain of bookstores. As America's mom-and-pop bookstores were vanishing, Barnes and Noble started to build these gigantic temples to reading all across the land. Stocking tens of thousands of titles (the mall bookstores and grocery-store spinner racks had stocked a small fraction of that) and keeping long hours that were convenient to families, working people and others potential readers, the B&N stores kept the careers of many writers afloat, stocking titles that smaller stores couldn't possibly afford to keep on their limited shelves. B&N has always had strong community outreach programs, and I've done some of my best-attended, best-organized signings at B&N stores, including the great events at the (sadly departed) B&N in Union Square, New York, where the mega-signing after the Nebula Awards took place, and the B&N in Chicago that hosted the event after the Nebs a few years later. Best of all is that B&N's "geeky" buyers really Get It when it comes to science fiction, comics and manga, games and similar titles. They're passionate and knowledgeable about the field and it shows in the excellent selection on display at the stores.] }/ + +They re-shackled and re-hooded me and left me there. A long time later, the truck started to move, rolling downhill, and then I was hauled back to my feet. I immediately fell over. My legs were so asleep they felt like blocks of ice, all except my knees, which were swollen and tender from all the hours of kneeling. + +Hands grabbed my shoulders and feet and I was picked up like a sack of potatoes. There were indistinct voices around me. Someone crying. Someone cursing. + +I was carried a short distance, then set down and re-shackled to another railing. My knees wouldn't support me anymore and I pitched forward, ending up twisted on the ground like a pretzel, straining against the chains holding my wrists. + +Then we were moving again, and this time, it wasn't like driving in a truck. The floor beneath me rocked gently and vibrated with heavy diesel engines and I realized I was on a ship! My stomach turned to ice. I was being taken off America's shores to somewhere /{else}/, and who the hell knew where that was? I'd been scared before, but this thought /{terrified}/ me, left me paralyzed and wordless with fear. I realized that I might never see my parents again and I actually tasted a little vomit burn up my throat. The bag over my head closed in on me and I could barely breathe, something that was compounded by the weird position I was twisted into. + +But mercifully we weren't on the water for very long. It felt like an hour, but I know now that it was a mere fifteen minutes, and then I felt us docking, felt footsteps on the decking around me and felt other prisoners being unshackled and carried or led away. When they came for me, I tried to stand again, but couldn't, and they carried me again, impersonally, roughly. + +When they took the hood off again, I was in a cell. + +The cell was old and crumbled, and smelled of sea air. There was one window high up, and rusted bars guarded it. It was still dark outside. There was a blanket on the floor and a little metal toilet without a seat, set into the wall. The guard who took off my hood grinned at me and closed the solid steel door behind him. + +I gently massaged my legs, hissing as the blood came back into them and into my hands. Eventually I was able to stand, and then to pace. I heard other people talking, crying, shouting. I did some shouting too: "Jolu! Darryl! Vanessa!" Other voices on the cell-block took up the cry, shouting out names, too, shouting out obscenities. The nearest voices sounded like drunks losing their minds on a street-corner. Maybe I sounded like that too. + +Guards shouted at us to be quiet and that just made everyone yell louder. Eventually we were all howling, screaming our heads off, screaming our throats raw. Why not? What did we have to lose? + +# + +The next time they came to question me, I was filthy and tired, thirsty and hungry. Severe haircut lady was in the new questioning party, as were three big guys who moved me around like a cut of meat. One was black, the other two were white, though one might have been hispanic. They all carried guns. It was like a Benneton's ad crossed with a game of Counter-Strike. + +They'd taken me from my cell and chained my wrists and ankles together. I paid attention to my surroundings as we went. I heard water outside and thought that maybe we were on Alcatraz -- it was a prison, after all, even if it had been a tourist attraction for generations, the place where you went to see where Al Capone and his gangster contemporaries did their time. But I'd been to Alcatraz on a school trip. It was old and rusted, medieval. This place felt like it dated back to World War Two, not colonial times. + +There were bar-codes laser-printed on stickers and placed on each of the cell-doors, and numbers, but other than that, there was no way to tell who or what might be behind them. + +The interrogation room was modern, with fluorescent lights, ergonomic chairs -- not for me, though, I got a folding plastic garden-chair -- and a big wooden board-room table. A mirror lined one wall, just like in the cop shows, and I figured someone or other must be watching from behind it. Severe haircut lady and her friends helped themselves to coffees from an urn on a side-table (I could have torn her throat out with my teeth and taken her coffee just then), and then set a styrofoam cup of water down next to me -- without unlocking my wrists from behind my back, so I couldn't reach it. Hardy har har. + +"Hello, Marcus," Severe Haircut woman said. "How's your 'tude doing today?" + +I didn't say anything. + +"This isn't as bad as it gets you know," she said. "This is as /{good}/ as it gets from now on. Even once you tell us what we want to know, even if that convinces us that you were just in the wrong place at the wrong time, you're a marked man now. We'll be watching you everywhere you go and everything you do. You've acted like you've got something to hide, and we don't like that." + +It's pathetic, but all my brain could think about was that phrase, "convince us that you were in the wrong place at the wrong time." This was the worst thing that had ever happened to me. I had never, ever felt this bad or this scared before. Those words, "wrong place at the wrong time," those six words, they were like a lifeline dangling before me as I thrashed to stay on the surface. + +"Hello, Marcus?" she snapped her fingers in front of my face. "Over here, Marcus." There was a little smile on her face and I hated myself for letting her see my fear. "Marcus, it can be a lot worse than this. This isn't the worst place we can put you, not by a damned sight." She reached down below the table and came out with a briefcase, which she snapped open. From it, she withdrew my phone, my arphid sniper/cloner, my wifinder, and my memory keys. She set them down on the table one after the other. + +"Here's what we want from you. You unlock the phone for us today. If you do that, you'll get outdoor and bathing privileges. You'll get a shower and you'll be allowed to walk around in the exercise yard. Tomorrow, we'll bring you back and ask you to decrypt the data on these memory sticks. Do that, and you'll get to eat in the mess hall. The day after, we're going to want your email passwords, and that will get you library privileges." + +The word "no" was on my lips, like a burp trying to come up, but it wouldn't come. "Why?" is what came out instead. + +"We want to be sure that you're what you seem to be. This is about your security, Marcus. Say you're innocent. You might be, though why an innocent man would act like he's got so much to hide is beyond me. But say you are: you could have been on that bridge when it blew. Your parents could have been. Your friends. Don't you want us to catch the people who attacked your home?" + +It's funny, but when she was talking about my getting "privileges" it scared me into submission. I felt like I'd done /{something}/ to end up where I was, like maybe it was partially my fault, like I could do something to change it. + +But as soon as she switched to this BS about "safety" and "security," my spine came back. "Lady," I said, "you're talking about attacking my home, but as far as I can tell, you're the only one who's attacked me lately. I thought I lived in a country with a constitution. I thought I lived in a country where I had /{rights}/. You're talking about defending my freedom by tearing up the Bill of Rights." + +A flicker of annoyance passed over her face, then went away. "So melodramatic, Marcus. No one's attacked you. You've been detained by your country's government while we seek details on the worst terrorist attack ever perpetrated on our nation's soil. You have it within your power to help us fight this war on our nation's enemies. You want to preserve the Bill of Rights? Help us stop bad people from blowing up your city. Now, you have exactly thirty seconds to unlock that phone before I send you back to your cell. We have lots of other people to interview today." + +She looked at her watch. I rattled my wrists, rattled the chains that kept me from reaching around and unlocking the phone. Yes, I was going to do it. She'd told me what my path was to freedom -- to the world, to my parents -- and that had given me hope. Now she'd threatened to send me away, to take me off that path, and my hope had crashed and all I could think of was how to get back on it. + +So I rattled my wrists, wanting to get to my phone and unlock it for her, and she just looked at me coldly, checking her watch. + +"The password," I said, finally understanding what she wanted of me. She wanted me to say it out loud, here, where she could record it, where her pals could hear it. She didn't want me to just unlock the phone. She wanted me to submit to her. To put her in charge of me. To give up every secret, all my privacy. "The password," I said again, and then I told her the password. God help me, I submitted to her will. + +She smiled a little prim smile, which had to be her ice-queen equivalent of a touchdown dance, and the guards led me away. As the door closed, I saw her bend down over the phone and key the password in. + +I wish I could say that I'd anticipated this possibility in advance and created a fake password that unlocked a completely innocuous partition on my phone, but I wasn't nearly that paranoid/clever. + +You might be wondering at this point what dark secrets I had locked away on my phone and memory sticks and email. I'm just a kid, after all. + +The truth is that I had everything to hide, and nothing. Between my phone and my memory sticks, you could get a pretty good idea of who my friends were, what I thought of them, all the goofy things we'd done. You could read the transcripts of the electronic arguments we'd carried out and the electronic reconciliations we'd arrived at. + +You see, I don't delete stuff. Why would I? Storage is cheap, and you never know when you're going to want to go back to that stuff. Especially the stupid stuff. You know that feeling you get sometimes where you're sitting on the subway and there's no one to talk to and you suddenly remember some bitter fight you had, some terrible thing you said? Well, it's usually never as bad as you remember. Being able to go back and see it again is a great way to remind yourself that you're not as horrible a person as you think you are. Darryl and I have gotten over more fights that way than I can count. + +And even that's not it. I know my phone is private. I know my memory sticks are private. That's because of cryptography -- message scrambling. The math behind crypto is good and solid, and you and me get access to the same crypto that banks and the National Security Agency use. There's only one kind of crypto that anyone uses: crypto that's public, open and can be deployed by anyone. That's how you know it works. + +There's something really liberating about having some corner of your life that's /{yours}/, that no one gets to see except you. It's a little like nudity or taking a dump. Everyone gets naked every once in a while. Everyone has to squat on the toilet. There's nothing shameful, deviant or weird about either of them. But what if I decreed that from now on, every time you went to evacuate some solid waste, you'd have to do it in a glass room perched in the middle of Times Square, and you'd be buck naked? + +Even if you've got nothing wrong or weird with your body -- and how many of us can say that? -- you'd have to be pretty strange to like that idea. Most of us would run screaming. Most of us would hold it in until we exploded. + +It's not about doing something shameful. It's about doing something /{private}/. It's about your life belonging to you. + +They were taking that from me, piece by piece. As I walked back to my cell, that feeling of deserving it came back to me. I'd broken a lot of rules all my life and I'd gotten away with it, by and large. Maybe this was justice. Maybe this was my past coming back to me. After all, I had been where I was because I'd snuck out of school. + +I got my shower. I got to walk around the yard. There was a patch of sky overhead, and it smelled like the Bay Area, but beyond that, I had no clue where I was being held. No other prisoners were visible during my exercise period, and I got pretty bored with walking in circles. I strained my ears for any sound that might help me understand what this place was, but all I heard was the occasional vehicle, some distant conversations, a plane landing somewhere nearby. + +They brought me back to my cell and fed me, a half a pepperoni pie from Goat Hill Pizza, which I knew well, up on Potrero Hill. The carton with its familiar graphic and 415 phone number was a reminder that only a day before, I'd been a free man in a free country and that now I was a prisoner. I worried constantly about Darryl and fretted about my other friends. Maybe they'd been more cooperative and had been released. Maybe they'd told my parents and they were frantically calling around. + +Maybe not. + +The cell was fantastically spare, empty as my soul. I fantasized that the wall opposite my bunk was a screen, that I could be hacking right now, opening the cell-door. I fantasized about my workbench and the projects there -- the old cans I was turning into a ghetto surround-sound rig, the aerial photography kite-cam I was building, my homebrew laptop. + +I wanted to get out of there. I wanted to go home and have my friends and my school and my parents and my life back. I wanted to be able to go where I wanted to go, not be stuck pacing and pacing and pacing. + +# + +They took my passwords for my USB keys next. Those held some interesting messages I'd downloaded from one online discussion group or another, some chat transcripts, things where people had helped me out with some of the knowledge I needed to do the things I did. There was nothing on there you couldn't find with Google, of course, but I didn't think that would count in my favor. + +I got exercise again that afternoon, and this time there were others in the yard when I got there, four other guys and two women, of all ages and racial backgrounds. I guess lots of people were doing things to earn their "privileges." + +They gave me half an hour, and I tried to make conversation with the most normal-seeming of the other prisoners, a black guy about my age with a short afro. But when I introduced myself and stuck my hand out, he cut his eyes toward the cameras mounted ominously in the corners of the yard and kept walking without ever changing his facial expression. + +But then, just before they called my name and brought me back into the building, the door opened and out came -- Vanessa! I'd never been more glad to see a friendly face. She looked tired and grumpy, but not hurt, and when she saw me, she shouted my name and ran to me. We hugged each other hard and I realized I was shaking. Then I realized she was shaking, too. + +"Are you OK?" she said, holding me at arms' length. + +"I'm OK," I said. "They told me they'd let me go if I gave them my passwords." + +"They keep asking me questions about you and Darryl." + +There was a voice blaring over the loudspeaker, shouting at us to stop talking, to walk, but we ignored it. + +"Answer them," I said, instantly. "Anything they ask, answer them. If it'll get you out." + +"How are Darryl and Jolu?" + +"I haven't seen them." + +The door banged open and four big guards boiled out. Two took me and two took Vanessa. They forced me to the ground and turned my head away from Vanessa, though I heard her getting the same treatment. Plastic cuffs went around my wrists and then I was yanked to my feet and brought back to my cell. + +No dinner came that night. No breakfast came the next morning. No one came and brought me to the interrogation room to extract more of my secrets. The plastic cuffs didn't come off, and my shoulders burned, then ached, then went numb, then burned again. I lost all feeling in my hands. + +I had to pee. I couldn't undo my pants. I really, really had to pee. + +I pissed myself. + +They came for me after that, once the hot piss had cooled and gone clammy, making my already filthy jeans stick to my legs. They came for me and walked me down the long hall lined with doors, each door with its own bar code, each bar code a prisoner like me. They walked me down the corridor and brought me to the interrogation room and it was like a different planet when I entered there, a world where things were normal, where everything didn't reek of urine. I felt so dirty and ashamed, and all those feelings of deserving what I got came back to me. + +Severe haircut lady was already sitting. She was perfect: coifed and with just a little makeup. I smelled her hair stuff. She wrinkled her nose at me. I felt the shame rise in me. + +"Well, you've been a very naughty boy, haven't you? Aren't you a filthy thing?" + +Shame. I looked down at the table. I couldn't bear to look up. I wanted to tell her my email password and get gone. + +"What did you and your friend talk about in the yard?" + +I barked a laugh at the table. "I told her to answer your questions. I told her to cooperate." + +"So do you give the orders?" + +I felt the blood sing in my ears. "Oh come on," I said. "We play a /{game}/ together, it's called Harajuku Fun Madness. I'm the /{team captain}/. We're not terrorists, we're high school students. I don't give her orders. I told her that we needed to be /{honest}/ with you so that we could clear up any suspicion and get out of here." + +She didn't say anything for a moment. + +"How is Darryl?" I said. + +"Who?" + +"Darryl. You picked us up together. My friend. Someone had stabbed him in the Powell Street BART. That's why we were up on the surface. To get him help." + +"I'm sure he's fine, then," she said. + +My stomach knotted and I almost threw up. "You don't /{know}/? You haven't got him here?" + +"Who we have here and who we don't have here is not something we're going to discuss with you, ever. That's not something you're going to know. Marcus, you've seen what happens when you don't cooperate with us. You've seen what happens when you disobey our orders. You've been a little cooperative, and it's gotten you almost to the point where you might go free again. If you want to make that possibility into a reality, you'll stick to answering my questions." + +I didn't say anything. + +"You're learning, that's good. Now, your email passwords, please." + +I was ready for this. I gave them everything: server address, login, password. This didn't matter. I didn't keep any email on my server. I downloaded it all and kept it on my laptop at home, which downloaded and deleted my mail from the server every sixty seconds. They wouldn't get anything out of my mail -- it got cleared off the server and stored on my laptop at home. + +Back to the cell, but they cut loose my hands and they gave me a shower and a pair of orange prison pants to wear. They were too big for me and hung down low on my hips, like a Mexican gang-kid in the Mission. That's where the baggy-pants-down-your-ass look comes from you know that? From prison. I tell you what, it's less fun when it's not a fashion statement. + +They took away my jeans, and I spent another day in the cell. The walls were scratched cement over a steel grid. You could tell, because the steel was rusting in the salt air, and the grid shone through the green paint in red-orange. My parents were out that window, somewhere. + +They came for me again the next day. + +"We've been reading your mail for a day now. We changed the password so that your home computer couldn't fetch it." + +Well, of course they had. I would have done the same, now that I thought of it. + +"We have enough on you now to put you away for a very long time, Marcus. Your possession of these articles --" she gestured at all my little gizmos -- "and the data we recovered from your phone and memory sticks, as well as the subversive material we'd no doubt find if we raided your house and took your computer. It's enough to put you away until you're an old man. Do you understand that?" + +I didn't believe it for a second. There's no way a judge would say that all this stuff constituted any kind of real crime. It was free speech, it was technological tinkering. It wasn't a crime. + +But who said that these people would ever put me in front of a judge. + +"We know where you live, we know who your friends are. We know how you operate and how you think." + +It dawned on me then. They were about to let me go. The room seemed to brighten. I heard myself breathing, short little breaths. + +"We just want to know one thing: what was the delivery mechanism for the bombs on the bridge?" + +I stopped breathing. The room darkened again. + +"What?" + +"There were ten charges on the bridge, all along its length. They weren't in car-trunks. They'd been placed there. Who placed them there, and how did they get there?" + +"What?" I said it again. + +"This is your last chance, Marcus," she said. She looked sad. "You were doing so well until now. Tell us this and you can go home. You can get a lawyer and defend yourself in a court of law. There are doubtless extenuating circumstances that you can use to explain your actions. Just tell us this thing, and you're gone." + +"I don't know what you're talking about!" I was crying and I didn't even care. Sobbing, blubbering. "I have /{no idea what you're talking about}/!" + +She shook her head. "Marcus, please. Let us help you. By now you know that we always get what we're after." + +There was a gibbering sound in the back of my mind. They were /{insane}/. I pulled myself together, working hard to stop the tears. "Listen, lady, this is nuts. You've been into my stuff, you've seen it all. I'm a seventeen year old high school student, not a terrorist! You can't seriously think --" + +"Marcus, haven't you figured out that we're serious yet?" She shook her head. "You get pretty good grades. I thought you'd be smarter than that." She made a flicking gesture and the guards picked me up by the armpits. + +Back in my cell, a hundred little speeches occurred to me. The French call this "esprit d'escalier" -- the spirit of the staircase, the snappy rebuttals that come to you after you leave the room and slink down the stairs. In my mind, I stood and delivered, telling her that I was a citizen who loved my freedom, which made me the patriot and made her the traitor. In my mind, I shamed her for turning my country into an armed camp. In my mind, I was eloquent and brilliant and reduced her to tears. + +But you know what? None of those fine words came back to me when they pulled me out the next day. All I could think of was freedom. My parents. + +"Hello, Marcus," she said. "How are you feeling?" + +I looked down at the table. She had a neat pile of documents in front of her, and her ubiquitous go-cup of Starbucks beside her. I found it comforting somehow, a reminder that there was a real world out there somewhere, beyond the walls. + +"We're through investigating you, for now." She let that hang there. Maybe it meant that she was letting me go. Maybe it meant that she was going to throw me in a pit and forget that I existed. + +"And?" I said finally. + +"And I want you to impress on you again that we are very serious about this. Our country has experienced the worst attack ever committed on its soil. How many 9/11s do you want us to suffer before you're willing to cooperate? The details of our investigation are secret. We won't stop at anything in our efforts to bring the perpetrators of these heinous crimes to justice. Do you understand that?" + +"Yes," I mumbled. + +"We are going to send you home today, but you are a marked man. You have not been found to be above suspicion -- we're only releasing you because we're done questioning you for now. But from now on, you /{belong}/ to us. We will be watching you. We'll be waiting for you to make a misstep. Do you understand that we can watch you closely, all the time?" + +"Yes," I mumbled. + +"Good. You will never speak of what happened here to anyone, ever. This is a matter of national security. Do you know that the death penalty still holds for treason in time of war?" + +"Yes," I mumbled. + +"Good boy," she purred. "We have some papers here for you to sign." She pushed the stack of papers across the table to me. Little post-its with SIGN HERE printed on them had been stuck throughout them. A guard undid my cuffs. + +I paged through the papers and my eyes watered and my head swam. I couldn't make sense of them. I tried to decipher the legalese. It seemed that I was signing a declaration that I had been voluntarily held and submitted to voluntary questioning, of my own free will. + +"What happens if I don't sign this?" I said. + +She snatched the papers back and made that flicking gesture again. The guards jerked me to my feet. + +"Wait!" I cried. "Please! I'll sign them!" They dragged me to the door. All I could see was that door, all I could think of was it closing behind me. + +I lost it. I wept. I begged to be allowed to sign the papers. To be so close to freedom and have it snatched away, it made me ready to do anything. I can't count the number of times I've heard someone say, "Oh, I'd rather die than do something-or-other" -- I've said it myself now and again. But that was the first time I understood what it really meant. I would have rather died than go back to my cell. + +I begged as they took me out into the corridor. I told them I'd sign anything. + +She called out to the guards and they stopped. They brought me back. They sat me down. One of them put the pen in my hand. + +Of course, I signed, and signed and signed. + +# + +My jeans and t-shirt were back in my cell, laundered and folded. They smelled of detergent. I put them on and washed my face and sat on my cot and stared at the wall. They'd taken everything from me. First my privacy, then my dignity. I'd been ready to sign anything. I would have signed a confession that said I'd assassinated Abraham Lincoln. + +I tried to cry, but it was like my eyes were dry, out of tears. + +They got me again. A guard approached me with a hood, like the hood I'd been put in when they picked us up, whenever that was, days ago, weeks ago. + +The hood went over my head and cinched tight at my neck. I was in total darkness and the air was stifling and stale. I was raised to my feet and walked down corridors, up stairs, on gravel. Up a gangplank. On a ship's steel deck. My hands were chained behind me, to a railing. I knelt on the deck and listened to the thrum of the diesel engines. + +The ship moved. A hint of salt air made its way into the hood. It was drizzling and my clothes were heavy with water. I was outside, even if my head was in a bag. I was outside, in the world, moments from my freedom. + +They came for me and led me off the boat and over uneven ground. Up three metal stairs. My wrists were unshackled. My hood was removed. + +I was back in the truck. Severe haircut woman was there, at the little desk she'd sat at before. She had a ziploc bag with her, and inside it were my phone and other little devices, my wallet and the change from my pockets. She handed them to me wordlessly. + +I filled my pockets. It felt so weird to have everything back in its familiar place, to be wearing my familiar clothes. Outside the truck's back door, I heard the familiar sounds of my familiar city. + +A guard passed me my backpack. The woman extended her hand to me. I just looked at it. She put it down and gave me a wry smile. Then she mimed zipping up her lips and pointed to me, and opened the door. + +It was daylight outside, gray and drizzling. I was looking down an alley toward cars and trucks and bikes zipping down the road. I stood transfixed on the truck's top step, staring at freedom. + +My knees shook. I knew now that they were playing with me again. In a moment, the guards would grab me and drag me back inside, the bag would go over my head again, and I would be back on the boat and sent off to the prison again, to the endless, unanswerable questions. I barely held myself back from stuffing my fist in my mouth. + +Then I forced myself to go down one stair. Another stair. The last stair. My sneakers crunched down on the crap on the alley's floor, broken glass, a needle, gravel. I took a step. Another. I reached the mouth of the alley and stepped onto the sidewalk. + +No one grabbed me. + +I was free. + +Then strong arms threw themselves around me. I nearly cried. + +1~ Chapter 5 + +_1 /{ [This chapter is dedicated to Secret Headquarters in Los Angeles,~{ Secret Headquarters: http://www.thesecretheadquarters.com/ 3817 W. Sunset Boulevard, Los Angeles, CA 90026 +1 323 666 2228 }~ my drop-dead all-time favorite comic store in the world. It's small and selective about what it stocks, and every time I walk in, I walk out with three or four collections I'd never heard of under my arm. It's like the owners, Dave and David, have the uncanny ability to predict exactly what I'm looking for, and they lay it out for me seconds before I walk into the store. I discovered about three quarters of my favorite comics by wandering into SHQ, grabbing something interesting, sinking into one of the comfy chairs, and finding myself transported to another world. When my second story-collection, OVERCLOCKED, came out, they worked with local illustrator Martin Cenreda to do a free mini-comic based on Printcrime, the first story in the book. I left LA about a year ago, and of all the things I miss about it, Secret Headquarters is right at the top of the list.] }/ + +But it was Van, and she /{was}/ crying, and hugging me so hard I couldn't breathe. I didn't care. I hugged her back, my face buried in her hair. + +"You're OK!" she said. + +"I'm OK," I managed. + +She finally let go of me and another set of arms wrapped themselves around me. It was Jolu! They were both there. He whispered, "You're safe, bro," in my ear and hugged me even tighter than Vanessa had. + +When he let go, I looked around. "Where's Darryl?" I asked. + +They both looked at each other. "Maybe he's still in the truck," Jolu said. + +We turned and looked at the truck at the alley's end. It was a nondescript white 18-wheeler. Someone had already brought the little folding staircase inside. The rear lights glowed red, and the truck rolled backwards towards us, emitting a steady eep, eep, eep. + +"Wait!" I shouted as it accelerated towards us. "Wait! What about Darryl?" The truck drew closer. I kept shouting. "What about Darryl?" + +Jolu and Vanessa each had me by an arm and were dragging me away. I struggled against them, shouting. The truck pulled out of the alley's mouth and reversed into the street and pointed itself downhill and drove away. I tried to run after it, but Van and Jolu wouldn't let me go. + +I sat down on the sidewalk and put my arms around my knees and cried. I cried and cried and cried, loud sobs of the sort I hadn't done since I was a little kid. They wouldn't stop coming. I couldn't stop shaking. + +Vanessa and Jolu got me to my feet and moved me a little ways up the street. There was a Muni bus stop with a bench and they sat me on it. They were both crying too, and we held each other for a while, and I knew we were crying for Darryl, whom none of us ever expected to see again. + +# + +We were north of Chinatown, at the part where it starts to become North Beach, a neighborhood with a bunch of neon strip clubs and the legendary City Lights counterculture bookstore, where the Beat poetry movement had been founded back in the 1950s. + +I knew this part of town well. My parents' favorite Italian restaurant was here and they liked to take me here for big plates of linguine and huge Italian ice-cream mountains with candied figs and lethal little espressos afterward. + +Now it was a different place, a place where I was tasting freedom for the first time in what seemed like an eternity. + +We checked our pockets and found enough money to get a table at one of the Italian restaurants, out on the sidewalk, under an awning. The pretty waitress lighted a gas-heater with a barbeque lighter, took our orders and went inside. The sensation of giving orders, of controlling my destiny, was the most amazing thing I'd ever felt. + +"How long were we in there?" I asked. + +"Six days," Vanessa said. + +"I got five," Jolu said. + +"I didn't count." + +"What did they do to you?" Vanessa said. I didn't want to talk about it, but they were both looking at me. Once I started, I couldn't stop. I told them everything, even when I'd been forced to piss myself, and they took it all in silently. I paused when the waitress delivered our sodas and waited until she got out of earshot, then finished. In the telling, it receded into the distance. By the end of it, I couldn't tell if I was embroidering the truth or if I was making it all seem /{less}/ bad. My memories swam like little fish that I snatched at, and sometimes they wriggled out of my grasp. + +Jolu shook his head. "They were hard on you, dude," he said. He told us about his stay there. They'd questioned him, mostly about me, and he'd kept on telling them the truth, sticking to a plain telling of the facts about that day and about our friendship. They had gotten him to repeat it over and over again, but they hadn't played games with his head the way they had with me. He'd eaten his meals in a mess-hall with a bunch of other people, and been given time in a TV room where they were shown last year's blockbusters on video. + +Vanessa's story was only slightly different. After she'd gotten them angry by talking to me, they'd taken away her clothes and made her wear a set of orange prison overalls. She'd been left in her cell for two days without contact, though she'd been fed regularly. But mostly it was the same as Jolu: the same questions, repeated again and again. + +"They really hated you," Jolu said. "Really had it in for you. Why?" + +I couldn't imagine why. Then I remembered. + +/{You can cooperate, or you can be very, very sorry.}/ + +"It was because I wouldn't unlock my phone for them, that first night. That's why they singled me out." I couldn't believe it, but there was no other explanation. It had been sheer vindictiveness. My mind reeled at the thought. They had done all that as a mere punishment for defying their authority. + +I had been scared. Now I was angry. "Those bastards," I said, softly. "They did it to get back at me for mouthing off." + +Jolu swore and then Vanessa cut loose in Korean, something she only did when she was really, really angry. + +"I'm going to get them," I whispered, staring at my soda. "I'm going to get them." + +Jolu shook his head. "You can't, you know. You can't fight back against that." + +# + +None of us much wanted to talk about revenge then. Instead, we talked about what we would do next. We had to go home. Our phones' batteries were dead and it had been years since this neighborhood had any payphones. We just needed to go home. I even thought about taking a taxi, but there wasn't enough money between us to make that possible. + +So we walked. On the corner, we pumped some quarters into a San Francisco Chronicle newspaper box and stopped to read the front section. It had been five days since the bombs went off, but it was still all over the front cover. + +Severe haircut woman had talked about "the bridge" blowing up, and I'd just assumed that she was talking about the Golden Gate bridge, but I was wrong. The terrorists had blown up the /{Bay bridge}/. + +"Why the hell would they blow up the Bay Bridge?" I said. "The Golden Gate is the one on all the postcards." Even if you've never been to San Francisco, chances are you know what the Golden Gate looks like: it's that big orange suspension bridge that swoops dramatically from the old military base called the Presidio to Sausalito, where all the cutesy wine-country towns are with their scented candle shops and art galleries. It's picturesque as hell, and it's practically the symbol for the state of California. If you go to the Disneyland California Adventure park, there's a replica of it just past the gates, with a monorail running over it. + +So naturally I assumed that if you were going to blow up a bridge in San Francisco, that's the one you'd blow. + +"They probably got scared off by all the cameras and stuff," Jolu said. "The National Guard's always checking cars at both ends and there's all those suicide fences and junk all along it." People have been jumping off the Golden Gate since it opened in 1937 -- they stopped counting after the thousandth suicide in 1995. + +"Yeah," Vanessa said. "Plus the Bay Bridge actually goes somewhere." The Bay Bridge goes from downtown San Francisco to Oakland and thence to Berkeley, the East Bay townships that are home to many of the people who live and work in town. It's one of the only parts of the Bay Area where a normal person can afford a house big enough to really stretch out in, and there's also the university and a bunch of light industry over there. The BART goes under the Bay and connects the two cities, too, but it's the Bay Bridge that sees most of the traffic. The Golden Gate was a nice bridge if you were a tourist or a rich retiree living out in wine country, but it was mostly ornamental. The Bay Bridge is -- was -- San Francisco's work-horse bridge. + +I thought about it for a minute. "You guys are right," I said. "But I don't think that's all of it. We keep acting like terrorists attack landmarks because they hate landmarks. Terrorists don't hate landmarks or bridges or airplanes. They just want to screw stuff up and make people scared. To make terror. So of course they went after the Bay Bridge after the Golden Gate got all those cameras -- after airplanes got all metal-detectored and X-rayed." I thought about it some more, staring blankly at the cars rolling down the street, at the people walking down the sidewalks, at the city all around me. "Terrorists don't hate airplanes or bridges. They love terror." It was so obvious I couldn't believe I'd never thought of it before. I guess that being treated like a terrorist for a few days was enough to clarify my thinking. + +The other two were staring at me. "I'm right, aren't I? All this crap, all the X-rays and ID checks, they're all useless, aren't they?" + +They nodded slowly. + +"Worse than useless," I said, my voice going up and cracking. "Because they ended up with us in prison, with Darryl --" I hadn't thought of Darryl since we sat down and now it came back to me, my friend, missing, disappeared. I stopped talking and ground my jaws together. + +"We have to tell our parents," Jolu said. + +"We should get a lawyer," Vanessa said. + +I thought of telling my story. Of telling the world what had become of me. Of the videos that would no doubt come out, of me weeping, reduced to a groveling animal. + +"We can't tell them anything," I said, without thinking. + +"What do you mean?" Van said. + +"We can't tell them anything," I repeated. "You heard her. If we talk, they'll come back for us. They'll do to us what they did to Darryl." + +"You're joking," Jolu said. "You want us to --" + +"I want us to fight back," I said. "I want to stay free so that I can do that. If we go out there and blab, they'll just say that we're kids, making it up. We don't even know where we were held! No one will believe us. Then, one day, they'll come for us. + +"I'm telling my parents that I was in one of those camps on the other side of the Bay. I came over to meet you guys there and we got stranded, and just got loose today. They said in the papers that people were still wandering home from them." + +"I can't do that," Vanessa said. "After what they did to you, how can you even think of doing that?" + +"It happened to /{me}/, that's the point. This is me and them, now. I'll beat them, I'll get Darryl. I'm not going to take this lying down. But once our parents are involved, that's it for us. No one will believe us and no one will care. If we do it my way, people will care." + +"What's your way?" Jolu said. "What's your plan?" + +"I don't know yet," I admitted. "Give me until tomorrow morning, give me that, at least." I knew that once they'd kept it a secret for a day, it would have to be a secret forever. Our parents would be even more skeptical if we suddenly "remembered" that we'd been held in a secret prison instead of taken care of in a refugee camp. + +Van and Jolu looked at each other. + +"I'm just asking for a chance," I said. "We'll work out the story on the way, get it straight. Give me one day, just one day." + +The other two nodded glumly and we set off downhill again, heading back towards home. I lived on Potrero Hill, Vanessa lived in the North Mission and Jolu lived in Noe Valley -- three wildly different neighborhoods just a few minutes' walk from one another. + +We turned onto Market Street and stopped dead. The street was barricaded at every corner, the cross-streets reduced to a single lane, and parked down the whole length of Market Street were big, nondescript 18-wheelers like the one that had carried us, hooded, away from the ship's docks and to Chinatown. + +Each one had three steel steps leading down from the back and they buzzed with activity as soldiers, people in suits, and cops went in and out of them. The suits wore little badges on their lapels and the soldiers scanned them as they went in and out -- wireless authorization badges. As we walked past one, I got a look at it, and saw the familiar logo: Department of Homeland Security. The soldier saw me staring and stared back hard, glaring at me. + +I got the message and moved on. I peeled away from the gang at Van Ness. We clung to each other and cried and promised to call each other. + +The walk back to Potrero Hill has an easy route and a hard route, the latter taking you over some of the steepest hills in the city, the kind of thing that you see car chases on in action movies, with cars catching air as they soar over the zenith. I always take the hard way home. It's all residential streets, and the old Victorian houses they call "painted ladies" for their gaudy, elaborate paint-jobs, and front gardens with scented flowers and tall grasses. Housecats stare at you from hedges, and there are hardly any homeless. + +It was so quiet on those streets that it made me wish I'd taken the /{other}/ route, through the Mission, which is... /{raucous}/ is probably the best word for it. Loud and vibrant. Lots of rowdy drunks and angry crack-heads and unconscious junkies, and also lots of families with strollers, old ladies gossiping on stoops, lowriders with boom-cars going thumpa-thumpa-thumpa down the streets. There were hipsters and mopey emo art-students and even a couple old-school punk-rockers, old guys with pot bellies bulging out beneath their Dead Kennedys shirts. Also drag queens, angry gang kids, graffiti artists and bewildered gentrifiers trying not to get killed while their real-estate investments matured. + +I went up Goat Hill and walked past Goat Hill Pizza, which made me think of the jail I'd been held in, and I had to sit down on the bench out front of the restaurant until my shakes passed. Then I noticed the truck up the hill from me, a nondescript 18-wheeler with three metal steps coming down from the back end. I got up and got moving. I felt the eyes watching me from all directions. + +I hurried the rest of the way home. I didn't look at the painted ladies or the gardens or the housecats. I kept my eyes down. + +Both my parents' cars were in the driveway, even though it was the middle of the day. Of course. Dad works in the East Bay, so he'd be stuck at home while they worked on the bridge. Mom -- well, who knew why Mom was home. + +They were home for me. + +Even before I'd finished unlocking the door it had been jerked out of my hand and flung wide. There were both of my parents, looking gray and haggard, bug-eyed and staring at me. We stood there in frozen tableau for a moment, then they both rushed forward and dragged me into the house, nearly tripping me up. They were both talking so loud and fast all I could hear was a wordless, roaring gabble and they both hugged me and cried and I cried too and we just stood there like that in the little foyer, crying and making almost-words until we ran out of steam and went into the kitchen. + +I did what I always did when I came home: got myself a glass of water from the filter in the fridge and dug a couple cookies out of the "biscuit barrel" that mom's sister had sent us from England. The normalcy of this made my heart stop hammering, my heart catching up with my brain, and soon we were all sitting at the table. + +"Where have you been?" they both said, more or less in unison. + +I had given this some thought on the way home. "I got trapped," I said. "In Oakland. I was there with some friends, doing a project, and we were all quarantined." + +"For five days?" + +"Yeah," I said. "Yeah. It was really bad." I'd read about the quarantines in the Chronicle and I cribbed shamelessly from the quotes they'd published. "Yeah. Everyone who got caught in the cloud. They thought we had been attacked with some kind of super-bug and they packed us into shipping containers in the docklands, like sardines. It was really hot and sticky. Not much food, either." + +"Christ," Dad said, his fists balling up on the table. Dad teaches in Berkeley three days a week, working with a few grad students in the library science program. The rest of the time he consults for clients in city and down the Peninsula, third-wave dotcoms that are doing various things with archives. He's a mild-mannered librarian by profession, but he'd been a real radical in the sixties and wrestled a little in high school. I'd seen him get crazy angry now and again -- I'd even made him that angry now and again -- and he could seriously lose it when he was Hulking out. He once threw a swing-set from Ikea across my granddad's whole lawn when it fell apart for the fiftieth time while he was assembling it. + +"Barbarians," Mom said. She's been living in America since she was a teenager, but she still comes over all British when she encounters American cops, health-care, airport security or homelessness. Then the word is "barbarians," and her accent comes back strong. We'd been to London twice to see her family and I can't say as it felt any more civilized than San Francisco, just more cramped. + +"But they let us go, and ferried us over today." I was improvising now. + +"Are you hurt?" Mom said. "Hungry?" + +"Sleepy?" + +"Yeah, a little of all that. Also Dopey, Doc, Sneezy and Bashful." We had a family tradition of Seven Dwarfs jokes. They both smiled a little, but their eyes were still wet. I felt really bad for them. They must have been out of their minds with worry. I was glad for a chance to change the subject. "I'd totally love to eat." + +"I'll order a pizza from Goat Hill," Dad said. + +"No, not that," I said. They both looked at me like I'd sprouted antennae. I normally have a thing about Goat Hill Pizza -- as in, I can normally eat it like a goldfish eats his food, gobbling until it either runs out or I pop. I tried to smile. "I just don't feel like pizza," I said, lamely. "Let's order some curry, OK?" Thank heaven that San Francisco is take-out central. + +Mom went to the drawer of take-out menus (more normalcy, feeling like a drink of water on a dry, sore throat) and riffled through them. We spent a couple of distracting minutes going through the menu from the halal Pakistani place on Valencia. I settled on a mixed tandoori grill and creamed spinach with farmer's cheese, a salted mango lassi (much better than it sounds) and little fried pastries in sugar syrup. + +Once the food was ordered, the questions started again. They'd heard from Van's, Jolu's and Darryl's families (of course) and had tried to report us missing. The police were taking names, but there were so many "displaced persons" that they weren't going to open files on anyone unless they were still missing after seven days. + +Meanwhile, millions of have-you-seen sites had popped up on the net. A couple of the sites were old MySpace clones that had run out of money and saw a new lease on life from all the attention. After all, some venture capitalists had missing family in the Bay Area. Maybe if they were recovered, the site would attract some new investment. I grabbed dad's laptop and looked through them. They were plastered with advertising, of course, and pictures of missing people, mostly grad photos, wedding pictures and that sort of thing. It was pretty ghoulish. + +I found my pic and saw that it was linked to Van's, Jolu's, and Darryl's. There was a little form for marking people found and another one for writing up notes about other missing people. I filled in the fields for me and Jolu and Van, and left Darryl blank. + +"You forgot Darryl," Dad said. He didn't like Darryl much -- once he'd figured out that a couple inches were missing out of one of the bottles in his liquor cabinet, and to my enduring shame I'd blamed it on Darryl. In truth, of course, it had been both of us, just fooling around, trying out vodka-and-Cokes during an all-night gaming session. + +"He wasn't with us," I said. The lie tasted bitter in my mouth. + +"Oh my God," my mom said. She squeezed her hands together. "We just assumed when you came home that you'd all been together." + +"No," I said, the lie growing. "No, he was supposed to meet us but we never met up. He's probably just stuck over in Berkeley. He was going to take the BART over." + +Mom made a whimpering sound. Dad shook his head and closed his eyes. "Don't you know about the BART?" he said. + +I shook my head. I could see where this was going. I felt like the ground was rushing up to me. + +"They blew it up," Dad said. "The bastards blew it up at the same time as the bridge." + +That hadn't been on the front page of the Chronicle, but then, a BART blowout under the water wouldn't be nearly as picturesque as the images of the bridge hanging in tatters and pieces over the Bay. The BART tunnel from the Embarcadero in San Francisco to the West Oakland station was submerged. + +I went back to Dad's computer and surfed the headlines. No one was sure, but the body count was in the thousands. Between the cars that plummeted 191 feet to the sea and the people drowned in the trains, the deaths were mounting. One reporter claimed to have interviewed an "identity counterfeiter" who'd helped "dozens" of people walk away from their old lives by simply vanishing after the attacks, getting new ID made up, and slipping away from bad marriages, bad debts and bad lives. + +Dad actually got tears in his eyes, and Mom was openly crying. They each hugged me again, patting me with their hands as if to assure themselves that I was really there. They kept telling me they loved me. I told them I loved them too. + +We had a weepy dinner and Mom and Dad had each had a couple glasses of wine, which was a lot for them. I told them that I was getting sleepy, which was true, and mooched up to my room. I wasn't going to bed, though. I needed to get online and find out what was going on. I needed to talk to Jolu and Vanessa. I needed to get working on finding Darryl. + +I crept up to my room and opened the door. I hadn't seen my old bed in what felt like a thousand years. I lay down on it and reached over to my bedstand to grab my laptop. I must have not plugged it in all the way -- the electrical adapter needed to be jiggled just right -- so it had slowly discharged while I was away. I plugged it back in and gave it a minute or two to charge up before trying to power it up again. I used the time to get undressed and throw my clothes in the trash -- I never wanted to see them again -- and put on a clean pair of boxers and a fresh t-shirt. The fresh-laundered clothes, straight out of my drawers, felt so familiar and comfortable, like getting hugged by my parents. + +I powered up my laptop and punched a bunch of pillows into place behind me at the top of the bed. I scooched back and opened my computer's lid and settled it onto my thighs. It was still booting, and man, those icons creeping across the screen looked /{good}/. It came all the way up and then it started giving me more low-power warnings. I checked the power-cable again and wiggled it and they went away. The power-jack was really flaking out. + +In fact, it was so bad that I couldn't actually get anything done. Every time I took my hand off the power-cable it lost contact and the computer started to complain about its battery. I took a closer look at it. + +The whole case of my computer was slightly misaligned, the seam split in an angular gape that started narrow and widened toward the back. + +Sometimes you look at a piece of equipment and discover something like this and you wonder, "Was it always like that?" Maybe you just never noticed. + +But with my laptop, that wasn't possible. You see, I built it. After the Board of Ed issued us all with SchoolBooks, there was no way my parents were going to buy me a computer of my own, even though technically the SchoolBook didn't belong to me, and I wasn't supposed to install software on it or mod it. + +I had some money saved -- odd jobs, Christmases and birthdays, a little bit of judicious ebaying. Put it all together and I had enough money to buy a totally crappy, five-year-old machine. + +So Darryl and I built one instead. You can buy laptop cases just like you can buy cases for desktop PCs, though they're a little more specialized than plain old PCs. I'd built a couple PCs with Darryl over the years, scavenging parts from Craigslist and garage sales and ordering stuff from cheap cheap Taiwanese vendors we found on the net. I figured that building a laptop would be the best way to get the power I wanted at the price I could afford. + +To build your own laptop, you start by ordering a "barebook" -- a machine with just a little hardware in it and all the right slots. The good news was, once I was done, I had a machine that was a whole pound lighter than the Dell I'd had my eye on, ran faster, and cost a third of what I would have paid Dell. The bad news was that assembling a laptop is like building one of those ships in a bottle. It's all finicky work with tweezers and magnifying glasses, trying to get everything to fit in that little case. Unlike a full-sized PC -- which is mostly air -- every cubic millimeter of space in a laptop is spoken for. Every time I thought I had it, I'd go to screw the thing back together and find that something was keeping the case from closing all the way, and it'd be back to the drawing board. + +So I knew /{exactly}/ how the seam on my laptop was supposed to look when the thing was closed, and it was /{not}/ supposed to look like this. + +I kept jiggling the power-adapter, but it was hopeless. There was no way I was going to get the thing to boot without taking it apart. I groaned and put it beside the bed. I'd deal with it in the morning. + +# + +That was the theory, anyway. Two hours later, I was still staring at the ceiling, playing back movies in my head of what they'd done to me, what I should have done, all regrets and /{esprit d'escalier.}/ + +I rolled out of bed. It had gone midnight and I'd heard my parents hit the sack at eleven. I grabbed the laptop and cleared some space on my desk and clipped the little LED lamps to the temples of my magnifying glasses and pulled out a set of little precision screwdrivers. A minute later, I had the case open and the keyboard removed and I was staring at the guts of my laptop. I got a can of compressed air and blew out the dust that the fan had sucked in and looked things over. + +Something wasn't right. I couldn't put my finger on it, but then it had been months since I'd had the lid off this thing. Luckily, the third time I'd had to open it up and struggle to close it again, I'd gotten smart: I'd taken a photo of the guts with everything in place. I hadn't been totally smart: at first, I'd just left that pic on my hard drive, and naturally I couldn't get to it when I had the laptop in parts. But then I'd printed it out and stuck it in my messy drawer of papers, the dead-tree graveyard where I kept all the warranty cards and pin-out diagrams. I shuffled them -- they seemed messier than I remembered -- and brought out my photo. I set it down next to the computer and kind of unfocused my eyes, trying to find things that looked out of place. + +Then I spotted it. The ribbon cable that connected the keyboard to the logic-board wasn't connected right. That was a weird one. There was no torque on that part, nothing to dislodge it in the course of normal operations. I tried to press it back down again and discovered that the plug wasn't just badly mounted -- there was something between it and the board. I tweezed it out and shone my light on it. + +There was something new in my keyboard. It was a little chunk of hardware, only a sixteenth of an inch thick, with no markings. The keyboard was plugged into it, and it was plugged into the board. It other words, it was perfectly situated to capture all the keystrokes I made while I typed on my machine. + +It was a bug. + +My heart thudded in my ears. It was dark and quiet in the house, but it wasn't a comforting dark. There were eyes out there, eyes and ears, and they were watching me. Surveilling me. The surveillance I faced at school had followed me home, but this time, it wasn't just the Board of Education looking over my shoulder: the Department of Homeland Security had joined them. + +I almost took the bug out. Then I figured that who ever put it there would know that it was gone. I left it in. It made me sick to do it. + +I looked around for more tampering. I couldn't find any, but did that mean there hadn't been any? Someone had broken into my room and planted this device -- had disassembled my laptop and reassembled it. There were lots of other ways to wiretap a computer. I could never find them all. + +I put the machine together with numb fingers. This time, the case wouldn't snap shut just right, but the power-cable stayed in. I booted it up and set my fingers on the keyboard, thinking that I would run some diagnostics and see what was what. + +But I couldn't do it. + +Hell, maybe my room was wiretapped. Maybe there was a camera spying on me now. + +I'd been feeling paranoid when I got home. Now I was nearly out of my skin. It felt like I was back in jail, back in the interrogation room, stalked by entities who had me utterly in their power. It made me want to cry. + +Only one thing for it. + +I went into the bathroom and took off the toilet-paper roll and replaced it with a fresh one. Luckily, it was almost empty already. I unrolled the rest of the paper and dug through my parts box until I found a little plastic envelope full of ultra-bright white LEDs I'd scavenged out of a dead bike-lamp. I punched their leads through the cardboard tube carefully, using a pin to make the holes, then got out some wire and connected them all in series with little metal clips. I twisted the wires into the leads for a nine-volt battery and connected the battery. Now I had a tube ringed with ultra-bright, directional LEDs, and I could hold it up to my eye and look through it. + +I'd built one of these last year as a science fair project and had been thrown out of the fair once I showed that there were hidden cameras in half the classrooms at Chavez High. Pinhead video-cameras cost less than a good restaurant dinner these days, so they're showing up everywhere. Sneaky store clerks put them in changing rooms or tanning salons and get pervy with the hidden footage they get from their customers -- sometimes they just put it on the net. Knowing how to turn a toilet-paper roll and three bucks' worth of parts into a camera-detector is just good sense. + +This is the simplest way to catch a spy-cam. They have tiny lenses, but they reflect light like the dickens. It works best in a dim room: stare through the tube and slowly scan all the walls and other places someone might have put a camera until you see the glint of a reflection. If the reflection stays still as you move around, that's a lens. + +There wasn't a camera in my room -- not one I could detect, anyway. There might have been audio bugs, of course. Or better cameras. Or nothing at all. Can you blame me for feeling paranoid? + +I loved that laptop. I called it the Salmagundi, which means anything made out of spare parts. + +Once you get to naming your laptop, you know that you're really having a deep relationship with it. Now, though, I felt like I didn't want to ever touch it again. I wanted to throw it out the window. Who knew what they'd done to it? Who knew how it had been tapped? + +I put it in a drawer with the lid shut and looked at the ceiling. It was late and I should be in bed. There was no way I was going to sleep now, though. I was tapped. Everyone might be tapped. The world had changed forever. + +"I'll find a way to get them," I said. It was a vow, I knew it when I heard it, though I'd never made a vow before. + +I couldn't sleep after that. And besides, I had an idea. + +Somewhere in my closet was a shrink-wrapped box containing one still-sealed, mint-in-package Xbox Universal. Every Xbox has been sold way below cost -- Microsoft makes most of its money charging games companies money for the right to put out Xbox games -- but the Universal was the first Xbox that Microsoft decided to give away entirely for free. + +Last Christmas season, there'd been poor losers on every corner dressed as warriors from the Halo series, handing out bags of these game-machines as fast as they could. I guess it worked -- everyone says they sold a whole butt-load of games. Naturally, there were countermeasures to make sure you only played games from companies that had bought licenses from Microsoft to make them. + +Hackers blow through those countermeasures. The Xbox was cracked by a kid from MIT who wrote a best-selling book about it, and then the 360 went down, and then the short-lived Xbox Portable (which we all called the "luggable" -- it weighed three pounds!) succumbed. The Universal was supposed to be totally bulletproof. The high school kids who broke it were Brazilian Linux hackers who lived in a /{favela}/ -- a kind of squatter's slum. + +Never underestimate the determination of a kid who is time-rich and cash-poor. + +Once the Brazilians published their crack, we all went nuts on it. Soon there were dozens of alternate operating systems for the Xbox Universal. My favorite was ParanoidXbox, a flavor of Paranoid Linux. Paranoid Linux is an operating system that assumes that its operator is under assault from the government (it was intended for use by Chinese and Syrian dissidents), and it does everything it can to keep your communications and documents a secret. It even throws up a bunch of "chaff" communications that are supposed to disguise the fact that you're doing anything covert. So while you're receiving a political message one character at a time, ParanoidLinux is pretending to surf the Web and fill in questionnaires and flirt in chat-rooms. Meanwhile, one in every five hundred characters you receive is your real message, a needle buried in a huge haystack. + +I'd burned a ParanoidXbox DVD when they first appeared, but I'd never gotten around to unpacking the Xbox in my closet, finding a TV to hook it up to and so on. My room is crowded enough as it is without letting Microsoft crashware eat up valuable workspace. + +Tonight, I'd make the sacrifice. It took about twenty minutes to get up and running. Not having a TV was the hardest part, but eventually I remembered that I had a little overhead LCD projector that had standard TV RCA connectors on the back. I connected it to the Xbox and shone it on the back of my door and got ParanoidLinux installed. + +Now I was up and running, and ParanoidLinux was looking for other Xbox Universals to talk to. Every Xbox Universal comes with built-in wireless for multiplayer gaming. You can connect to your neighbors on the wireless link and to the Internet, if you have a wireless Internet connection. I found three different sets of neighbors in range. Two of them had their Xbox Universals also connected to the Internet. ParanoidXbox loved that configuration: it could siphon off some of my neighbors' Internet connections and use them to get online through the gaming network. The neighbors would never miss the packets: they were paying for flat-rate Internet connections, and they weren't exactly doing a lot of surfing at 2AM. + +The best part of all this is how it made me /{feel}/: in control. My technology was working for me, serving me, protecting me. It wasn't spying on me. This is why I loved technology: if you used it right, it could give you power and privacy. + +My brain was really going now, running like 60. There were lots of reasons to run ParanoidXbox -- the best one was that anyone could write games for it. Already there was a port of MAME, the Multiple Arcade Machine Emulator, so you could play practically any game that had ever been written, all the way back to Pong -- games for the Apple ][+ and games for the Colecovision, games for the NES and the Dreamcast, and so on. + +Even better were all the cool multiplayer games being built specifically for ParanoidXbox -- totally free hobbyist games that anyone could run. When you combined it all, you had a free console full of free games that could get you free Internet access. + +And the best part -- as far as I was concerned -- was that ParanoidXbox was /{paranoid}/. Every bit that went over the air was scrambled to within an inch of its life. You could wiretap it all you wanted, but you'd never figure out who was talking, what they were talking about, or who they were talking to. Anonymous web, email and IM. Just what I needed. + +All I had to do now was convince everyone I knew to use it too. + +1~ Chapter 6 + +_1 /{ [This chapter is dedicated to Powell's Books,~{ Powell's Books: http://www.powells.com/cgi-bin/biblio?isbn=9780765319852 1005 W Burnside, Portland, OR 97209 USA +1 800 878 7323 }~ the legendary "City of Books" in Portland, Oregon. Powell's is the largest bookstore in the world, an endless, multi-storey universe of papery smells and towering shelves. They stock new and used books on the same shelves -- something I've always loved -- and every time I've stopped in, they've had a veritable mountain of my books, and they've been incredibly gracious about asking me to sign the store-stock. The clerks are friendly, the stock is fabulous, and there's even a Powell's at the Portland airport, making it just about the best airport bookstore in the world for my money! }/ + +Believe it or not, my parents made me go to school the next day. I'd only fallen into feverish sleep at three in the morning, but at seven the next day, my Dad was standing at the foot of my bed, threatening to drag me out by the ankles. I managed to get up -- something had died in my mouth after painting my eyelids shut -- and into the shower. + +I let my mom force a piece of toast and a banana into me, wishing fervently that my parents would let me drink coffee at home. I could sneak one on the way to school, but watching them sip down their black gold while I was drag-assing around the house, getting dressed and putting my books in my bag -- it was awful. + +I've walked to school a thousand times, but today it was different. I went up and over the hills to get down into the Mission, and everywhere there were trucks. I saw new sensors and traffic cameras installed at many of the stop-signs. Someone had a lot of surveillance gear lying around, waiting to be installed at the first opportunity. The attack on the Bay Bridge had been just what they needed. + +It all made the city seem more subdued, like being inside an elevator, embarrassed by the close scrutiny of your neighbors and the ubiquitous cameras. + +The Turkish coffee shop on 24th Street fixed me up good with a go-cup of Turkish coffee. Basically, Turkish coffee is mud, pretending to be coffee. It's thick enough to stand a spoon up in, and it has way more caffeine than the kiddee-pops like Red Bull. Take it from someone who's read the Wikipedia entry: this is how the Ottoman Empire was won: maddened horsemen fueled by lethal jet-black coffee-mud. + +I pulled out my debit card to pay and he made a face. "No more debit," he said. + +"Huh? Why not?" I'd paid for my coffee habit on my card for years at the Turk's. He used to hassle me all the time, telling me I was too young to drink the stuff, and he still refused to serve me at all during school hours, convinced that I was skipping class. But over the years, the Turk and me have developed a kind of gruff understanding. + +He shook his head sadly. "You wouldn't understand. Go to school, kid." + +There's no surer way to make me want to understand than to tell me I won't. I wheedled him, demanding that he tell me. He looked like he was going to throw me out, but when I asked him if he thought I wasn't good enough to shop there, he opened up. + +"The security," he said, looking around his little shop with its tubs of dried beans and seeds, its shelves of Turkish groceries. "The government. They monitor it all now, it was in the papers. PATRIOT Act II, the Congress passed it yesterday. Now they can monitor every time you use your card. I say no. I say my shop will not help them spy on my customers." + +My jaw dropped. + +"You think it's no big deal maybe? What is the problem with government knowing when you buy coffee? Because it's one way they know where you are, where you been. Why you think I left Turkey? Where you have government always spying on the people, is no good. I move here twenty years ago for freedom -- I no help them take freedom away." + +"You're going to lose so many sales," I blurted. I wanted to tell him he was a hero and shake his hand, but that was what came out. "Everyone uses debit cards." + +"Maybe not so much anymore. Maybe my customers come here because they know I love freedom too. I am making sign for window. Maybe other stores do the same. I hear the ACLU will sue them for this." + +"You've got all my business from now on," I said. I meant it. I reached into my pocket. "Um, I don't have any cash, though." + +He pursed his lips and nodded. "Many peoples say the same thing. Is OK. You give today's money to the ACLU." + +In two minutes, the Turk and I had exchanged more words than we had in all the time I'd been coming to his shop. I had no idea he had all these passions. I just thought of him as my friendly neighborhood caffeine dealer. Now I shook his hand and when I left his store, I felt like he and I had joined a team. A secret team. + +# + +I'd missed two days of school but it seemed like I hadn't missed much class. They'd shut the school on one of those days while the city scrambled to recover. The next day had been devoted, it seemed, to mourning those missing and presumed dead. The newspapers published biographies of the lost, personal memorials. The Web was filled with these capsule obituaries, thousands of them. + +Embarrassingly, I was one of those people. I stepped into the schoolyard, not knowing this, and then there was a shout and a moment later there were a hundred people around me, pounding me on the back, shaking my hand. A couple girls I didn't even know kissed me, and they were more than friendly kisses. I felt like a rock star. + +My teachers were only a little more subdued. Ms Galvez cried as much as my mother had and hugged me three times before she let me go to my desk and sit down. There was something new at the front of the classroom. A camera. Ms Galvez caught me staring at it and handed me a permission slip on smeary Xeroxed school letterhead. + +The Board of the San Francisco Unified School District had held an emergency session over the weekend and unanimously voted to ask the parents of every kid in the city for permission to put closed circuit television cameras in every classroom and corridor. The law said they couldn't force us to go to school with cameras all over the place, but it didn't say anything about us /{volunteering}/ to give up our Constitutional rights. The letter said that the Board were sure that they would get complete compliance from the City's parents, but that they would make arrangements to teach those kids' whose parents objected in a separate set of "unprotected" classrooms. + +Why did we have cameras in our classrooms now? Terrorists. Of course. Because by blowing up a bridge, terrorists had indicated that schools were next. Somehow that was the conclusion that the Board had reached anyway. + +I read this note three times and then I stuck my hand up. + +"Yes, Marcus?" + +"Ms Galvez, about this note?" + +"Yes, Marcus." + +"Isn't the point of terrorism to make us afraid? That's why it's called /{terror}/ism, right?" + +"I suppose so." The class was staring at me. I wasn't the best student in school, but I did like a good in-class debate. They were waiting to hear what I'd say next. + +"So aren't we doing what the terrorists want from us? Don't they win if we act all afraid and put cameras in the classrooms and all of that?" + +There was some nervous tittering. One of the others put his hand up. It was Charles. Ms Galvez called on him. + +"Putting cameras in makes us safe, which makes us less afraid." + +"Safe from what?" I said, without waiting to be called on. + +"Terrorism," Charles said. The others were nodding their heads. + +"How do they do that? If a suicide bomber rushed in here and blew us all up --" + +"Ms Galvez, Marcus is violating school policy. We're not supposed to make jokes about terrorist attacks --" + +"Who's making jokes?" + +"Thank you, both of you," Ms Galvez said. She looked really unhappy. I felt kind of bad for hijacking her class. "I think that this is a really interesting discussion, but I'd like to hold it over for a future class. I think that these issues may be too emotional for us to have a discussion about them today. Now, let's get back to the suffragists, shall we?" + +So we spent the rest of the hour talking about suffragists and the new lobbying strategies they'd devised for getting four women into every congresscritter's office to lean on him and let him know what it would mean for his political future if he kept on denying women the vote. It was normally the kind of thing I really liked -- little guys making the big and powerful be honest. But today I couldn't concentrate. It must have been Darryl's absence. We both liked Social Studies and we would have had our SchoolBooks out and an IM session up seconds after sitting down, a back-channel for talking about the lesson. + +I'd burned twenty ParanoidXbox discs the night before and I had them all in my bag. I handed them out to people I knew were really, really into gaming. They'd all gotten an Xbox Universal or two the year before, but most of them had stopped using them. The games were really expensive and not a lot of fun. I took them aside between periods, at lunch and study hall, and sang the praises of the ParanoidXbox games to the sky. Free and fun -- addictive social games with lots of cool people playing them from all over the world. + +Giving away one thing to sell another is what they call a "razor blade business" -- companies like Gillette give you free razor-blade handles and then stiff you by charging you a small fortune for the blades. Printer cartridges are the worst for that -- the most expensive Champagne in the world is cheap when compared with inkjet ink, which costs all of a penny a gallon to make wholesale. + +Razor-blade businesses depend on you not being able to get the "blades" from someone else. After all, if Gillette can make nine bucks on a ten-dollar replacement blade, why not start a competitor that makes only four bucks selling an identical blade: an 80 percent profit margin is the kind of thing that makes your average business-guy go all drooly and round-eyed. + +So razor-blade companies like Microsoft pour a lot of effort into making it hard and/or illegal to compete with them on the blades. In Microsoft's case, every Xbox has had countermeasures to keep you from running software that was released by people who didn't pay the Microsoft blood-money for the right to sell Xbox programs. + +The people I met didn't think much about this stuff. They perked up when I told them that the games were unmonitored. These days, any online game you play is filled with all kinds of unsavory sorts. First there are the pervs who try to get you to come out to some remote location so they can go all weird and Silence of the Lambs on you. Then there are the cops, who are pretending to be gullible kids so they can bust the pervs. Worst of all, though, are the monitors who spend all their time spying on our discussions and snitching on us for violating their Terms of Service, which say, no flirting, no cussing, and no "clear or masked language which insultingly refers to any aspect of sexual orientation or sexuality." + +I'm no 24/7 horn-dog, but I'm a seventeen year old boy. Sex does come up in conversation every now and again. But God help you if it came up in chat while you were gaming. It was a real buzz-kill. No one monitored the ParanoidXbox games, because they weren't run by a company: they were just games that hackers had written for the hell of it. + +So these game-kids loved the story. They took the discs greedily, and promised to burn copies for all of their friends -- after all, games are most fun when you're playing them with your buddies. + +When I got home, I read that a group of parents were suing the school board over the surveillance cameras in the classrooms, but that they'd already lost their bid to get a preliminary injunction against them. + +# + +I don't know who came up with the name Xnet, but it stuck. You'd hear people talking about it on the Muni. Van called me up to ask me if I'd heard of it and I nearly choked once I figured out what she was talking about: the discs I'd started distributing last week had been sneakernetted and copied all the way to Oakland in the space of two weeks. It made me look over my shoulder -- like I'd broken a rule and now the DHS would come and take me away forever. + +They'd been hard weeks. The BART had completely abandoned cash fares now, switching them for arphid "contactless" cards that you waved at the turnstiles to go through. They were cool and convenient, but every time I used one, I thought about how I was being tracked. Someone on Xnet posted a link to an Electronic Frontier Foundation white paper on the ways that these things could be used to track people, and the paper had tiny stories about little groups of people that had protested at the BART stations. + +I used the Xnet for almost everything now. I'd set up a fake email address through the Pirate Party, a Swedish political party that hated Internet surveillance and promised to keep their mail accounts a secret from everyone, even the cops. I accessed it strictly via Xnet, hopping from one neighbor's Internet connection to the next, staying anonymous -- I hoped -- all the way to Sweden. I wasn't using w1n5ton anymore. If Benson could figure it out, anyone could. My new handle, come up with on the spur of the moment, was M1k3y, and I got a /{lot}/ of email from people who heard in chat rooms and message boards that I could help them troubleshoot their Xnet configurations and connections. + +I missed Harajuku Fun Madness. The company had suspended the game indefinitely. They said that for "security reasons" they didn't think it would be a good idea to hide things and then send people off to find them. What if someone thought it was a bomb? What if someone put a bomb in the same spot? + +What if I got hit by lightning while walking with an umbrella? Ban umbrellas! Fight the menace of lightning! + +I kept on using my laptop, though I got a skin-crawly feeling when I used it. Whoever had wiretapped it would wonder why I didn't use it. I figured I'd just do some random surfing with it every day, a little less each day, so that anyone watching would see me slowly changing my habits, not doing a sudden reversal. Mostly I read those creepy obits -- all those thousands of my friends and neighbors dead at the bottom of the Bay. + +Truth be told, I /{was}/ doing less and less homework every day. I had business elsewhere. I burned new stacks of ParanoidXbox every day, fifty or sixty, and took them around the city to people I'd heard were willing to burn sixty of their own and hand them out to their friends. + +I wasn't too worried about getting caught doing this, because I had good crypto on my side. Crypto is cryptography, or "secret writing," and it's been around since Roman times (literally: Augustus Caesar was a big fan and liked to invent his own codes, some of which we use today for scrambling joke punchlines in email). + +Crypto is math. Hard math. I'm not going to try to explain it in detail because I don't have the math to really get my head around it, either -- look it up on Wikipedia if you really want. + +But here's the Cliff's Notes version: Some kinds of mathematical functions are really easy to do in one direction and really hard to do in the other direction. It's easy to multiply two big prime numbers together and make a giant number. It's really, really hard to take any given giant number and figure out which primes multiply together to give you that number. + +That means that if you can come up with a way of scrambling something based on multiplying large primes, unscrambling it without knowing those primes will be hard. Wicked hard. Like, a trillion years of all the computers ever invented working 24/7 won't be able to do it. + +There are four parts to any crypto message: the original message, called the "cleartext." The scrambled message, called the "ciphertext." The scrambling system, called the "cipher." And finally there's the key: secret stuff you feed into the cipher along with the cleartext to make ciphertext. + +It used to be that crypto people tried to keep all of this a secret. Every agency and government had its own ciphers /{and}/ its own keys. The Nazis and the Allies didn't want the other guys to know how they scrambled their messages, let alone the keys that they could use to descramble them. That sounds like a good idea, right? + +Wrong. + +The first time anyone told me about all this prime factoring stuff, I immediately said, "No way, that's BS. I mean, /{sure}/ it's hard to do this prime factorization stuff, whatever you say it is. But it used to be impossible to fly or go to the moon or get a hard-drive with more than a few kilobytes of storage. Someone /{must}/ have invented a way of descrambling the messages." I had visions of a hollow mountain full of National Security Agency mathematicians reading every email in the world and snickering. + +In fact, that's pretty much what happened during World War II. That's the reason that life isn't more like Castle Wolfenstein, where I've spent many days hunting Nazis. + +The thing is, ciphers are hard to keep secret. There's a lot of math that goes into one, and if they're widely used, then everyone who uses them has to keep them a secret too, and if someone changes sides, you have to find a new cipher. + +The Nazi cipher was called Enigma, and they used a little mechanical computer called an Enigma Machine to scramble and unscramble the messages they got. Every sub and boat and station needed one of these, so it was inevitable that eventually the Allies would get their hands on one. + +When they did, they cracked it. That work was led by my personal all-time hero, a guy named Alan Turing, who pretty much invented computers as we know them today. Unfortunately for him, he was gay, so after the war ended, the stupid British government forced him to get shot up with hormones to "cure" his homosexuality and he killed himself. Darryl gave me a biography of Turing for my 14th birthday -- wrapped in twenty layers of paper and in a recycled Batmobile toy, he was like that with presents -- and I've been a Turing junkie ever since. + +Now the Allies had the Enigma Machine, and they could intercept lots of Nazi radio-messages, which shouldn't have been that big a deal, since every captain had his own secret key. Since the Allies didn't have the keys, having the machine shouldn't have helped. + +Here's where secrecy hurts crypto. The Enigma cipher was flawed. Once Turing looked hard at it, he figured out that the Nazi cryptographers had made a mathematical mistake. By getting his hands on an Enigma Machine, Turing could figure out how to crack /{any}/ Nazi message, no matter what key it used. + +That cost the Nazis the war. I mean, don't get me wrong. That's good news. Take it from a Castle Wolfenstein veteran. You wouldn't want the Nazis running the country. + +After the war, cryptographers spent a lot of time thinking about this. The problem had been that Turing was smarter than the guy who thought up Enigma. Any time you had a cipher, you were vulnerable to someone smarter than you coming up with a way of breaking it. + +And the more they thought about it, the more they realized that /{anyone}/ can come up with a security system that he can't figure out how to break. But /{no one}/ can figure out what a smarter person might do. + +You have to publish a cipher to know that it works. You have to tell /{as many people as possible}/ how it works, so that they can thwack on it with everything they have, testing its security. The longer you go without anyone finding a flaw, the more secure you are. + +Which is how it stands today. If you want to be safe, you don't use crypto that some genius thought of last week. You use the stuff that people have been using for as long as possible without anyone figuring out how to break them. Whether you're a bank, a terrorist, a government or a teenager, you use the same ciphers. + +If you tried to use your own cipher, there'd be the chance that someone out there had found a flaw you missed and was doing a Turing on your butt, deciphering all your "secret" messages and chuckling at your dumb gossip, financial transactions and military secrets. + +So I knew that crypto would keep me safe from eavesdroppers, but I wasn't ready to deal with histograms. + +# + +I got off the BART and waved my card over the turnstile as I headed up to the 24th Street station. As usual, there were lots of weirdos hanging out in the station, drunks and Jesus freaks and intense Mexican men staring at the ground and a few gang kids. I looked straight past them as I hit the stairs and jogged up to the surface. My bag was empty now, no longer bulging with the ParanoidXbox discs I'd been distributing, and it made my shoulders feel light and put a spring in my step as I came up the street. The preachers were at work still, exhorting in Spanish and English about Jesus and so on. + +The counterfeit sunglass sellers were gone, but they'd been replaced by guys selling robot dogs that barked the national anthem and would lift their legs if you showed them a picture of Osama bin Laden. There was probably some cool stuff going on in their little brains and I made a mental note to pick a couple of them up and take them apart later. Face-recognition was pretty new in toys, having only recently made the leap from the military to casinos trying to find cheats, to law enforcement. + +I started down 24th Street toward Potrero Hill and home, rolling my shoulders and smelling the burrito smells wafting out of the restaurants and thinking about dinner. + +I don't know why I happened to glance back over my shoulder, but I did. Maybe it was a little bit of subconscious sixth-sense stuff. I knew I was being followed. + +They were two beefy white guys with little mustaches that made me think of either cops or the gay bikers who rode up and down the Castro, but gay guys usually had better haircuts. They had on windbreakers the color of old cement and blue-jeans, with their waistbands concealed. I thought of all the things a cop might wear on his waistband, of the utility-belt that DHS guy in the truck had worn. Both guys were wearing Bluetooth headsets. + +I kept walking, my heart thumping in my chest. I'd been expecting this since I started. I'd been expecting the DHS to figure out what I was doing. I took every precaution, but Severe-Haircut woman had told me that she'd be watching me. She'd told me I was a marked man. I realized that I'd been waiting to get picked up and taken back to jail. Why not? Why should Darryl be in jail and not me? What did I have going for me? I hadn't even had the guts to tell my parents -- or his -- what had really happened to us. + +I quickened my steps and took a mental inventory. I didn't have anything incriminating in my bag. Not too incriminating, anyway. My SchoolBook was running the crack that let me IM and stuff, but half the people in school had that. I'd changed the way I encrypted the stuff on my phone -- now I /{did}/ have a fake partition that I could turn back into cleartext with one password, but all the good stuff was hidden, and needed another password to open up. That hidden section looked just like random junk -- when you encrypt data, it becomes indistinguishable from random noise -- and they'd never even know it was there. + +There were no discs in my bag. My laptop was free of incriminating evidence. Of course, if they thought to look hard at my Xbox, it was game over. So to speak. + +I stopped where I was standing. I'd done as good a job as I could of covering myself. It was time to face my fate. I stepped into the nearest burrito joint and ordered one with carnitas -- shredded pork -- and extra salsa. Might as well go down with a full stomach. I got a bucket of horchata, too, an ice-cold rice drink that's like watery, semi-sweet rice-pudding (better than it sounds). + +I sat down to eat, and a profound calm fell over me. I was about to go to jail for my "crimes," or I wasn't. My freedom since they'd taken me in had been just a temporary holiday. My country was not my friend anymore: we were now on different sides and I'd known I could never win. + +The two guys came into the restaurant as I was finishing the burrito and going up to order some churros -- deep-fried dough with cinnamon sugar -- for dessert. I guess they'd been waiting outside and got tired of my dawdling. + +They stood behind me at the counter, boxing me in. I took my churro from the pretty granny and paid her, taking a couple of quick bites of the dough before I turned around. I wanted to eat at least a little of my dessert. It might be the last dessert I got for a long, long time. + +Then I turned around. They were both so close I could see the zit on the cheek of the one on the left, the little booger up the nose of the other. + +"'Scuse me," I said, trying to push past them. The one with the booger moved to block me. + +"Sir," he said, "can you step over here with us?" He gestured toward the restaurant's door. + +"Sorry, I'm eating," I said and moved again. This time he put his hand on my chest. He was breathing fast through his nose, making the booger wiggle. I think I was breathing hard too, but it was hard to tell over the hammering of my heart. + +The other one flipped down a flap on the front of his windbreaker to reveal a SFPD insignia. "Police," he said. "Please come with us." + +"Let me just get my stuff," I said. + +"We'll take care of that," he said. The booger one stepped right up close to me, his foot on the inside of mine. You do that in some martial arts, too. It lets you feel if the other guy is shifting his weight, getting ready to move. + +I wasn't going to run, though. I knew I couldn't outrun fate. + +1~ Chapter 7 + +_1 /{ [This chapter is dedicated to New York City's Books of Wonder,~{ Books of Wonder http://www.booksofwonder.com/ 18 West 18th St, New York, NY 10011 USA +1 212 989 3270 }~ the oldest and largest kids' bookstore in Manhattan. They're located just a few blocks away from Tor Books' offices in the Flatiron Building and every time I drop in to meet with the Tor people, I always sneak away to Books of Wonder to peruse their stock of new, used and rare kids' books. I'm a heavy collector of rare editions of Alice in Wonderland, and Books of Wonder never fails to excite me with some beautiful, limited-edition Alice. They have tons of events for kids and one of the most inviting atmospheres I've ever experienced at a bookstore.] }/ + +They took me outside and around the corner, to a waiting unmarked police car. It wasn't like anyone in that neighborhood would have had a hard time figuring out that it was a cop-car, though. Only police drive big Crown Victorias now that gas had hit seven bucks a gallon. What's more, only cops could double-park in the middle of Van Ness street without getting towed by the schools of predatory tow-operators that circled endlessly, ready to enforce San Francisco's incomprehensible parking regulations and collect a bounty for kidnapping your car. + +Booger blew his nose. I was sitting in the back seat, and so was he. His partner was sitting in the front, typing with one finger on an ancient, ruggedized laptop that looked like Fred Flintstone had been its original owner. + +Booger looked closely at my ID again. "We just want to ask you a few routine questions." + +"Can I see your badges?" I said. These guys were clearly cops, but it couldn't hurt to let them know I knew my rights. + +Booger flashed his badge at me too fast for me to get a good look at it, but Zit in the front seat gave me a long look at his. I got their division number and memorized the four-digit badge number. It was easy: 1337 is also the way hackers write "leet," or "elite." + +They were both being very polite and neither of them was trying to intimidate me the way that the DHS had done when I was in their custody. + +"Am I under arrest?" + +"You've been momentarily detained so that we can ensure your safety and the general public safety," Booger said. + +He passed my driver's license up to Zit, who pecked it slowly into his computer. I saw him make a typo and almost corrected him, but figured it was better to just keep my mouth shut. + +"Is there anything you want to tell me, Marcus? Do they call you Marc?" + +"Marcus is fine," I said. Booger looked like he might be a nice guy. Except for the part about kidnapping me into his car, of course. + +"Marcus. Anything you want to tell me?" + +"Like what? Am I under arrest?" + +"You're not under arrest right now," Booger said. "Would you like to be?" + +"No," I said. + +"Good. We've been watching you since you left the BART. Your Fast Pass says that you've been riding to a lot of strange places at a lot of funny hours." + +I felt something let go inside my chest. This wasn't about the Xnet at all, then, not really. They'd been watching my subway use and wanted to know why it had been so freaky lately. How totally stupid. + +"So you guys follow everyone who comes out of the BART station with a funny ride-history? You must be busy." + +"Not everyone, Marcus. We get an alert when anyone with an uncommon ride profile comes out and that helps us assess whether we want to investigate. In your case, we came along because we wanted to know why a smart-looking kid like you had such a funny ride profile?" + +Now that I knew I wasn't about to go to jail, I was getting pissed. These guys had no business spying on me -- Christ, the BART had no business /{helping}/ them to spy on me. Where the hell did my subway pass get off on finking me out for having a "nonstandard ride pattern?" + +"I think I'd like to be arrested now," I said. + +Booger sat back and raised his eyebrow at me. + +"Really? On what charge?" + +"Oh, you mean riding public transit in a nonstandard way isn't a crime?" + +Zit closed his eyes and scrubbed them with his thumbs. + +Booger sighed a put-upon sigh. "Look, Marcus, we're on your side here. We use this system to catch bad guys. To catch terrorists and drug dealers. Maybe you're a drug dealer yourself. Pretty good way to get around the city, a Fast Pass. Anonymous." + +"What's wrong with anonymous? It was good enough for Thomas Jefferson. And by the way, am I under arrest?" + +"Let's take him home," Zit said. "We can talk to his parents." + +"I think that's a great idea," I said. "I'm sure my parents will be anxious to hear how their tax dollars are being spent --" + +I'd pushed it too far. Booger had been reaching for the door handle but now he whirled on me, all Hulked out and throbbing veins. "Why don't you shut up right now, while it's still an option? After everything that's happened in the past two weeks, it wouldn't kill you to cooperate with us. You know what, maybe we /{should}/ arrest you. You can spend a day or two in jail while your lawyer looks for you. A lot can happen in that time. A /{lot}/. How'd you like that?" + +I didn't say anything. I'd been giddy and angry. Now I was scared witless. + +"I'm sorry," I managed, hating myself again for saying it. + +Booger got in the front seat and Zit put the car in gear, cruising up 24th Street and over Potrero Hill. They had my address from my ID. + +Mom answered the door after they rang the bell, leaving the chain on. She peeked around it, saw me and said, "Marcus? Who are these men?" + +"Police," Booger said. He showed her his badge, letting her get a good look at it -- not whipping it away the way he had with me. "Can we come in?" + +Mom closed the door and took the chain off and let them in. They brought me in and Mom gave the three of us one of her looks. + +"What's this about?" + +Booger pointed at me. "We wanted to ask your son some routine questions about his movements, but he declined to answer them. We felt it might be best to bring him here." + +"Is he under arrest?" Mom's accent was coming on strong. Good old Mom. + +"Are you a United States citizen, ma'am?" Zit said. + +She gave him a look that could have stripped paint. "I shore am, hyuck," she said, in a broad southern accent. "Am /{I}/ under arrest?" + +The two cops exchanged a look. + +Zit took the fore. "We seem to have gotten off to a bad start. We identified your son as someone with a nonstandard public transit usage pattern, as part of a new pro-active enforcement program. When we spot people whose travels are unusual, or that match a suspicious profile, we investigate further." + +"Wait," Mom said. "How do you know how my son uses the Muni?" + +"The Fast Pass," he said. "It tracks voyages." + +"I see," Mom said, folding her arms. Folding her arms was a bad sign. It was bad enough she hadn't offered them a cup of tea -- in Mom-land, that was practically like making them shout through the mail-slot -- but once she folded her arms, it was not going to end well for them. At that moment, I wanted to go and buy her a big bunch of flowers. + +"Marcus here declined to tell us why his movements had been what they were." + +"Are you saying you think my son is a terrorist because of how he rides the bus?" + +"Terrorists aren't the only bad guys we catch this way," Zit said. "Drug dealers. Gang kids. Even shoplifters smart enough to hit a different neighborhood with every run." + +"You think my son is a drug dealer?" + +"We're not saying that --" Zit began. Mom clapped her hands at him to shut him up. + +"Marcus, please pass me your backpack." + +I did. + +Mom unzipped it and looked through it, turning her back to us first. + +"Officers, I can now affirm that there are no narcotics, explosives, or shoplifted gewgaws in my son's bag. I think we're done here. I would like your badge numbers before you go, please." + +Booger sneered at her. "Lady, the ACLU is suing three hundred cops on the SFPD, you're going to have to get in line." + +# + +Mom made me a cup of tea and then chewed me out for eating dinner when I knew that she'd been making falafel. Dad came home while we were still at the table and Mom and I took turns telling him the story. He shook his head. + +"Lillian, they were just doing their jobs." He was still wearing the blue blazer and khakis he wore on the days that he was consulting in Silicon Valley. "The world isn't the same place it was last week." + +Mom set down her teacup. "Drew, you're being ridiculous. Your son is not a terrorist. His use of the public transit system is not cause for a police investigation." + +Dad took off his blazer. "We do this all the time at my work. It's how computers can be used to find all kinds of errors, anomalies and outcomes. You ask the computer to create a profile of an average record in a database and then ask it to find out which records in the database are furthest away from average. It's part of something called Bayesian analysis and it's been around for centuries now. Without it, we couldn't do spam-filtering --" + +"So you're saying that you think the police should suck as hard as my spam filter?" I said. + +Dad never got angry at me for arguing with him, but tonight I could see the strain was running high in him. Still, I couldn't resist. My own father, taking the police's side! + +"I'm saying that it's perfectly reasonable for the police to conduct their investigations by starting with data-mining, and then following it up with leg-work where a human being actually intervenes to see why the abnormality exists. I don't think that a computer should be telling the police whom to arrest, just helping them sort through the haystack to find a needle." + +"But by taking in all that data from the transit system, they're /{creating the haystack}/," I said. "That's a gigantic mountain of data and there's almost nothing worth looking at there, from the police's point of view. It's a total waste." + +"I understand that you don't like that this system caused you some inconvenience, Marcus. But you of all people should appreciate the gravity of the situation. There was no harm done, was there? They even gave you a ride home." + +/{They threatened to send me to jail,}/ I thought, but I could see there was no point in saying it. + +"Besides, you still haven't told us where the blazing hells you've been to create such an unusual traffic pattern." + +That brought me up short. + +"I thought you relied on my judgment, that you didn't want to spy on me." He'd said this often enough. "Do you really want me to account for every trip I've ever taken?" + +# + +I hooked up my Xbox as soon as I got to my room. I'd bolted the projector to the ceiling so that it could shine on the wall over my bed (I'd had to take down my awesome mural of punk rock handbills I'd taken down off telephone poles and glued to big sheets of white paper). + +I powered up the Xbox and watched as it came onto the screen. I was going to email Van and Jolu to tell them about the hassles with the cops, but as I put my fingers to the keyboard, I stopped again. + +A feeling crept over me, one not unlike the feeling I'd had when I realized that they'd turned poor old Salmagundi into a traitor. This time, it was the feeling that my beloved Xnet might be broadcasting the location of every one of its users to the DHS. + +It was what Dad had said: /{You ask the computer to create a profile of an average record in a database and then ask it to find out which records in the database are furthest away from average.}/ + +The Xnet was secure because its users weren't directly connected to the Internet. They hopped from Xbox to Xbox until they found one that was connected to the Internet, then they injected their material as undecipherable, encrypted data. No one could tell which of the Internet's packets were Xnet and which ones were just plain old banking and e-commerce and other encrypted communication. You couldn't find out who was tying the Xnet, let alone who was using the Xnet. + +But what about Dad's "Bayesian statistics?" I'd played with Bayesian math before. Darryl and I once tried to write our own better spam filter and when you filter spam, you need Bayesian math. Thomas Bayes was an 18th century British mathematician that no one cared about until a couple hundred years after he died, when computer scientists realized that his technique for statistically analyzing mountains of data would be super-useful for the modern world's info-Himalayas. + +Here's some of how Bayesian stats work. Say you've got a bunch of spam. You take every word that's in the spam and count how many times it appears. This is called a "word frequency histogram" and it tells you what the probability is that any bag of words is likely to be spam. Now, take a ton of email that's not spam -- in the biz, they call that "ham" -- and do the same. + +Wait until a new email arrives and count the words that appear in it. Then use the word-frequency histogram in the candidate message to calculate the probability that it belongs in the "spam" pile or the "ham" pile. If it turns out to be spam, you adjust the "spam" histogram accordingly. There are lots of ways to refine the technique -- looking at words in pairs, throwing away old data -- but this is how it works at core. It's one of those great, simple ideas that seems obvious after you hear about it. + +It's got lots of applications -- you can ask a computer to count the lines in a picture and see if it's more like a "dog" line-frequency histogram or a "cat" line-frequency histogram. It can find porn, bank fraud, and flamewars. Useful stuff. + +And it was bad news for the Xnet. Say you had the whole Internet wiretapped -- which, of course, the DHS has. You can't tell who's passing Xnet packets by looking at the contents of those packets, thanks to crypto. + +What you /{can}/ do is find out who is sending way, way more encrypted traffic out than everyone else. For a normal Internet surfer, a session online is probably about 95 percent cleartext, five percent ciphertext. If someone is sending out 95 percent ciphertext, maybe you could dispatch the computer-savvy equivalents of Booger and Zit to ask them if they're terrorist drug-dealer Xnet users. + +This happens all the time in China. Some smart dissident will get the idea of getting around the Great Firewall of China, which is used to censor the whole country's Internet connection, by using an encrypted connection to a computer in some other country. Now, the Party there can't tell what the dissident is surfing: maybe it's porn, or bomb-making instructions, or dirty letters from his girlfriend in the Philippines, or political material, or good news about Scientology. They don't have to know. All they have to know is that this guy gets way more encrypted traffic than his neighbors. At that point, they send him to a forced labor camp just to set an example so that everyone can see what happens to smart-asses. + +So far, I was willing to bet that the Xnet was under the DHS's radar, but it wouldn't be the case forever. And after tonight, I wasn't sure that I was in any better shape than a Chinese dissident. I was putting all the people who signed onto the Xnet in jeopardy. The law didn't care if you were actually doing anything bad; they were willing to put you under the microscope just for being statistically abnormal. And I couldn't even stop it -- now that the Xnet was running, it had a life of its own. + +I was going to have to fix it some other way. + +I wished I could talk to Jolu about this. He worked at an Internet Service Provider called Pigspleen Net that had hired him when he was twelve, and he knew way more about the net than I did. If anyone knew how to keep our butts out of jail, it would be him. + +Luckily, Van and Jolu and I were planning to meet for coffee the next night at our favorite place in the Mission after school. Officially, it was our weekly Harajuku Fun Madness team meeting, but with the game canceled and Darryl gone, it was pretty much just a weekly weep-fest, supplemented by about six phone-calls and IMs a day that went, "Are you OK? Did it really happen?" It would be good to have something else to talk about. + +# + +"You're out of your mind," Vanessa said. "Are you actually, totally, really, for-real crazy or what?" + +She had shown up in her girl's school uniform because she'd been stuck going the long way home, all the way down to the San Mateo bridge then back up into the city, on a shuttle-bus service that her school was operating. She hated being seen in public in her gear, which was totally Sailor Moon -- a pleated skirt and a tunic and knee-socks. She'd been in a bad mood ever since she turned up at the cafe, which was full of older, cooler, mopey emo art students who snickered into their lattes when she turned up. + +"What do you want me to do, Van?" I said. I was getting exasperated myself. School was unbearable now that the game wasn't on, now that Darryl was missing. All day long, in my classes, I consoled myself with the thought of seeing my team, what was left of it. Now we were fighting. + +"I want you to stop putting yourself at risk, M1k3y." The hairs on the back of my neck stood up. Sure, we always used our team handles at team meetings, but now that my handle was also associated with my Xnet use, it scared me to hear it said aloud in a public place. + +"Don't use that name in public anymore," I snapped. + +Van shook her head. "That's just what I'm talking about. You could end up going to jail for this, Marcus, and not just you. Lots of people. After what happened to Darryl --" + +"I'm doing this for Darryl!" Art students swiveled to look at us and I lowered my voice. "I'm doing this because the alternative is to let them get away with it all." + +"You think you're going to stop them? You're out of your mind. They're the government." + +"It's still our country," I said. "We still have the right to do this." + +Van looked like she was going to cry. She took a couple of deep breaths and stood up. "I can't do it, I'm sorry. I can't watch you do this. It's like watching a car-wreck in slow motion. You're going to destroy yourself, and I love you too much to watch it happen." + +She bent down and gave me a fierce hug and a hard kiss on the cheek that caught the edge of my mouth. "Take care of yourself, Marcus," she said. My mouth burned where her lips had pressed it. She gave Jolu the same treatment, but square on the cheek. Then she left. + +Jolu and I stared at each other after she'd gone. + +I put my face in my hands. "Dammit," I said, finally. + +Jolu patted me on the back and ordered me another latte. "It'll be OK," he said. + +"You'd think Van, of all people, would understand." Half of Van's family lived in North Korea. Her parents never forgot that they had all those people living under a crazy dictator, not able to escape to America, the way her parents had. + +Jolu shrugged. "Maybe that's why she's so freaked out. Because she knows how dangerous it can get." + +I knew what he was talking about. Two of Van's uncles had gone to jail and had never reappeared. + +"Yeah," I said. + +"So how come you weren't on Xnet last night?" + +I was grateful for the distraction. I explained it all to him, the Bayesian stuff and my fear that we couldn't go on using Xnet the way we had been without getting nabbed. He listened thoughtfully. + +"I see what you're saying. The problem is that if there's too much crypto in someone's Internet connection, they'll stand out as unusual. But if you don't encrypt, you'll make it easy for the bad guys to wiretap you." + +"Yeah," I said. "I've been trying to figure it out all day. Maybe we could slow the connection down, spread it out over more peoples' accounts --" + +"Won't work," he said. "To get it slow enough to vanish into the noise, you'd have to basically shut down the network, which isn't an option." + +"You're right," I said. "But what else can we do?" + +"What if we changed the definition of normal?" + +And that was why Jolu got hired to work at Pigspleen when he was 12. Give him a problem with two bad solutions and he'd figure out a third totally different solution based on throwing away all your assumptions. I nodded vigorously. "Go on, tell me." + +"What if the average San Francisco Internet user had a /{lot}/ more crypto in his average day on the Internet? If we could change the split so it's more like fifty-fifty cleartext to ciphertext, then the users that supply the Xnet would just look like normal." + +"But how do we do that? People just don't care enough about their privacy to surf the net through an encrypted link. They don't see why it matters if eavesdroppers know what they're googling for." + +"Yeah, but web-pages are small amounts of traffic. If we got people to routinely download a few giant encrypted files every day, that would create as much ciphertext as thousands of web-pages." + +"You're talking about indienet," I said. + +"You got it," he said. + +indienet -- all lower case, always -- was the thing that made Pigspleen Net into one of the most successful independent ISPs in the world. Back when the major record labels started suing their fans for downloading their music, a lot of the independent labels and their artists were aghast. How can you make money by suing your customers? + +Pigspleen's founder had the answer: she opened up a deal for any act that wanted to work with their fans instead of fighting them. Give Pigspleen a license to distribute your music to its customers and it would give you a share of the subscription fees based on how popular your music was. For an indie artist, the big problem isn't piracy, it's obscurity: no one even cares enough about your tunes to steal 'em. + +It worked. Hundreds of independent acts and labels signed up with Pigspleen, and the more music there was, the more fans switched to getting their Internet service from Pigspleen, and the more money there was for the artists. Inside of a year, the ISP had a hundred thousand new customers and now it had a million -- more than half the broadband connections in the city. + +"An overhaul of the indienet code has been on my plate for months now," Jolu said. "The original programs were written really fast and dirty and they could be made a lot more efficient with a little work. But I just haven't had the time. One of the high-marked to-do items has been to encrypt the connections, just because Trudy likes it that way." Trudy Doo was the founder of Pigspleen. She was an old time San Francisco punk legend, the singer/front-woman of the anarcho-feminist band Speedwhores, and she was crazy about privacy. I could totally believe that she'd want her music service encrypted on general principles. + +"Will it be hard? I mean, how long would it take?" + +"Well, there's tons of crypto code for free online, of course," Jolu said. He was doing the thing he did when he was digging into a meaty code problem -- getting that faraway look, drumming his palms on the table, making the coffee slosh into the saucers. I wanted to laugh -- everything might be destroyed and crap and scary, but Jolu would write that code. + +"Can I help?" + +He looked at me. "What, you don't think I can manage it?" + +"What?" + +"I mean, you did this whole Xnet thing without even telling me. Without talking to me. I kind of thought that you didn't need my help with this stuff." + +I was brought up short. "What?" I said again. Jolu was looking really steamed now. It was clear that this had been eating him for a long time. "Jolu --" + +He looked at me and I could see that he was furious. How had I missed this? God, I was such an idiot sometimes. "Look dude, it's not a big deal --" by which he clearly meant that it was a really big deal "-- it's just that you know, you never even /{asked}/. I hate the DHS. Darryl was my friend too. I could have really helped with it." + +I wanted to stick my head between my knees. "Listen Jolu, that was really stupid of me. I did it at like two in the morning. I was just crazy when it was happening. I --" I couldn't explain it. Yeah, he was right, and that was the problem. It had been two in the morning but I could have talked to Jolu about it the next day or the next. I hadn't because I'd known what he'd say -- that it was an ugly hack, that I needed to think it through better. Jolu was always figuring out how to turn my 2 AM ideas into real code, but the stuff that he came out with was always a little different from what I'd come up with. I'd wanted the project for myself. I'd gotten totally into being M1k3y. + +"I'm sorry," I said at last. "I'm really, really sorry. You're totally right. I just got freaked out and did something stupid. I really need your help. I can't make this work without you." + +"You mean it?" + +"Of course I mean it," I said. "You're the best coder I know. You're a goddamned genius, Jolu. I would be honored if you'd help me with this." + +He drummed his fingers some more. "It's just -- You know. You're the leader. Van's the smart one. Darryl was... He was your second-in-command, the guy who had it all organized, who watched the details. Being the programmer, that was /{my}/ thing. It felt like you were saying you didn't need me." + +"Oh man, I am such an idiot. Jolu, you're the best-qualified person I know to do this. I'm really, really, really --" + +"All right, already. Stop. Fine. I believe you. We're all really screwed up right now. So yeah, of course you can help. We can probably even pay you -- I've got a little budget for contract programmers." + +"Really?" No one had ever paid me for writing code. + +"Sure. You're probably good enough to be worth it." He grinned and slugged me in the shoulder. Jolu's really easy-going most of the time, which is why he'd freaked me out so much. + +I paid for the coffees and we went out. I called my parents and let them know what I was doing. Jolu's mom insisted on making us sandwiches. We locked ourselves in his room with his computer and the code for indienet and we embarked on one of the great all-time marathon programming sessions. Once Jolu's family went to bed around 11:30, we were able to kidnap the coffee-machine up to his room and go IV with our magic coffee bean supply. + +If you've never programmed a computer, you should. There's nothing like it in the whole world. When you program a computer, it does /{exactly}/ what you tell it to do. It's like designing a machine -- any machine, like a car, like a faucet, like a gas-hinge for a door -- using math and instructions. It's awesome in the truest sense: it can fill you with awe. + +A computer is the most complicated machine you'll ever use. It's made of billions of micro-miniaturized transistors that can be configured to run any program you can imagine. But when you sit down at the keyboard and write a line of code, those transistors do what you tell them to. + +Most of us will never build a car. Pretty much none of us will ever create an aviation system. Design a building. Lay out a city. + +Those are complicated machines, those things, and they're off-limits to the likes of you and me. But a computer is like, ten times more complicated, and it will dance to any tune you play. You can learn to write simple code in an afternoon. Start with a language like Python, which was written to give non-programmers an easier way to make the machine dance to their tune. Even if you only write code for one day, one afternoon, you have to do it. Computers can control you or they can lighten your work -- if you want to be in charge of your machines, you have to learn to write code. + +We wrote a lot of code that night. + +1~ Chapter 8 + +_1 /{ [This chapter is dedicated to Borders,~{ Borders worldwide http://www.bordersstores.com/locator/locator.jsp }~ the global bookselling giant that you can find in cities all over the world -- I'll never forget walking into the gigantic Borders on Orchard Road in Singapore and discovering a shelf loaded with my novels! For many years, the Borders in Oxford Street in London hosted Pat Cadigan's monthly science fiction evenings, where local and visiting authors would read their work, speak about science fiction and meet their fans. When I'm in a strange city (which happens a lot) and I need a great book for my next flight, there always seems to be a Borders brimming with great choices -- I'm especially partial to the Borders on Union Square in San Francisco.] }/ + +I wasn't the only one who got screwed up by the histograms. There are lots of people who have abnormal traffic patterns, abnormal usage patterns. Abnormal is so common, it's practically normal. + +The Xnet was full of these stories, and so were the newspapers and the TV news. Husbands were caught cheating on their wives; wives were caught cheating on their husbands, kids were caught sneaking out with illicit girlfriends and boyfriends. A kid who hadn't told his parents he had AIDS got caught going to the clinic for his drugs. + +Those were the people with something to hide -- not guilty people, but people with secrets. There were even more people with nothing to hide at all, but who nevertheless resented being picked up, and questioned. Imagine if someone locked you in the back of a police car and demanded that you prove that you're /{not}/ a terrorist. + +It wasn't just public transit. Most drivers in the Bay Area have a FasTrak pass clipped to their sun-visors. This is a little radio-based "wallet" that pays your tolls for you when you cross the bridges, saving you the hassle of sitting in a line for hours at the toll-plazas. They'd tripled the cost of using cash to get across the bridge (though they always fudged this, saying that FasTrak was cheaper, not that anonymous cash was more expensive). Whatever holdouts were left afterward disappeared after the number of cash-lanes was reduced to just one per bridge-head, so that the cash lines were even longer. + +So if you're a local, or if you're driving a rental car from a local agency, you've got a FasTrak. It turns out that toll-plazas aren't the only place that your FasTrak gets read, though. The DHS had put FasTrak readers all over town -- when you drove past them, they logged the time and your ID number, building an ever-more perfect picture of who went where, when, in a database that was augmented by "speeding cameras," "red light cameras" and all the other license-plate cameras that had popped up like mushrooms. + +No one had given it much thought. And now that people were paying attention, we were all starting to notice little things, like the fact that the FasTrak doesn't have an off-switch. + +So if you drove a car, you were just as likely to be pulled over by an SFPD cruiser that wanted to know why you were taking so many trips to the Home Depot lately, and what was that midnight drive up to Sonoma last week about? + +The little demonstrations around town on the weekend were growing. Fifty thousand people marched down Market Street after a week of this monitoring. I couldn't care less. The people who'd occupied my city didn't care what the natives wanted. They were a conquering army. They knew how we felt about that. + +One morning I came down to breakfast just in time to hear Dad tell Mom that the two biggest taxi companies were going to give a "discount" to people who used special cards to pay their fares, supposedly to make drivers safer by reducing the amount of cash they carried. I wondered what would happen to the information about who took which cabs where. + +I realized how close I'd come. The new indienet client had been pushed out as an automatic update just as this stuff started to get bad, and Jolu told me that 80 percent of the traffic he saw at Pigspleen was now encrypted. The Xnet just might have been saved. + +Dad was driving me nuts, though. + +"You're being paranoid, Marcus," he told me over breakfast one day as I told him about the guys I'd seen the cops shaking down on BART the day before. + +"Dad, it's ridiculous. They're not catching any terrorists, are they? It's just making people scared." + +"They may not have caught any terrorists yet, but they're sure getting a lot of scumbags off the streets. Look at the drug dealers -- it says they've put dozens of them away since this all started. Remember when those druggies robbed you? If we don't bust their dealers, it'll only get worse." I'd been mugged the year before. They'd been pretty civilized about it. One skinny guy who smelled bad told me he had a gun, the other one asked me for my wallet. They even let me keep my ID, though they got my debit card and Fast Pass. It had still scared me witless and left me paranoid and checking my shoulder for weeks. + +"But most of the people they hold up aren't doing anything wrong, Dad," I said. This was getting to me. My own father! "It's crazy. For every guilty person they catch, they have to punish thousands of innocent people. That's just not good." + +"Innocent? Guys cheating on their wives? Drug dealers? You're defending them, but what about all the people who died? If you don't have anything to hide --" + +"So you wouldn't mind if they pulled /{you}/ over?" My dad's histograms had proven to be depressingly normal so far. + +"I'd consider it my duty," he said. "I'd be proud. It would make me feel safer." + +Easy for him to say. + +# + +Vanessa didn't like me talking about this stuff, but she was too smart about it for me to stay away from the subject for long. We'd get together all the time, and talk about the weather and school and stuff, and then, somehow, I'd be back on this subject. Vanessa was cool when it happened -- she didn't Hulk out on me again -- but I could see it upset her. + +Still. + +"So my dad says, 'I'd consider it my duty.' Can you freaking /{believe}/ it? I mean, God! I almost told him then about going to jail, asking him if he thought that was our 'duty'!" + +We were sitting in the grass in Dolores Park after school, watching the dogs chase frisbees. + +Van had stopped at home and changed into an old t-shirt for one of her favorite Brazilian tecno-brega bands, Carioca Proibidão -- the forbidden guy from Rio. She'd gotten the shirt at a live show we'd all gone to two years before, sneaking out for a grand adventure down at the Cow Palace, and she'd sprouted an inch or two since, so it was tight and rode up her tummy, showing her flat little belly button. + +She lay back in the weak sun with her eyes closed behind her shades, her toes wiggling in her flip-flops. I'd known Van since forever, and when I thought of her, I usually saw the little kid I'd known with hundreds of jangly bracelets made out of sliced-up soda cans, who played the piano and couldn't dance to save her life. Sitting out there in Dolores Park, I suddenly saw her as she was. + +She was totally h4wt -- that is to say, hot. It was like looking at that picture of a vase and noticing that it was also two faces. I could see that Van was just Van, but I could also see that she was hella pretty, something I'd never noticed. + +Of course, Darryl had known it all along, and don't think that I wasn't bummed out anew when I realized this. + +"You can't tell your dad, you know," she said. "You'd put us all at risk." Her eyes were closed and her chest was rising up and down with her breath, which was distracting in a really embarrassing way. + +"Yeah," I said, glumly. "But the problem is that I know he's just totally full of it. If you pulled my dad over and made him prove he wasn't a child-molesting, drug-dealing terrorist, he'd go berserk. Totally off-the-rails. He hates being put on hold when he calls about his credit-card bill. Being locked in the back of a car and questioned for an hour would give him an aneurism." + +"They only get away with it because the normals feel smug compared to the abnormals. If everyone was getting pulled over, it'd be a disaster. No one would ever get anywhere, they'd all be waiting to get questioned by the cops. Total gridlock." + +Woah. + +"Van, you are a total genius," I said. + +"Tell me about it," she said. She had a lazy smile and she looked at me through half-lidded eyes, almost romantic. + +"Seriously. We can do this. We can mess up the profiles easily. Getting people pulled over is easy." + +She sat up and pushed her hair off her face and looked at me. I felt a little flip in my stomach, thinking that she was really impressed with me. + +"It's the arphid cloners," I said. "They're totally easy to make. Just flash the firmware on a ten-dollar Radio Shack reader/writer and you're done. What we do is go around and randomly swap the tags on people, overwriting their Fast Passes and FasTraks with other people's codes. That'll make /{everyone}/ skew all weird and screwy, and make everyone look guilty. Then: total gridlock." + +Van pursed her lips and lowered her shades and I realized she was so angry she couldn't speak. + +"Good bye, Marcus," she said, and got to her feet. Before I knew it, she was walking away so fast she was practically running. + +"Van!" I called, getting to my feet and chasing after her. "Van! Wait!" + +She picked up speed, making me run to catch up with her. + +"Van, what the hell," I said, catching her arm. She jerked it away so hard I punched myself in the face. + +"You're psycho, Marcus. You're going to put all your little Xnet buddies in danger for their lives, and on top of it, you're going to turn the whole city into terrorism suspects. Can't you stop before you hurt these people?" + +I opened and closed my mouth a couple times. "Van, /{I'm}/ not the problem, /{they}/ are. I'm not arresting people, jailing them, making them disappear. The Department of Homeland Security are the ones doing that. I'm fighting back to make them stop." + +"How, by making it worse?" + +"Maybe it has to get worse to get better, Van. Isn't that what you were saying? If everyone was getting pulled over --" + +"That's not what I meant. I didn't mean you should get everyone arrested. If you want to protest, join the protest movement. Do something positive. Didn't you learn /{anything}/ from Darryl? /{Anything?}/" + +"You're damned right I did," I said, losing my cool. "I learned that they can't be trusted. That if you're not fighting them, you're helping them. That they'll turn the country into a prison if we let them. What did you learn, Van? To be scared all the time, to sit tight and keep your head down and hope you don't get noticed? You think it's going to get better? If we don't do anything, this is as /{good as it's going to get}/. It will only get worse and worse from now on. You want to help Darryl? Help me bring them down!" + +There it was again. My vow. Not to get Darryl free, but to bring down the entire DHS. That was crazy, even I knew it. But it was what I planned to do. No question about it. + +Van shoved me hard with both hands. She was strong from school athletics -- fencing, lacrosse, field hockey, all the girls-school sports -- and I ended up on my ass on the disgusting San Francisco sidewalk. She took off and I didn't follow. + +# + +> The important thing about security systems isn't how they work, it's how they fail. + +That was the first line of my first blog post on Open Revolt, my Xnet site. I was writing as M1k3y, and I was ready to go to war. + +> Maybe all the automatic screening is supposed to catch terrorists. Maybe it will catch a terrorist sooner or later. The problem is that it catches /{us}/ too, even though we're not doing anything wrong. + +> The more people it catches, the more brittle it gets. If it catches too many people, it dies. + +> Get the idea? + +I pasted in my HOWTO for building a arphid cloner, and some tips for getting close enough to people to read and write their tags. I put my own cloner in the pocket of my vintage black leather motocross jacket with the armored pockets and left for school. I managed to clone six tags between home and Chavez High. + +It was war they wanted. It was war they'd get. + +# + +If you ever decide to do something as stupid as build an automatic terrorism detector, here's a math lesson you need to learn first. It's called "the paradox of the false positive," and it's a doozy. + +Say you have a new disease, called Super-AIDS. Only one in a million people gets Super-AIDS. You develop a test for Super-AIDS that's 99 percent accurate. I mean, 99 percent of the time, it gives the correct result -- true if the subject is infected, and false if the subject is healthy. You give the test to a million people. + +One in a million people have Super-AIDS. One in a hundred people that you test will generate a "false positive" -- the test will say he has Super-AIDS even though he doesn't. That's what "99 percent accurate" means: one percent wrong. + +What's one percent of one million? + +1,000,000/100 = 10,000 + +One in a million people has Super-AIDS. If you test a million random people, you'll probably only find one case of real Super-AIDS. But your test won't identify /{one}/ person as having Super-AIDS. It will identify /{10,000}/ people as having it. + +Your 99 percent accurate test will perform with 99.99 percent /{inaccuracy}/. + +That's the paradox of the false positive. When you try to find something really rare, your test's accuracy has to match the rarity of the thing you're looking for. If you're trying to point at a single pixel on your screen, a sharp pencil is a good pointer: the pencil-tip is a lot smaller (more accurate) than the pixels. But a pencil-tip is no good at pointing at a single /{atom}/ in your screen. For that, you need a pointer -- a test -- that's one atom wide or less at the tip. + +This is the paradox of the false positive, and here's how it applies to terrorism: + +Terrorists are really rare. In a city of twenty million like New York, there might be one or two terrorists. Maybe ten of them at the outside. 10/20,000,000 = 0.00005 percent. One twenty-thousandth of a percent. + +That's pretty rare all right. Now, say you've got some software that can sift through all the bank-records, or toll-pass records, or public transit records, or phone-call records in the city and catch terrorists 99 percent of the time. + +In a pool of twenty million people, a 99 percent accurate test will identify two hundred thousand people as being terrorists. But only ten of them are terrorists. To catch ten bad guys, you have to haul in and investigate two hundred thousand innocent people. + +Guess what? Terrorism tests aren't anywhere /{close}/ to 99 percent accurate. More like 60 percent accurate. Even 40 percent accurate, sometimes. + +What this all meant was that the Department of Homeland Security had set itself up to fail badly. They were trying to spot incredibly rare events -- a person is a terrorist -- with inaccurate systems. + +Is it any wonder we were able to make such a mess? + +# + +I stepped out the front door whistling on a Tuesday morning one week into the Operation False Positive. I was rockin' out to some new music I'd downloaded from the Xnet the night before -- lots of people sent M1k3y little digital gifts to say thank you for giving them hope. + +I turned onto 23d Street and carefully took the narrow stone steps cut into the side of the hill. As I descended, I passed Mr Wiener Dog. I don't know Mr Wiener Dog's real name, but I see him nearly every day, walking his three panting wiener dogs up the staircase to the little parkette. Squeezing past them all on the stairs is pretty much impossible and I always end up tangled in a leash, knocked into someone's front garden, or perched on the bumper of one of the cars parked next to the curb. + +Mr Wiener Dog is clearly Someone Important, because he has a fancy watch and always wears a nice suit. I had mentally assumed that he worked down in the financial district. + +Today as I brushed up against him, I triggered my arphid cloner, which was already loaded in the pocket of my leather jacket. The cloner sucked down the numbers off his credit-cards and his car-keys, his passport and the hundred-dollar bills in his wallet. + +Even as it was doing that, it was flashing some of them with new numbers, taken from other people I'd brushed against. It was like switching the license-plates on a bunch of cars, but invisible and instantaneous. I smiled apologetically at Mr Wiener Dog and continued down the stairs. I stopped at three of the cars long enough to swap their FasTrak tags with numbers taken off of all the cars I'd gone past the day before. + +You might think I was being a little aggro here, but I was cautious and conservative compared to a lot of the Xnetters. A couple girls in the Chemical Engineering program at UC Berkeley had figured out how to make a harmless substance out of kitchen products that would trip an explosive sniffer. They'd had a merry time sprinkling it on their profs' briefcases and jackets, then hiding out and watching the same profs try to get into the auditoriums and libraries on campus, only to get flying-tackled by the new security squads that had sprung up everywhere. + +Other people wanted to figure out how to dust envelopes with substances that would test positive for anthrax, but everyone else thought they were out of their minds. Luckily, it didn't seem like they'd be able to figure it out. + +I passed by San Francisco General Hospital and nodded with satisfaction as I saw the huge lines at the front doors. They had a police checkpoint too, of course, and there were enough Xnetters working as interns and cafeteria workers and whatnot there that everyone's badges had been snarled up and swapped around. I'd read the security checks had tacked an hour onto everyone's work day, and the unions were threatening to walk out unless the hospital did something about it. + +A few blocks later, I saw an even longer line for the BART. Cops were walking up and down the line pointing people out and calling them aside for questioning, bag-searches and pat-downs. They kept getting sued for doing this, but it didn't seem to be slowing them down. + +I got to school a little ahead of time and decided to walk down to 22nd Street to get a coffee -- and I passed a police checkpoint where they were pulling over cars for secondary inspection. + +School was no less wild -- the security guards on the metal detectors were also wanding our school IDs and pulling out students with odd movements for questioning. Needless to say, we all had pretty weird movements. Needless to say, classes were starting an hour or more later. + +Classes were crazy. I don't think anyone was able to concentrate. I overheard two teachers talking about how long it had taken them to get home from work the day before, and planning to sneak out early that day. + +It was all I could do to keep from laughing. The paradox of the false positive strikes again! + +Sure enough, they let us out of class early and I headed home the long way, circling through the Mission to see the havoc. Long lines of cars. BART stations lined up around the blocks. People swearing at ATMs that wouldn't dispense their money because they'd had their accounts frozen for suspicious activity (that's the danger of wiring your checking account straight into your FasTrak and Fast Pass!). + +I got home and made myself a sandwich and logged into the Xnet. It had been a good day. People from all over town were crowing about their successes. We'd brought the city of San Francisco to a standstill. The news-reports confirmed it -- they were calling it the DHS gone haywire, blaming it all on the fake-ass "security" that was supposed to be protecting us from terrorism. The Business section of the San Francisco Chronicle gave its whole front page to an estimate of the economic cost of the DHS security resulting from missed work hours, meetings and so on. According to the Chronicle's economist, a week of this crap would cost the city more than the Bay Bridge bombing had. + +Mwa-ha-ha-ha. + +The best part: Dad got home that night late. Very late. Three /{hours}/ late. Why? Because he'd been pulled over, searched, questioned. Then it happened /{again}/. Twice. + +Twice! + +1~ Chapter 9 + +_1 /{ [This chapter is dedicated to Compass Books/Books Inc,~{ Compass Books/Books Inc: http://www.booksinc.net/NASApp/store/Product;jsessionid=abcF-ch09-pbU6m7ZRrLr?s=showproduct&isbn=0765319853 }~ the oldest independent bookstore in the western USA. They've got stores up and down California, in San Francisco, Burlingame, Mountain View and Palo Alto, but coolest of all is that they run a killer bookstore in the middle of Disneyland's Downtown Disney in Anaheim. I'm a stone Disney park freak (see my first novel, Down and Out in the Magic Kingdom if you don't believe it), and every time I've lived in California, I've bought myself an annual Disneyland pass, and on practically every visit, I drop by Compass Books in Downtown Disney. They stock a brilliant selection of unauthorized (and even critical) books about Disney, as well as a great variety of kids books and science fiction, and the cafe next door makes a mean cappuccino.] }/ + +He was so angry I thought he was going to pop. You know I said I'd only seen him lose his cool rarely? That night, he lost it more than he ever had. + +"You wouldn't believe it. This cop, he was like eighteen years old and he kept saying, 'But sir, why were you in Berkeley yesterday if your client is in Mountain View?' I kept explaining to him that I teach at Berkeley and then he'd say, 'I thought you were a consultant,' and we'd start over again. It was like some kind of sitcom where the cops have been taken over by the stupidity ray. + +"What's worse was he kept insisting that I'd been in Berkeley today as well, and I kept saying no, I hadn't been, and he said I had been. Then he showed me my FasTrak billing and it said I'd driven the San Mateo bridge three times that day! + +"That's not all," he said, and drew in a breath that let me know he was really steamed. "They had information about where I'd been, places that /{didn't have a toll plaza}/. They'd been polling my pass just on the street, at random. And it was /{wrong}/! Holy crap, I mean, they're spying on us all and they're not even competent!" + +I'd drifted down into the kitchen as he railed there, and now I was watching him from the doorway. Mom met my eye and we both raised our eyebrows as if to say, /{Who's going to say 'I told you so' to him?}/ I nodded at her. She could use her spousular powers to nullify his rage in a way that was out of my reach as a mere filial unit. + +"Drew," she said, and grabbed him by the arm to make him stop stalking back and forth in the kitchen, waving his arms like a street-preacher. + +"What?" he snapped. + +"I think you owe Marcus an apology." She kept her voice even and level. Dad and I are the spazzes in the household -- Mom's a total rock. + +Dad looked at me. His eyes narrowed as he thought for a minute. "All right," he said at last. "You're right. I was talking about competent surveillance. These guys were total amateurs. I'm sorry, son," he said. "You were right. That was ridiculous." He stuck his hand out and shook my hand, then gave me a firm, unexpected hug. + +"God, what are we doing to this country, Marcus? Your generation deserves to inherit something better than this." When he let me go, I could see the deep wrinkles in his face, lines I'd never noticed. + +I went back up to my room and played some Xnet games. There was a good multiplayer thing, a clockwork pirate game where you had to quest every day or two to wind up your whole crew's mainsprings before you could go plundering and pillaging again. It was the kind of game I hated but couldn't stop playing: lots of repetitive quests that weren't all that satisfying to complete, a little bit of player-versus-player combat (scrapping to see who would captain the ship) and not that many cool puzzles that you had to figure out. Mostly, playing this kind of game made me homesick for Harajuku Fun Madness, which balanced out running around in the real world, figuring out online puzzles, and strategizing with your team. + +But today it was just what I needed. Mindless entertainment. + +My poor dad. + +I'd done that to him. He'd been happy before, confident that his tax dollars were being spent to keep him safe. I'd destroyed that confidence. It was false confidence, of course, but it had kept him going. Seeing him now, miserable and broken, I wondered if it was better to be clear-eyed and hopeless or to live in a fool's paradise. That shame -- the shame I'd felt since I gave up my passwords, since they'd broken me -- returned, leaving me listless and wanting to just get away from myself. + +My character was a swabbie on the pirate ship /{Zombie Charger}/, and he'd wound down while I'd been offline. I had to IM all the other players on my ship until I found one willing to wind me up. That kept me occupied. I liked it, actually. There was something magic about a total stranger doing you a favor. And since it was the Xnet, I knew that all the strangers were friends, in some sense. + +> Where u located? + +The character who wound me up was called Lizanator, and it was female, though that didn't mean that it was a girl. Guys had some weird affinity for playing female characters. + +> San Francisco + +I said. + +> No stupe, where you located in San Fran? + +> Why, you a pervert? + +That usually shut down that line of conversation. Of course every gamespace was full of pedos and pervs, and cops pretending to be pedo- and perv-bait (though I sure hoped there weren't any cops on the Xnet!). An accusation like that was enough to change the subject nine out of ten times. + +> Mission? Potrero Hill? Noe? East Bay? + +> Just wind me up k thx? + +She stopped winding. + +> You scared? + +> Safe -- why do you care? + +> Just curious + +I was getting a bad vibe off her. She was clearly more than just curious. Call it paranoia. I logged off and shut down my Xbox. + +# + +Dad looked at me over the table the next morning and said, "It looks like it's going to get better, at least." He handed me a copy of the /{Chronicle}/ open to the third page. + +> A Department of Homeland Security spokesman has confirmed that the San Francisco office has requested a 300 percent budget and personnel increase from DC + +What? + +> Major General Graeme Sutherland, the commanding officer for Northern California DHS operations, confirmed the request at a press conference yesterday, noting that a spike in suspicious activity in the Bay Area prompted the request. "We are tracking a spike in underground chatter and activity and believe that saboteurs are deliberately manufacturing false security alerts to undermine our efforts." + +My eyes crossed. No freaking way. + +> "These false alarms are potentially 'radar chaff' intended to disguise real attacks. The only effective way of combatting them is to step up staffing and analyst levels so that we can fully investigate every lead." + +> Sutherland noted the delays experienced all over the city were "unfortunate" and committed to eliminating them. + +I had a vision of the city with four or five times as many DHS enforcers, brought in to make up for my own stupid ideas. Van was right. The more I fought them, the worse it was going to get. + +Dad pointed at the paper. "These guys may be fools, but they're methodical fools. They'll just keep throwing resources at this problem until they solve it. It's tractable, you know. Mining all the data in the city, following up on every lead. They'll catch the terrorists." + +I lost it. "Dad! Are you /{listening to yourself}/? They're talking about investigating practically every person in the city of San Francisco!" + +"Yeah," he said, "that's right. They'll catch every alimony cheat, every dope dealer, every dirt-bag and every terrorist. You just wait. This could be the best thing that ever happened to this country." + +"Tell me you're joking," I said. "I beg you. You think that that's what they intended when they wrote the Constitution? What about the Bill of Rights?" + +"The Bill of Rights was written before data-mining," he said. He was awesomely serene, convinced of his rightness. "The right to freedom of association is fine, but why shouldn't the cops be allowed to mine your social network to figure out if you're hanging out with gangbangers and terrorists?" + +"Because it's an invasion of my privacy!" I said. + +"What's the big deal? Would you rather have privacy or terrorists?" + +Agh. I hated arguing with my dad like this. I needed a coffee. "Dad, come on. Taking away our privacy isn't catching terrorists: it's just inconveniencing normal people." + +"How do you know it's not catching terrorists?" + +"Where are the terrorists they've caught?" + +"I'm sure we'll see arrests in good time. You just wait." + +"Dad, what the hell has happened to you since last night? You were ready to go nuclear on the cops for pulling you over --" + +"Don't use that tone with me, Marcus. What's happened since last night is that I've had the chance to think it over and to read /{this}/." He rattled his paper. "The reason they caught me is that the bad guys are actively jamming them. They need to adjust their techniques to overcome the jamming. But they'll get there. Meanwhile the occasional road stop is a small price to pay. This isn't the time to be playing lawyer about the Bill of Rights. This is the time to make some sacrifices to keep our city safe." + +I couldn't finish my toast. I put the plate in the dishwasher and left for school. I had to get out of there. + +# + +The Xnetters weren't happy about the stepped up police surveillance, but they weren't going to take it lying down. Someone called a phone-in show on KQED and told them that the police were wasting their time, that we could monkeywrench the system faster than they could untangle it. The recording was a top Xnet download that night. + +"This is California Live and we're talking to an anonymous caller at a payphone in San Francisco. He has his own information about the slowdowns we've been facing around town this week. Caller, you're on the air." + +"Yeah, yo, this is just the beginning, you know? I mean, like, we're just getting started. Let them hire a billion pigs and put a checkpoint on every corner. We'll jam them all! And like, all this crap about terrorists? We're not terrorists! Give me a break, I mean, really! We're jamming up the system because we hate the Homeland Security, and because we love our city. Terrorists? I can't even spell jihad. Peace out." + +He sounded like an idiot. Not just the incoherent words, but also his gloating tone. He sounded like a kid who was indecently proud of himself. He /{was}/ a kid who was indecently proud of himself. + +The Xnet flamed out over this. Lots of people thought he was an idiot for calling in, while others thought he was a hero. I worried that there was probably a camera aimed at the payphone he'd used. Or an arphid reader that might have sniffed his Fast Pass. I hoped he'd had the smarts to wipe his fingerprints off the quarter, keep his hood up, and leave all his arphids at home. But I doubted it. I wondered if he'd get a knock on the door sometime soon. + +The way I knew when something big had happened on Xnet was that I'd suddenly get a million emails from people who wanted M1k3y to know about the latest haps. It was just as I was reading about Mr Can't-Spell-Jihad that my mailbox went crazy. Everyone had a message for me -- a link to a livejournal on the Xnet -- one of the many anonymous blogs that were based on the Freenet document publishing system that was also used by Chinese democracy advocates. + +> Close call + +> We were jamming at the Embarcadero tonite and goofing around giving everyone a new car key or door key or Fast Pass or FasTrak, tossing around a little fake gunpowder. There were cops everywhere but we were smarter than them; we're there pretty much every night and we never get caught. + +> So we got caught tonight. It was a stupid mistake we got sloppy we got busted. It was an undercover who caught my pal and then got the rest of us. They'd been watching the crowd for a long time and they had one of those trucks nearby and they took four of us in but missed the rest. + +> The truck was JAMMED like a can of sardines with every kind of person, old young black white rich poor all suspects, and there were two cops trying to ask us questions and the undercovers kept bringing in more of us. Most people were trying to get to the front of the line to get through questioning so we kept on moving back and it was like hours in there and really hot and it was getting more crowded not less. + +> At like 8PM they changed shifts and two new cops came in and bawled out the two cops who were there all like wtf? aren't you doing anything here. They had a real fight and then the two old cops left and the new cops sat down at their desks and whispered to each other for a while. + +> Then one cop stood up and started shouting EVERYONE JUST GO HOME JESUS CHRIST WE'VE GOT BETTER THINGS TO DO THAN BOTHER YOU WITH MORE QUESTIONS IF YOU'VE DONE SOMETHING WRONG JUST DON'T DO IT AGAIN AND LET THIS BE A WARNING TO YOU ALL. + +> A bunch of the suits got really pissed which was HILARIOUS because I mean ten minutes before they were buggin about being held there and now they were wicked pissed about being let go, like make up your minds! + +> We split fast though and got out and came home to write this. There are undercovers everywhere, believe. If you're jamming, be open-eyed and get ready to run when problems happen. If you get caught try to wait it out they're so busy they'll maybe just let you go. + +> We made them that busy! All those people in that truck were there because we'd jammed them. So jam on! + +I felt like I was going to throw up. Those four people -- kids I'd never met -- they nearly went away forever because of something I'd started. + +Because of something I'd told them to do. I was no better than a terrorist. + +# + +The DHS got their budget requisition approved. The President went on TV with the Governor to tell us that no price was too high for security. We had to watch it the next day in school at assembly. My Dad cheered. He'd hated the President since the day he was elected, saying he wasn't any better than the last guy and the last guy had been a complete disaster, but now all he could do was talk about how decisive and dynamic the new guy was. + +"You have to take it easy on your father," Mom said to me one night after I got home from school. She'd been working from home as much as possible. Mom's a freelance relocation specialist who helps British people get settled in in San Francisco. The UK High Commission pays her to answer emails from mystified British people across the country who are totally confused by how freaky we Americans are. She explains Americans for a living, and she said that these days it was better to do that from home, where she didn't have to actually see any Americans or talk to them. + +I don't have any illusions about Britain. America may be willing to trash its Constitution every time some Jihadist looks cross-eyed at us, but as I learned in my ninth-grade Social Studies independent project, the Brits don't even /{have}/ a Constitution. They've got laws there that would curl the hair on your toes: they can put you in jail for an entire year if they're really sure that you're a terrorist but don't have enough evidence to prove it. Now, how sure can they be if they don't have enough evidence to prove it? How'd they get that sure? Did they see you committing terrorist acts in a really vivid dream? + +And the surveillance in Britain makes America look like amateur hour. The average Londoner is photographed 500 times a day, just walking around the streets. Every license plate is photographed at every corner in the country. Everyone from the banks to the public transit company is enthusiastic about tracking you and snitching on you if they think you're remotely suspicious. + +But Mom didn't see it that way. She'd left Britain halfway through high school and she'd never felt at home here, no matter that she'd married a boy from Petaluma and raised a son here. To her, this was always the land of barbarians, and Britain would always be home. + +"Mom, he's just wrong. You of all people should know that. Everything that makes this country great is being flushed down the toilet and he's going along with it. Have you noticed that they haven't /{caught any terrorists}/? Dad's all like, 'We need to be safe,' but he needs to know that most of us don't feel safe. We feel endangered all the time." + +"I know this all, Marcus. Believe me, I'm not fan of what's been happening to this country. But your father is --" She broke off. "When you didn't come home after the attacks, he thought --" + +She got up and made herself a cup of tea, something she did whenever she was uncomfortable or disconcerted. + +"Marcus," she said. "Marcus, we thought you were dead. Do you understand that? We were mourning you for days. We were imagining you blown to bits, at the bottom of the ocean. Dead because some bastard decided to kill hundreds of strangers to make some point." + +That sank in slowly. I mean, I understood that they'd been worried. Lots of people died in the bombings -- four thousand was the present estimate -- and practically everyone knew someone who didn't come home that day. There were two people from my school who had disappeared. + +"Your father was ready to kill someone. Anyone. He was out of his mind. You've never seen him like this. I've never seen him like it either. He was out of his mind. He'd just sit at this table and curse and curse and curse. Vile words, words I'd never heard him say. One day -- the third day -- someone called and he was sure it was you, but it was a wrong number and he threw the phone so hard it disintegrated into thousands of pieces." I'd wondered about the new kitchen phone. + +"Something broke in your father. He loves you. We both love you. You are the most important thing in our lives. I don't think you realize that. Do you remember when you were ten, when I went home to London for all that time? Do you remember?" + +I nodded silently. + +"We were ready to get a divorce, Marcus. Oh, it doesn't matter why anymore. It was just a bad patch, the kind of thing that happens when people who love each other stop paying attention for a few years. He came and got me and convinced me to come back for you. We couldn't bear the thought of doing that to you. We fell in love again for you. We're together today because of you." + +I had a lump in my throat. I'd never known this. No one had ever told me. + +"So your father is having a hard time right now. He's not in his right mind. It's going to take some time before he comes back to us, before he's the man I love again. We need to understand him until then." + +She gave me a long hug, and I noticed how thin her arms had gotten, how saggy the skin on her neck was. I always thought of my mother as young, pale, rosy-cheeked and cheerful, peering shrewdly through her metal-rim glasses. Now she looked a little like an old woman. I had done that to her. The terrorists had done that to her. The Department of Homeland Security had done that to her. In a weird way, we were all on the same side, and Mom and Dad and all those people we'd spoofed were on the other side. + +# + +I couldn't sleep that night. Mom's words kept running through my head. Dad had been tense and quiet at dinner and we'd barely spoken, because I didn't trust myself not to say the wrong thing and because he was all wound up over the latest news, that Al Qaeda was definitely responsible for the bombing. Six different terrorist groups had claimed responsibility for the attack, but only Al Qaeda's Internet video disclosed information that the DHS said they hadn't disclosed to anyone. + +I lay in bed and listened to a late-night call-in radio show. The topic was sex problems, with this gay guy who I normally loved to listen to, he would give people such raw advice, but good advice, and he was really funny and campy. + +Tonight I couldn't laugh. Most of the callers wanted to ask what to do about the fact that they were having a hard time getting busy with their partners ever since the attack. Even on sex-talk radio, I couldn't get away from the topic. + +I switched the radio off and heard a purring engine on the street below. + +My bedroom is in the top floor of our house, one of the painted ladies. I have a sloping attic ceiling and windows on both sides -- one overlooks the whole Mission, the other looks out into the street in front of our place. There were often cars cruising at all hours of the night, but there was something different about this engine noise. + +I went to the street-window and pulled up my blinds. Down on the street below me was a white, unmarked van whose roof was festooned with radio antennas, more antennas than I'd ever seen on a car. It was cruising very slowly down the street, a little dish on top spinning around and around. + +As I watched, the van stopped and one of the back doors popped open. A guy in a DHS uniform -- I could spot one from a hundred yards now -- stepped out into the street. He had some kind of handheld device, and its blue glow lit his face. He paced back and forth, first scouting my neighbors, making notes on his device, then heading for me. There was something familiar in the way he walked, looking down -- + +He was using a wifinder! The DHS was scouting for Xnet nodes. I let go of the blinds and dove across my room for my Xbox. I'd left it up while I downloaded some cool animations one of the Xnetters had made of the President's no-price-too-high speech. I yanked the plug out of the wall, then scurried back to the window and cracked the blind a fraction of an inch. + +The guy was looking down into his wifinder again, walking back and forth in front of our house. A moment later, he got back into his van and drove away. + +I got out my camera and took as many pictures as I could of the van and its antennas. Then I opened them in a free image-editor called The GIMP and edited out everything from the photo except the van, erasing my street and anything that might identify me. + +I posted them to Xnet and wrote down everything I could about the vans. These guys were definitely looking for the Xnet, I could tell. + +Now I really couldn't sleep. + +Nothing for it but to play wind-up pirates. There'd be lots of players even at this hour. The real name for wind-up pirates was Clockwork Plunder, and it was a hobbyist project that had been created by teenaged death-metal freaks from Finland. It was totally free to play, and offered just as much fun as any of the $15/month services like Ender's Universe and Middle Earth Quest and Discworld Dungeons. + +I logged back in and there I was, still on the deck of the Zombie Charger, waiting for someone to wind me up. I hated this part of the game. + +> Hey you + +I typed to a passing pirate. + +> Wind me up? + +He paused and looked at me. + +> y should i? + +> We're on the same team. Plus you get experience points. + +What a jerk. + +> Where are you located? + +> San Francisco + +This was starting to feel familiar. + +> Where in San Francisco? + +I logged out. There was something weird going on in the game. I jumped onto the livejournals and began to crawl from blog to blog. I got through half a dozen before I found something that froze my blood. + +Livejournallers love quizzes. What kind of hobbit are you? Are you a great lover? What planet are you most like? Which character from some movie are you? What's your emotional type? They fill them in and their friends fill them in and everyone compares their results. Harmless fun. + +But the quiz that had taken over the blogs of the Xnet that night was what scared me, because it was anything but harmless: + +* What's your sex + +* What grade are you in? + +* What school do you go to? + +* Where in the city do you live? + +The quizzes plotted the results on a map with colored pushpins for schools and neighborhoods, and made lame recommendations for places to buy pizza and stuff. + +But look at those questions. Think about my answers: + +* Male + +* 12 + +* Chavez High + +* Potrero Hill + +There were only two people in my whole school who matched that profile. Most schools it would be the same. If you wanted to figure out who the Xnetters were, you could use these quizzes to find them all. + +That was bad enough, but what was worse was what it implied: someone from the DHS was using the Xnet to get at us. The Xnet was compromised by the DHS. + +We had spies in our midst. + +# + +I'd given Xnet discs to hundreds of people, and they'd done the same. I knew the people I gave the discs to pretty well. Some of them I knew very well. I've lived in the same house all my life and I've made hundreds and hundreds of friends over the years, from people who went to daycare with me to people I played soccer with, people who LARPed with me, people I met clubbing, people I knew from school. My ARG team were my closest friends, but there were plenty of people I knew and trusted enough to hand an Xnet disc to. + +I needed them now. + +I woke Jolu up by ringing his cell phone and hanging up after the first ring, three times in a row. A minute later, he was up on Xnet and we were able to have a secure chat. I pointed him to my blog-post on the radio vans and he came back a minute later all freaked out. + +> You sure they're looking for us? + +In response I sent him to the quiz. + +> OMG we're doomed + +> No it's not that bad but we need to figure out who we can trust + +> How? + +> That's what I wanted to ask you -- how many people can you totally vouch for like trust them to the ends of the earth? + +> Um 20 or 30 or so + +> I want to get a bunch of really trustworthy people together and do a key-exchange web of trust thing + +Web of trust is one of those cool crypto things that I'd read about but never tried. It was a nearly foolproof way to make sure that you could talk to the people you trusted, but that no one else could listen in. The problem is that it requires you to physically meet with the people in the web at least once, just to get started. + +> I get it sure. That's not bad. But how you going to get everyone together for the key-signing? + +> That's what I wanted to ask you about -- how can we do it without getting busted? + +Jolu typed some words and erased them, typed more and erased them. + +> Darryl would know + +I typed. + +> God, this was the stuff he was great at. + +Jolu didn't type anything. Then, + +> How about a party? + +he typed. + +> How about if we all get together somewhere like we're teenagers having a party and that way we'll have a ready-made excuse if anyone shows up asking us what we're doing there? + +> That would totally work! You're a genius, Jolu. + +> I know it. And you're going to love this: I know just where to do it, too + +> Where? + +> Sutro baths! + +1~ Chapter 10 + +_1 /{ [This chapter is dedicated to Anderson's Bookshops,~{ Anderson's Bookshops http://www.andersonsbookshop.com/search.php?qkey2=doctorow+little+brother&sid=5156&imageField.x=0&imageField.y=0 123 West Jefferson, Naperville, IL 60540 USA +1 630 355 2665 }~ Chicago's legendary kids' bookstore. Anderson's is an old, old family-run business, which started out as an old-timey drug-store selling some books on the side. Today, it's a booming, multi-location kids' book empire, with some incredibly innovative bookselling practices that get books and kids together in really exciting ways. The best of these is the store's mobile book-fairs, in which they ship huge, rolling bookcases, already stocked with excellent kids' books, direct to schools on trucks -- voila, instant book-fair!] }/ + +What would you do if you found out you had a spy in your midst? You could denounce him, put him up against the wall and take him out. But then you might end up with another spy in your midst, and the new spy would be more careful than the last one and maybe not get caught quite so readily. + +Here's a better idea: start intercepting the spy's communications and feed him and his masters misinformation. Say his masters instruct him to gather information on your movements. Let him follow you around and take all the notes he wants, but steam open the envelopes that he sends back to HQ and replace his account of your movements with a fictitious one. If you want, you can make him seem erratic and unreliable so they get rid of him. You can manufacture crises that might make one side or the other reveal the identities of other spies. In short, you own them. + +This is called the man-in-the-middle attack and if you think about it, it's pretty scary. Someone who man-in-the-middles your communications can trick you in any of a thousand ways. + +Of course, there's a great way to get around the man-in-the-middle attack: use crypto. With crypto, it doesn't matter if the enemy can see your messages, because he can't decipher them, change them, and re-send them. That's one of the main reasons to use crypto. + +But remember: for crypto to work, you need to have keys for the people you want to talk to. You and your partner need to share a secret or two, some keys that you can use to encrypt and decrypt your messages so that men-in-the-middle get locked out. + +That's where the idea of public keys comes in. This is a little hairy, but it's so unbelievably elegant too. + +In public key crypto, each user gets two keys. They're long strings of mathematical gibberish, and they have an almost magic property. Whatever you scramble with one key, the other will unlock, and vice-versa. What's more, they're the /{only}/ keys that can do this -- if you can unscramble a message with one key, you /{know}/ it was scrambled with the other (and vice-versa). + +So you take either one of these keys (it doesn't matter which one) and you just /{publish}/ it. You make it a total /{non-secret}/. You want anyone in the world to know what it is. For obvious reasons, they call this your "public key." + +The other key, you hide in the darkest reaches of your mind. You protect it with your life. You never let anyone ever know what it is. That's called your "private key." (Duh.) + +Now say you're a spy and you want to talk with your bosses. Their public key is known by everyone. Your public key is known by everyone. No one knows your private key but you. No one knows their private key but them. + +You want to send them a message. First, you encrypt it with your private key. You could just send that message along, and it would work pretty well, since they would know when the message arrived that it came from you. How? Because if they can decrypt it with your public key, it can /{only}/ have been encrypted with your private key. This is the equivalent of putting your seal or signature on the bottom of a message. It says, "I wrote this, and no one else. No one could have tampered with it or changed it." + +Unfortunately, this won't actually keep your message a /{secret}/. That's because your public key is really well known (it has to be, or you'll be limited to sending messages to those few people who have your public key). Anyone who intercepts the message can read it. They can't change it and make it seem like it came from you, but if you don't want people to know what you're saying, you need a better solution. + +So instead of just encrypting the message with your private key, you /{also}/ encrypt it with your boss's public key. Now it's been locked twice. The first lock -- the boss's public key -- only comes off when combined with your boss's private key. The second lock -- your private key -- only comes off with your public key. When your bosses receive the message, they unlock it with both keys and now they know for sure that: a) you wrote it and b) that only they can read it. + +It's very cool. The day I discovered it, Darryl and I immediately exchanged keys and spent months cackling and rubbing our hands as we exchanged our military-grade secret messages about where to meet after school and whether Van would ever notice him. + +But if you want to understand security, you need to consider the most paranoid possibilities. Like, what if I tricked you into thinking that /{my}/ public key was your boss's public key? You'd encrypt the message with your private key and my public key. I'd decrypt it, read it, re-encrypt it with your boss's /{real}/ public key and send it on. As far as your boss knows, no one but you could have written the message and no one but him could have read it. + +And I get to sit in the middle, like a fat spider in a web, and all your secrets belong to me. + +Now, the easiest way to fix this is to really widely advertise your public key. If it's /{really}/ easy for anyone to know what your real key is, man-in-the-middle gets harder and harder. But you know what? Making things well-known is just as hard as keeping them secret. Think about it -- how many billions of dollars are spent on shampoo ads and other crap, just to make sure that as many people know about something that some advertiser wants them to know? + +There's a cheaper way of fixing man-in-the-middle: the web of trust. Say that before you leave HQ, you and your bosses sit down over coffee and actually tell each other your keys. No more man-in-the-middle! You're absolutely certain whose keys you have, because they were put into your own hands. + +So far, so good. But there's a natural limit to this: how many people can you physically meet with and swap keys? How many hours in the day do you want to devote to the equivalent of writing your own phone book? How many of those people are willing to devote that kind of time to you? + +Thinking about this like a phonebook helps. The world was once a place with a lot of phonebooks, and when you needed a number, you could look it up in the book. But for many of the numbers that you wanted to refer to on a given day, you would either know it by heart, or you'd be able to ask someone else. Even today, when I'm out with my cell-phone, I'll ask Jolu or Darryl if they have a number I'm looking for. It's faster and easier than looking it up online and they're more reliable, too. If Jolu has a number, I trust him, so I trust the number, too. That's called "transitive trust" -- trust that moves across the web of our relationships. + +A web of trust is a bigger version of this. Say I meet Jolu and get his key. I can put it on my "keyring" -- a list of keys that I've signed with my private key. That means you can unlock it with my public key and know for sure that me -- or someone with my key, anyway -- says that "this key belongs to this guy." + +So I hand you my keyring and provided that you trust me to have actually met and verified all the keys on it, you can take it and add it to your keyring. Now, you meet someone else and you hand the whole ring to him. Bigger and bigger the ring grows, and provided that you trust the next guy in the chain, and he trusts the next guy in his chain and so on, you're pretty secure. + +Which brings me to keysigning parties. These are /{exactly}/ what they sound like: a party where everyone gets together and signs everyone else's keys. Darryl and I, when we traded keys, that was kind of a mini-keysigning party, one with only two sad and geeky attendees. But with more people, you create the seed of the web of trust, and the web can expand from there. As everyone on your keyring goes out into the world and meets more people, they can add more and more names to the ring. You don't have to meet the new people, just trust that the signed key you get from the people in your web is valid. + +So that's why web of trust and parties go together like peanut butter and chocolate. + +# + +"Just tell them it's a super-private party, invitational only," I said. "Tell them not to bring anyone along or they won't be admitted." + +Jolu looked at me over his coffee. "You're joking, right? You tell people that, and they'll bring /{extra}/ friends." + +"Argh," I said. I spent a night a week at Jolu's these days, keeping the code up to date on indienet. Pigspleen actually paid me a non-zero sum of money to do this, which was really weird. I never thought I'd be paid to write code. + +"So what do we do? We only want people we really trust there, and we don't want to mention why until we've got everyone's keys and can send them messages in secret." + +Jolu debugged and I watched over his shoulder. This used to be called "extreme programming," which was a little embarrassing. Now we just call it "programming." Two people are much better at spotting bugs than one. As the cliche goes, "With enough eyeballs, all bugs are shallow." + +We were working our way through the bug reports and getting ready to push out the new rev. It all auto-updated in the background, so our users didn't really need to do anything, they just woke up once a week or so with a better program. It was pretty freaky to know that the code I wrote would be used by hundreds of thousands of people, /{tomorrow}/! + +"What do we do? Man, I don't know. I think we just have to live with it." + +I thought back to our Harajuku Fun Madness days. There were lots of social challenges involving large groups of people as part of that game. + +"OK, you're right. But let's at least try to keep this secret. Tell them that they can bring a maximum of one person, and it has to be someone they've known personally for a minimum of five years." + +Jolu looked up from the screen. "Hey," he said. "Hey, that would totally work. I can really see it. I mean, if you told me not to bring anyone, I'd be all, 'Who the hell does he think he is?' But when you put it that way, it sounds like some awesome 007 stuff." + +I found a bug. We drank some coffee. I went home and played a little Clockwork Plunder, trying not to think about key-winders with nosy questions, and slept like a baby. + +# + +Sutro baths are San Francisco's authentic fake Roman ruins. When it opened in 1896, it was the largest indoor bathing house in the world, a huge Victorian glass solarium filled with pools and tubs and even an early water slide. It went downhill by the fifties, and the owners torched it for the insurance in 1966. All that's left is a labyrinth of weathered stone set into the sere cliff-face at Ocean Beach. It looks for all the world like a Roman ruin, crumbled and mysterious, and just beyond them is a set of caves that let out into the sea. In rough tides, the waves rush through the caves and over the ruins -- they've even been known to suck in and drown the occasional tourist. + +Ocean Beach is way out past Golden Gate park, a stark cliff lined with expensive, doomed houses, plunging down to a narrow beach studded with jellyfish and brave (insane) surfers. There's a giant white rock that juts out of the shallows off the shore. That's called Seal Rock, and it used to be the place where the sea lions congregated until they were relocated to the more tourist-friendly environs of Fisherman's Wharf. + +After dark, there's hardly anyone out there. It gets very cold, with a salt spray that'll soak you to your bones if you let it. The rocks are sharp and there's broken glass and the occasional junkie needle. + +It is an awesome place for a party. + +Bringing along the tarpaulins and chemical glove-warmers was my idea. Jolu figured out where to get the beer -- his older brother, Javier, had a buddy who actually operated a whole underage drinking service: pay him enough and he'd back up to your secluded party spot with ice-chests and as many brews as you wanted. I blew a bunch of my indienet programming money, and the guy showed up right on time: 8PM, a good hour after sunset, and lugged the six foam ice-chests out of his pickup truck and down into the ruins of the baths. He even brought a spare chest for the empties. + +"You kids play safe now," he said, tipping his cowboy hat. He was a fat Samoan guy with a huge smile, and a scary tank-top that you could see his armpit- and belly- and shoulder-hair escaping from. I peeled twenties off my roll and handed them to him -- his markup was 150 percent. Not a bad racket. + +He looked at my roll. "You know, I could just take that from you," he said, still smiling. "I'm a criminal, after all." + +I put my roll in my pocket and looked him levelly in the eye. I'd been stupid to show him what I was carrying, but I knew that there were times when you should just stand your ground. + +"I'm just messing with you," he said, at last. "But you be careful with that money. Don't go showing it around." + +"Thanks," I said. "Homeland Security'll get my back though." + +His smile got even bigger. "Ha! They're not even real five-oh. Those peckerwoods don't know nothin'." + +I looked over at his truck. Prominently displayed in his windscreen was a FasTrak. I wondered how long it would be until he got busted. + +"You got girls coming tonight? That why you got all the beer?" + +I smiled and waved at him as though he was walking back to his truck, which he should have been doing. He eventually got the hint and drove away. His smile never faltered. + +Jolu helped me hide the coolers in the rubble, working with little white LED torches on headbands. Once the coolers were in place, we threw little white LED keychains into each one, so it would glow when you took the styrofoam lids off, making it easier to see what you were doing. + +It was a moonless night and overcast, and the distant streetlights barely illuminated us. I knew we'd stand out like blazes on an infrared scope, but there was no chance that we'd be able to get a bunch of people together without being observed. I'd settle for being dismissed as a little drunken beach-party. + +I don't really drink much. There's been beer and pot and ecstasy at the parties I've been going to since I was 14, but I hated smoking (though I'm quite partial to a hash brownie every now and again), ecstasy took too long -- who's got a whole weekend to get high and come down -- and beer, well, it was all right, but I didn't see what the big deal was. My favorite was big, elaborate cocktails, the kind of thing served in a ceramic volcano, with six layers, on fire, and a plastic monkey on the rim, but that was mostly for the theater of it all. + +I actually like being drunk. I just don't like being hungover, and boy, do I ever get hungover. Though again, that might have to do with the kind of drinks that come in a ceramic volcano. + +But you can't throw a party without putting a case or two of beer on ice. It's expected. It loosens things up. People do stupid things after too many beers, but it's not like my friends are the kind of people who have cars. And people do stupid things no matter what -- beer or grass or whatever are all incidental to that central fact. + +Jolu and I each cracked beers -- Anchor Steam for him, a Bud Lite for me -- and clinked the bottles together, sitting down on a rock. + +"You told them 9PM?" + +"Yeah," he said. + +"Me too." + +We drank in silence. The Bud Lite was the least alcoholic thing in the ice-chest. I'd need a clear head later. + +"You ever get scared?" I said, finally. + +He turned to me. "No man, I don't get scared. I'm always scared. I've been scared since the minute the explosions happened. I'm so scared sometimes, I don't want to get out of bed." + +"Then why do you do it?" + +He smiled. "About that," he said. "Maybe I won't, not for much longer. I mean, it's been great helping you. Great. Really excellent. I don't know when I've done anything so important. But Marcus, bro, I have to say. . ." He trailed off. + +"What?" I said, though I knew what was coming next. + +"I can't do it forever," he said at last. "Maybe not even for another month. I think I'm through. It's too much risk. The DHS, you can't go to war on them. It's crazy. Really actually crazy." + +"You sound like Van," I said. My voice was much more bitter than I'd intended. + +"I'm not criticizing you, man. I think it's great that you've got the bravery to do this all the time. But I haven't got it. I can't live my life in perpetual terror." + +"What are you saying?" + +"I'm saying I'm out. I'm going to be one of those people who acts like it's all OK, like it'll all go back to normal some day. I'm going to use the Internet like I always did, and only use the Xnet to play games. I'm going to get out is what I'm saying. I won't be a part of your plans anymore." + +I didn't say anything. + +"I know that's leaving you on your own. I don't want that, believe me. I'd much rather you give up with me. You can't declare war on the government of the USA. It's not a fight you're going to win. Watching you try is like watching a bird fly into a window again and again." + +He wanted me to say something. What /{I}/ wanted to say was, /{Jesus Jolu, thanks so very much for abandoning me! Do you forget what it was like when they took us away? Do you forget what the country used to be like before they took it over?}/ But that's not what he wanted me to say. What he wanted me to say was: + +"I understand, Jolu. I respect your choice." + +He drank the rest of his bottle and pulled out another one and twisted off the cap. + +"There's something else," he said. + +"What?" + +"I wasn't going to mention it, but I want you to understand why I have to do this." + +"Jesus, Jolu, /{what}/?" + +"I hate to say it, but you're /{white}/. I'm not. White people get caught with cocaine and do a little rehab time. Brown people get caught with crack and go to prison for twenty years. White people see cops on the street and feel safer. Brown people see cops on the street and wonder if they're about to get searched. The way the DHS is treating you? The law in this country has always been like that for us." + +It was so unfair. I didn't ask to be white. I didn't think I was being braver just because I'm white. But I knew what Jolu was saying. If the cops stopped someone in the Mission and asked to see some ID, chances were that person wasn't white. Whatever risk I ran, Jolu ran more. Whatever penalty I'd pay, Jolu would pay more. + +"I don't know what to say," I said. + +"You don't have to say anything," he said. "I just wanted you to know, so you could understand." + +I could see people walking down the side trail toward us. They were friends of Jolu's, two Mexican guys and a girl I knew from around, short and geeky, always wearing cute black Buddy Holly glasses that made her look like the outcast art-student in a teen movie who comes back as the big success. + +Jolu introduced me and gave them beers. The girl didn't take one, but instead produced a small silver flask of vodka from her purse and offered me a drink. I took a swallow -- warm vodka must be an acquired taste -- and complimented her on the flask, which was embossed with a repeating motif of Parappa the Rapper characters. + +"It's Japanese," she said as I played another LED keyring over it. "They have all these great booze-toys based on kids' games. Totally twisted." + +I introduced myself and she introduced herself. "Ange," she said, and shook my hand with hers -- dry, warm, with short nails. Jolu introduced me to his pals, whom he'd known since computer camp in the fourth grade. More people showed up -- five, then ten, then twenty. It was a seriously big group now. + +We'd told people to arrive by 9:30 sharp, and we gave it until 9:45 to see who all would show up. About three quarters were Jolu's friends. I'd invited all the people I really trusted. Either I was more discriminating than Jolu or less popular. Now that he'd told me he was quitting, it made me think that he was less discriminating. I was really pissed at him, but trying not to let it show by concentrating on socializing with other people. But he wasn't stupid. He knew what was going on. I could see that he was really bummed. Good. + +"OK," I said, climbing up on a ruin, "OK, hey, hello?" A few people nearby paid attention to me, but the ones in the back kept on chatting. I put my arms in the air like a referee, but it was too dark. Eventually I hit on the idea of turning my LED keychain on and pointing it at each of the talkers in turn, then at me. Gradually, the crowd fell quiet. + +I welcomed them and thanked them all for coming, then asked them to close in so I could explain why we were there. I could tell they were into the secrecy of it all, intrigued and a little warmed up by the beer. + +"So here it is. You all use the Xnet. It's no coincidence that the Xnet was created right after the DHS took over the city. The people who did that are an organization devoted to personal liberty, who created the network to keep us safe from DHS spooks and enforcers." Jolu and I had worked this out in advance. We weren't going to cop to being behind it all, not to anyone. It was way too risky. Instead, we'd put it out that we were merely lieutenants in "M1k3y"'s army, acting to organize the local resistance. + +"The Xnet isn't pure," I said. "It can be used by the other side just as readily as by us. We know that there are DHS spies who use it now. They use social engineering hacks to try to get us to reveal ourselves so that they can bust us. If the Xnet is going to succeed, we need to figure out how to keep them from spying on us. We need a network within the network." + +I paused and let this sink in. Jolu had suggested that this might be a little heavy -- learning that you're about to be brought into a revolutionary cell. + +"Now, I'm not here to ask you to do anything active. You don't have to go out jamming or anything. You've been brought here because we know you're cool, we know you're trustworthy. It's that trustworthiness I want to get you to contribute tonight. Some of you will already be familiar with the web of trust and keysigning parties, but for the rest of you, I'll run it down quickly --" Which I did. + +"Now what I want from you tonight is to meet the people here and figure out how much you can trust them. We're going to help you generate key-pairs and share them with each other." + +This part was tricky. Asking people to bring their own laptops wouldn't have worked out, but we still needed to do something hella complicated that wouldn't exactly work with paper and pencil. + +I held up a laptop Jolu and I had rebuilt the night before, from the ground up. "I trust this machine. Every component in it was laid by our own hands. It's running a fresh out-of-the-box version of ParanoidLinux, booted off of the DVD. If there's a trustworthy computer left anywhere in the world, this might well be it. + +"I've got a key-generator loaded here. You come up here and give it some random input -- mash the keys, wiggle the mouse -- and it will use that as the seed to create a random public- and private key for you, which it will display on the screen. You can take a picture of the private key with your phone, and hit any key to make it go away forever -- it's not stored on the disk at all. Then it will show you your public key. At that point, you call over all the people here you trust and who trust you, and /{they}/ take a picture of the screen with you standing next to it, so they know whose key it is. + +"When you get home, you have to convert the photos to keys. This is going to be a lot of work, I'm afraid, but you'll only have to do it once. You have to be super-careful about typing these in -- one mistake and you're screwed. Luckily, we've got a way to tell if you've got it right: beneath the key will be a much shorter number, called the 'fingerprint'. Once you've typed in the key, you can generate a fingerprint from it and compare it to the fingerprint, and if they match, you've got it right." + +They all boggled at me. OK, so I'd asked them to do something pretty weird, it's true, but still. + + +1~ Chapter 11 + +_1 /{ [This chapter is dedicated to the University Bookstore~{ The University Bookstore http://www4.bookstore.washington.edu/_trade/ShowTitleUBS.taf?ActionArg=Title&ISBN=9780765319852 4326 University Way NE, Seattle, WA 98105 USA +1 800 335 READ }~ at the University of Washington, whose science fiction section rivals many specialty stores, thanks to the sharp-eyed, dedicated science fiction buyer, Duane Wilkins. Duane's a real science fiction fan -- I first met him at the World Science Fiction Convention in Toronto in 2003 -- and it shows in the eclectic and informed choices on display at the store. One great predictor of a great bookstore is the quality of the "shelf review" -- the little bits of cardboard stuck to the shelves with (generally hand-lettered) staff-reviews extolling the virtues of books you might otherwise miss. The staff at the University Bookstore have clearly benefited from Duane's tutelage, as the shelf reviews at the University Bookstore are second to none.] }/ + +Jolu stood up. + +"This is where it starts, guys. This is how we know which side you're on. You might not be willing to take to the streets and get busted for your beliefs, but if you /{have}/ beliefs, this will let us know it. This will create the web of trust that tells us who's in and who's out. If we're ever going to get our country back, we need to do this. We need to do something like this." + +Someone in the audience -- it was Ange -- had a hand up, holding a beer bottle. + +"So call me stupid but I don't understand this at all. Why do you want us to do this?" + +Jolu looked at me, and I looked back at him. It had all seemed so obvious when we were organizing it. "The Xnet isn't just a way to play free games. It's the last open communications network in America. It's the last way to communicate without being snooped on by the DHS. For it to work we need to know that the person we're talking to isn't a snoop. That means that we need to know that the people we're sending messages to are the people we think they are. + +"That's where you come in. You're all here because we trust you. I mean, really trust you. Trust you with our lives." + +Some of the people groaned. It sounded melodramatic and stupid. + +I got back to my feet. + +"When the bombs went off," I said, then something welled up in my chest, something painful. "When the bombs went off, there were four of us caught up by Market Street. For whatever reason, the DHS decided that made us suspicious. They put bags over our heads, put us on a ship and interrogated us for days. They humiliated us. Played games with our minds. Then they let us go. + +"All except one person. My best friend. He was with us when they picked us up. He'd been hurt and he needed medical care. He never came out again. They say they never saw him. They say that if we ever tell anyone about this, they'll arrest us and make us disappear. + +"Forever." + +I was shaking. The shame. The goddamned shame. Jolu had the light on me. + +"Oh Christ," I said. "You people are the first ones I've told. If this story gets around, you can bet they'll know who leaked it. You can bet they'll come knocking on my door." I took some more deep breaths. "That's why I volunteered on the Xnet. That's why my life, from now on, is about fighting the DHS. With every breath. Every day. Until we're free again. Any one of you could put me in jail now, if you wanted to." + +Ange put her hand up again. "We're not going to rat on you," she said. "No way. I know pretty much everyone here and I can promise you that. I don't know how to know who to trust, but I know who /{not}/ to trust: old people. Our parents. Grownups. When they think of someone being spied on, they think of someone /{else}/, a bad guy. When they think of someone being caught and sent to a secret prison, it's someone /{else}/ -- someone brown, someone young, someone foreign. + +"They forget what it's like to be our age. To be the object of suspicion /{all the time}/! How many times have you gotten on the bus and had every person on it give you a look like you'd been gargling turds and skinning puppies? + +"What's worse, they're turning into adults younger and younger out there. Back in the day, they used to say 'Never trust anyone over 30.' I say, 'Don't trust any bastard over 25!'" + +That got a laugh, and she laughed too. She was pretty, in a weird, horsey way, with a long face and a long jaw. "I'm not really kidding, you know? I mean, think about it. Who elected these ass-clowns? Who let them invade our city? Who voted to put the cameras in our classrooms and follow us around with creepy spyware chips in our transit passes and cars? It wasn't a 16-year-old. We may be dumb, we may be young, but we're not scum." + +"I want that on a t-shirt," I said. + +"It would be a good one," she said. We smiled at each other. + +"Where do I go to get my keys?" she said, and pulled out her phone. + +"We'll do it over there, in the secluded spot by the caves. I'll take you in there and set you up, then you do your thing and take the machine around to your friends to get photos of your public key so they can sign it when they get home." + +I raised my voice. "Oh! One more thing! Jesus, I can't believe I forgot this. /{Delete those photos once you've typed in the keys}/! The last thing we want is a Flickr stream full of pictures of all of us conspiring together." + +There was some good-natured, nervous chuckling, then Jolu turned out the light and in the sudden darkness I could see nothing. Gradually, my eyes adjusted and I set off for the cave. Someone was walking behind me. Ange. I turned and smiled at her, and she smiled back, luminous teeth in the dark. + +"Thanks for that," I said. "You were great." + +"You mean what you said about the bag on your head and everything?" + +"I meant it," I said. "It happened. I never told anyone, but it happened." I thought about it for a moment. "You know, with all the time that went by since, without saying anything, it started to feel like a bad dream. It was real though." I stopped and climbed up into the cave. "I'm glad I finally told people. Any longer and I might have started to doubt my own sanity." + +I set up the laptop on a dry bit of rock and booted it from the DVD with her watching. "I'm going to reboot it for every person. This is a standard ParanoidLinux disc, though I guess you'd have to take my word for it." + +"Hell," she said. "This is all about trust, right?" + +"Yeah," I said. "Trust." + +I retreated some distance as she ran the key-generator, listening to her typing and mousing to create randomness, listening to the crash of the surf, listening to the party noises from over where the beer was. + +She stepped out of the cave, carrying the laptop. On it, in huge white luminous letters, were her public key and her fingerprint and email address. She held the screen up beside her face and waited while I got my phone out. + +"Cheese," she said. I snapped her pic and dropped the camera back in my pocket. She wandered off to the revelers and let them each get pics of her and the screen. It was festive. Fun. She really had a lot of charisma -- you didn't want to laugh at her, you just wanted to laugh /{with}/ her. And hell, it /{was}/ funny! We were declaring a secret war on the secret police. Who the hell did we think we were? + +So it went, through the next hour or so, everyone taking pictures and making keys. I got to meet everyone there. I knew a lot of them -- some were my invitees -- and the others were friends of my pals or my pals' pals. We should all be buddies. We were, by the time the night was out. They were all good people. + +Once everyone was done, Jolu went to make a key, and then turned away, giving me a sheepish grin. I was past my anger with him, though. He was doing what he had to do. I knew that no matter what he said, he'd always be there for me. And we'd been through the DHS jail together. Van too. No matter what, that would bind us together forever. + +I did my key and did the perp-walk around the gang, letting everyone snap a pic. Then I climbed up on the high spot I'd spoken from earlier and called for everyone's attention. + +"So a lot of you have noted that there's a vital flaw in this procedure: what if this laptop can't be trusted? What if it's secretly recording our instructions? What if it's spying on us? What if Jose-Luis and I can't be trusted?" + +More good-natured chuckles. A little warmer than before, more beery. + +"I mean it," I said. "If we were on the wrong side, this could get all of us -- all of /{you}/ -- into a heap of trouble. Jail, maybe." + +The chuckles turned more nervous. + +"So that's why I'm going to do this," I said, and picked up a hammer I'd brought from my Dad's toolkit. I set the laptop down beside me on the rock and swung the hammer, Jolu following the swing with his keychain light. Crash -- I'd always dreamt of killing a laptop with a hammer, and here I was doing it. It felt pornographically good. And bad. + +Smash! The screen-panel fell off, shattered into millions of pieces, exposing the keyboard. I kept hitting it, until the keyboard fell off, exposing the motherboard and the hard-drive. Crash! I aimed square for the hard-drive, hitting it with everything I had. It took three blows before the case split, exposing the fragile media inside. I kept hitting it until there was nothing bigger than a cigarette lighter, then I put it all in a garbage bag. The crowd was cheering wildly -- loud enough that I actually got worried that someone far above us might hear over the surf and call the law. + +"All right!" I called. "Now, if you'd like to accompany me, I'm going to march this down to the sea and soak it in salt water for ten minutes." + +I didn't have any takers at first, but then Ange came forward and took my arm in her warm hand and said, "That was beautiful," in my ear and we marched down to the sea together. + +It was perfectly dark by the sea, and treacherous, even with our keychain lights. Slippery, sharp rocks that were difficult enough to walk on even without trying to balance six pounds of smashed electronics in a plastic bag. I slipped once and thought I was going to cut myself up, but she caught me with a surprisingly strong grip and kept me upright. I was pulled in right close to her, close enough to smell her perfume, which smelled like new cars. I love that smell. + +"Thanks," I managed, looking into the big eyes that were further magnified by her mannish, black-rimmed glasses. I couldn't tell what color they were in the dark, but I guessed something dark, based on her dark hair and olive complexion. She looked Mediterranean, maybe Greek or Spanish or Italian. + +I crouched down and dipped the bag in the sea, letting it fill with salt water. I managed to slip a little and soak my shoe, and I swore and she laughed. We'd hardly said a word since we lit out for the ocean. There was something magical in our wordless silence. + +At that point, I had kissed a total of three girls in my life, not counting that moment when I went back to school and got a hero's welcome. That's not a gigantic number, but it's not a minuscule one, either. I have reasonable girl radar, and I think I could have kissed her. She wasn't h4wt in the traditional sense, but there's something about a girl and a night and a beach, plus she was smart and passionate and committed. + +But I didn't kiss her, or take her hand. Instead we had a moment that I can only describe as spiritual. The surf, the night, the sea and the rocks, and our breathing. The moment stretched. I sighed. This had been quite a ride. I had a lot of typing to do tonight, putting all those keys into my keychain, signing them and publishing the signed keys. Starting the web of trust. + +She sighed too. + +"Let's go," I said. + +"Yeah," she said. + +Back we went. It was a good night, that night. + +# + +Jolu waited after for his brother's friend to come by and pick up his coolers. I walked with everyone else up the road to the nearest Muni stop and got on board. Of course, none of us was using an issued Muni pass. By that point, Xnetters habitually cloned someone else's Muni pass three or four times a day, assuming a new identity for every ride. + +It was hard to stay cool on the bus. We were all a little drunk, and looking at our faces under the bright bus lights was kind of hilarious. We got pretty loud and the driver used his intercom to tell us to keep it down twice, then told us to shut up right now or he'd call the cops. + +That set us to giggling again and we disembarked in a mass before he did call the cops. We were in North Beach now, and there were lots of buses, taxis, the BART at Market Street, neon-lit clubs and cafes to pull apart our grouping, so we drifted away. + +I got home and fired up my Xbox and started typing in keys from my phone's screen. It was dull, hypnotic work. I was a little drunk, and it lulled me into a half-sleep. + +I was about ready to nod off when a new IM window popped up. + +> herro! + +I didn't recognize the handle -- spexgril -- but I had an idea who might be behind it. + +> hi + +I typed, cautiously. + +> it's me, from tonight + +Then she paste-bombed a block of crypto. I'd already entered her public key into my keychain, so I told the IM client to try decrypting the code with the key. + +> it's me, from tonight + +It was her! + +> Fancy meeting you here + +I typed, then encrypted it to my public key and mailed it off. + +> It was great meeting you + +I typed. + +> You too. I don't meet too many smart guys who are also cute and also socially aware. Good god, man, you don't give a girl much of a chance. + +My heart hammered in my chest. + +> Hello? Tap tap? This thing on? I wasn't born here folks, but I'm sure dying here. Don't forget to tip your waitresses, they work hard. I'm here all week. + +I laughed aloud. + +> I'm here, I'm here. Laughing too hard to type is all + +> Well at least my IM comedy-fu is still mighty + +Um. + +> It was really great to meet you too + +> Yeah, it usually is. Where are you taking me? + +> Taking you? + +> On our next adventure? + +> I didn't really have anything planned + +> Oki -- then I'll take YOU. Saturday. Dolores Park. Illegal open air concert. Be there or be a dodecahedron + +> Wait what? + +> Don't you even read Xnet? It's all over the place. You ever hear of the Speedwhores? + +I nearly choked. That was Trudy Doo's band -- as in Trudy Doo, the woman who had paid me and Jolu to update the indienet code. + +> Yeah I've heard of them + +> They're putting on a huge show and they've got like fifty bands signed to play the bill, going to set up on the tennis courts and bring out their own amp trucks and rock out all night + +I felt like I'd been living under a rock. How had I missed that? There was an anarchist bookstore on Valencia that I sometimes passed on the way to school that had a poster of an old revolutionary named Emma Goldman with the caption "If I can't dance, I don't want to be a part of your revolution." I'd been spending all my energies on figuring out how to use the Xnet to organize dedicated fighters so they could jam the DHS, but this was so much cooler. A big concert -- I had no idea how to do one of those, but I was glad someone did. + +And now that I thought of it, I was damned proud that they were using the Xnet to do it. + +# + +The next day I was a zombie. Ange and I had chatted -- flirted -- until 4AM. Lucky for me, it was a Saturday and I was able to sleep in, but between the hangover and the sleep-dep, I could barely put two thoughts together. + +By lunchtime, I managed to get up and get my ass out onto the streets. I staggered down toward the Turk's to buy my coffee -- these days, if I was alone, I always bought my coffee there, like the Turk and I were part of a secret club. + +On the way, I passed a lot of fresh graffiti. I liked Mission graffiti; a lot of the times, it came in huge, luscious murals, or sarcastic art-student stencils. I liked that the Mission's taggers kept right on going, under the nose of the DHS. Another kind of Xnet, I supposed -- they must have all kinds of ways of knowing what was going on, where to get paint, what cameras worked. Some of the cameras had been spray-painted over, I noticed. + +Maybe they used Xnet! + +Painted in ten-foot-high letters on the side of an auto-yard's fence were the drippy words: DON'T TRUST ANYONE OVER 25. + +I stopped. Had someone left my "party" last night and come here with a can of paint? A lot of those people lived in the neighborhood. + +I got my coffee and had a little wander around town. I kept thinking I should be calling someone, seeing if they wanted to get a movie or something. That's how it used to be on a lazy Saturday like this. But who was I going to call? Van wasn't talking to me, I didn't think I was ready to talk to Jolu, and Darryl -- + +Well, I couldn't call Darryl. + +I got my coffee and went home and did a little searching around on the Xnet's blogs. These anonablogs were untraceable to any author -- unless that author was stupid enough to put her name on it -- and there were a lot of them. Most of them were apolitical, but a lot of them weren't. They talked about schools and the unfairness there. They talked about the cops. Tagging. + +Turned out there'd been plans for the concert in the park for weeks. It had hopped from blog to blog, turning into a full-blown movement without my noticing. And the concert was called Don't Trust Anyone Over 25. + +Well, that explained where Ange got it. It was a good slogan. + +# + +Monday morning, I decided I wanted to check out that anarchist bookstore again, see about getting one of those Emma Goldman posters. I needed the reminder. + +I detoured down to 16th and Mission on my way to school, then up to Valencia and across. The store was shut, but I got the hours off the door and made sure they still had that poster up. + +As I walked down Valencia, I was amazed to see how much of the DON'T TRUST ANYONE OVER 25 stuff there was. Half the shops had DON'T TRUST merch in the windows: lunchboxes, babydoll tees, pencil-boxes, trucker hats. The hipster stores have been getting faster and faster, of course. As new memes sweep the net in the course of a day or two, stores have gotten better at putting merch in the windows to match. Some funny little youtube of a guy launching himself with jet-packs made of carbonated water would land in your inbox on Monday and by Tuesday you'd be able to buy t-shirts with stills from the video on it. + +But it was amazing to see something make the leap from Xnet to the head shops. Distressed designer jeans with the slogan written in careful high school ball-point ink. Embroidered patches. + +Good news travels fast. + +It was written on the black-board when I got to Ms Galvez's Social Studies class. We all sat at our desks, smiling at it. It seemed to smile back. There was something profoundly cheering about the idea that we could all trust each other, that the enemy could be identified. I knew it wasn't entirely true, but it wasn't entirely false either. + +Ms Galvez came in and patted her hair and set down her SchoolBook on her desk and powered it up. She picked up her chalk and turned around to face the board. We all laughed. Good-naturedly, but we laughed. + +She turned around and was laughing too. "Inflation has hit the nation's slogan-writers, it seems. How many of you know where this phrase comes from?" + +We looked at each other. "Hippies?" someone said, and we laughed. Hippies are all over San Francisco, both the old stoner kinds with giant skanky beards and tie-dyes, and the new kind, who are more into dress-up and maybe playing hacky-sack than protesting anything. + +"Well, yes, hippies. But when we think of hippies these days, we just think of the clothes and the music. Clothes and music were incidental to the main part of what made that era, the sixties, important. + +"You've heard about the civil rights movement to end segregation, white and black kids like you riding buses into the South to sign up black voters and protest against official state racism. California was one of the main places where the civil rights leaders came from. We've always been a little more political than the rest of the country, and this is also a part of the country where black people have been able to get the same union factory jobs as white people, so they were a little better off than their cousins in the southland. + +"The students at Berkeley sent a steady stream of freedom riders south, and they recruited them from information tables on campus, at Bancroft and Telegraph Avenue. You've probably seen that there are still tables there to this day. + +"Well, the campus tried to shut them down. The president of the university banned political organizing on campus, but the civil rights kids wouldn't stop. The police tried to arrest a guy who was handing out literature from one of these tables, and they put him in a van, but 3,000 students surrounded the van and refused to let it budge. They wouldn't let them take this kid to jail. They stood on top of the van and gave speeches about the First Amendment and Free Speech. + +"That galvanized the Free Speech Movement. That was the start of the hippies, but it was also where more radical student movements came from. Black power groups like the Black Panthers -- and later gay rights groups like the Pink Panthers, too. Radical women's groups, even 'lesbian separatists' who wanted to abolish men altogether! And the Yippies. Anyone ever hear of the Yippies?" + +"Didn't they levitate the Pentagon?" I said. I'd once seen a documentary about this. + +She laughed. "I forgot about that, but yes, that was them! Yippies were like very political hippies, but they weren't serious the way we think of politics these days. They were very playful. Pranksters. They threw money into the New York Stock Exchange. They circled the Pentagon with hundreds of protestors and said a magic spell that was supposed to levitate it. They invented a fictional kind of LSD that you could spray onto people with squirt-guns and shot each other with it and pretended to be stoned. They were funny and they made great TV -- one Yippie, a clown called Wavy Gravy, used to get hundreds of protestors to dress up like Santa Claus so that the cameras would show police officers arresting and dragging away Santa on the news that night -- and they mobilized a lot of people. + +"Their big moment was the Democratic National Convention in 1968, where they called for demonstrations to protest the Vietnam War. Thousands of demonstrators poured into Chicago, slept in the parks, and picketed every day. They had lots of bizarre stunts that year, like running a pig called Pigasus for the presidential nomination. The police and the demonstrators fought in the streets -- they'd done that many times before, but the Chicago cops didn't have the smarts to leave the reporters alone. They beat up the reporters, and the reporters retaliated by finally showing what really went on at these demonstrations, so the whole country watched their kids being really savagely beaten down by the Chicago police. They called it a 'police riot.' + +"The Yippies loved to say, 'Never trust anyone over 30.' They meant that people who were born before a certain time, when America had been fighting enemies like the Nazis, could never understand what it meant to love your country enough to refuse to fight the Vietnamese. They thought that by the time you hit 30, your attitudes would be frozen and you couldn't ever understand why the kids of the day were taken to the streets, dropping out, freaking out. + +"San Francisco was ground zero for this. Revolutionary armies were founded here. Some of them blew up buildings or robbed banks for their cause. A lot of those kids grew up to be more or less normal, while others ended up in jail. Some of the university dropouts did amazing things -- for example, Steve Jobs and Steve Wozniak, who founded Apple Computers and invented the PC." + +I was really getting into this. I knew a little of it, but I'd never heard it told like this. Or maybe it had never mattered as much as it did now. Suddenly, those lame, solemn, grown-up street demonstrations didn't seem so lame after all. Maybe there was room for that kind of action in the Xnet movement. + +I put my hand up. "Did they win? Did the Yippies win?" + +She gave me a long look, like she was thinking it over. No one said a word. We all wanted to hear the answer. + +"They didn't lose," she said. "They kind of imploded a little. Some of them went to jail for drugs or other things. Some of them changed their tunes and became yuppies and went on the lecture circuit telling everyone how stupid they'd been, talking about how good greed was and how dumb they'd been. + +"But they did change the world. The war in Vietnam ended, and the kind of conformity and unquestioning obedience that people had called patriotism went out of style in a big way. Black rights, women's rights and gay rights came a long way. Chicano rights, rights for disabled people, the whole tradition of civil liberties was created or strengthened by these people. Today's protest movement is the direct descendant of those struggles." + +"I can't believe you're talking about them like this," Charles said. He was leaning so far in his seat he was half standing, and his sharp, skinny face had gone red. He had wet, large eyes and big lips, and when he got excited he looked a little like a fish. + +Ms Galvez stiffened a little, then said, "Go on, Charles." + +"You've just described terrorists. Actual terrorists. They blew up buildings, you said. They tried to destroy the stock exchange. They beat up cops, and stopped cops from arresting people who were breaking the law. They attacked us!" + +Ms Galvez nodded slowly. I could tell she was trying to figure out how to handle Charles, who really seemed like he was ready to pop. "Charles raises a good point. The Yippies weren't foreign agents, they were American citizens. When you say 'They attacked us,' you need to figure out who 'they' and 'us' are. When it's your fellow countrymen --" + +"Crap!" he shouted. He was on his feet now. "We were at war then. These guys were giving aid and comfort to the enemy. It's easy to tell who's us and who's them: if you support America, you're us. If you support the people who are shooting at Americans, you're /{them}/." + +"Does anyone else want to comment on this?" + +Several hands shot up. Ms Galvez called on them. Some people pointed out that the reason that the Vietnamese were shooting at Americans is that the Americans had flown to Vietnam and started running around the jungle with guns. Others thought that Charles had a point, that people shouldn't be allowed to do illegal things. + +Everyone had a good debate except Charles, who just shouted at people, interrupting them when they tried to get their points out. Ms Galvez tried to get him to wait for his turn a couple times, but he wasn't having any of it. + +I was looking something up on my SchoolBook, something I knew I'd read. + +I found it. I stood up. Ms Galvez looked expectantly at me. The other people followed her gaze and went quiet. Even Charles looked at me after a while, his big wet eyes burning with hatred for me. + +"I wanted to read something," I said. "It's short. 'Governments are instituted among men, deriving their just powers from the consent of the governed, that whenever any form of government becomes destructive of these ends, it is the right of the people to alter or abolish it, and to institute new government, laying its foundation on such principles, and organizing its powers in such form, as to them shall seem most likely to effect their safety and happiness.'" + +1~ Chapter 12 + +_1 /{ [This chapter is dedicated to Forbidden Planet,~{ Forbidden Planet, UK, Dublin and New York City: http://www.forbiddenplanet.co.uk }~ the British chain of science fiction and fantasy books, comics, toys and videos. Forbidden Planet has stores up and down the UK, and also sports outposts in Manhattan and Dublin, Ireland. It's dangerous to set foot in a Forbidden Planet -- rarely do I escape with my wallet intact. Forbidden Planet really leads the pack in bringing the gigantic audience for TV and movie science fiction into contact with science fiction books -- something that's absolutely critical to the future of the field.] }/ + +Ms Galvez's smile was wide. + +"Does anyone know what that comes from?" + +A bunch of people chorused, "The Declaration of Independence." + +I nodded. + +"Why did you read that to us, Marcus?" + +"Because it seems to me that the founders of this country said that governments should only last for so long as we believe that they're working for us, and if we stop believing in them, we should overthrow them. That's what it says, right?" + +Charles shook his head. "That was hundreds of years ago!" he said. "Things are different now!" + +"What's different?" + +"Well, for one thing, we don't have a king anymore. They were talking about a government that existed because some old jerk's great-great-great-grandfather believed that God put him in charge and killed everyone who disagreed with him. We have a democratically elected government --" + +"I didn't vote for them," I said. + +"So that gives you the right to blow up a building?" + +"What? Who said anything about blowing up a building? The Yippies and hippies and all those people believed that the government no longer listened to them -- look at the way people who tried to sign up voters in the South were treated! They were beaten up, arrested --" + +"Some of them were killed," Ms Galvez said. She held up her hands and waited for Charles and me to sit down. "We're almost out of time for today, but I want to commend you all on one of the most interesting classes I've ever taught. This has been an excellent discussion and I've learned much from you all. I hope you've learned from each other, too. Thank you all for your contributions. + +"I have an extra-credit assignment for those of you who want a little challenge. I'd like you to write up a paper comparing the political response to the anti-war and civil rights movements in the Bay Area to the present day civil rights responses to the War on Terror. Three pages minimum, but take as long as you'd like. I'm interested to see what you come up with." + +The bell rang a moment later and everyone filed out of the class. I hung back and waited for Ms Galvez to notice me. + +"Yes, Marcus?" + +"That was amazing," I said. "I never knew all that stuff about the sixties." + +"The seventies, too. This place has always been an exciting place to live in politically charged times. I really liked your reference to the Declaration -- that was very clever." + +"Thanks," I said. "It just came to me. I never really appreciated what those words all meant before today." + +"Well, those are the words every teacher loves to hear, Marcus," she said, and shook my hand. "I can't wait to read your paper." + +# + +I bought the Emma Goldman poster on the way home and stuck it up over my desk, tacked over a vintage black-light poster. I also bought a NEVER TRUST t-shirt that had a photoshop of Grover and Elmo kicking the grownups Gordon and Susan off Sesame Street. It made me laugh. I later found out that there had already been about six photoshop contests for the slogan online in places like Fark and Worth1000 and B3ta and there were hundreds of ready-made pics floating around to go on whatever merch someone churned out. + +Mom raised an eyebrow at the shirt, and Dad shook his head and lectured me about not looking for trouble. I felt a little vindicated by his reaction. + +Ange found me online again and we IM-flirted until late at night again. The white van with the antennas came back and I switched off my Xbox until it had passed. We'd all gotten used to doing that. + +Ange was really excited by this party. It looked like it was going to be monster. There were so many bands signed up they were talking about setting up a B-stage for the secondary acts. + +> How'd they get a permit to blast sound all night in that park? There's houses all around there + +> Per-mit? What is "per-mit"? Tell me more of your hu-man per-mit. + +> Woah, it's illegal? + +> Um, hello? /{You're}/ worried about breaking the law? + +> Fair point + +> LOL + +I felt a little premonition of nervousness though. I mean, I was taking this perfectly awesome girl out on a date that weekend -- well, she was taking me, technically -- to an illegal rave being held in the middle of a busy neighborhood. + +It was bound to be interesting at least. + +# + +Interesting. + +People started to drift into Dolores Park through the long Saturday afternoon, showing up among the ultimate frisbee players and the dog-walkers. Some of them played frisbee or walked dogs. It wasn't really clear how the concert was going to work, but there were a lot of cops and undercovers hanging around. You could tell the undercovers because, like Zit and Booger, they had Castro haircuts and Nebraska physiques: tubby guys with short hair and untidy mustaches. They drifted around, looking awkward and uncomfortable in their giant shorts and loose-fitting shirts that no-doubt hung down to cover the chandelier of gear hung around their midriffs. + +Dolores Park is pretty and sunny, with palm trees, tennis courts, and lots of hills and regular trees to run around on, or hang out on. Homeless people sleep there at night, but that's true everywhere in San Francisco. + +I met Ange down the street, at the anarchist bookstore. That had been my suggestion. In hindsight, it was a totally transparent move to seem cool and edgy to this girl, but at the time I would have sworn that I picked it because it was a convenient place to meet up. She was reading a book called /{Up Against the Wall Motherf_____r}/ when I got there. + +"Nice," I said. "You kiss your mother with that mouth?" + +"Your mama don't complain," she said. "Actually, it's a history of a group of people like the Yippies, but from New York. They all used that word as their last names, like 'Ben M-F.' The idea was to have a group out there, making news, but with a totally unprintable name. Just to screw around with the news-media. Pretty funny, really." She put the book back on the shelf and now I wondered if I should hug her. People in California hug to say hello and goodbye all the time. Except when they don't. And sometimes they kiss on the cheek. It's all very confusing. + +She settled it for me by grabbing me in a hug and tugging my head down to her, kissing me hard on the cheek, then blowing a fart on my neck. I laughed and pushed her away. + +"You want a burrito?" I asked. + +"Is that a question or a statement of the obvious?" + +"Neither. It's an order." + +I bought some funny stickers that said THIS PHONE IS TAPPED which were the right size to put on the receivers on the pay phones that still lined the streets of the Mission, it being the kind of neighborhood where you got people who couldn't necessarily afford a cellphone. + +We walked out into the night air. I told Ange about the scene at the park when I left. + +"I bet they have a hundred of those trucks parked around the block," she said. "The better to bust you with." + +"Um." I looked around. "I sort of hoped that you would say something like, 'Aw, there's no chance they'll do anything about it.'" + +"I don't think that's really the idea. The idea is to put a lot of civilians in a position where the cops have to decide, are we going to treat these ordinary people like terrorists? It's a little like the jamming, but with music instead of gadgets. You jam, right?" + +Sometimes I forget that all my friends don't know that Marcus and M1k3y are the same person. "Yeah, a little," I said. + +"This is like jamming with a bunch of awesome bands." + +"I see." + +Mission burritos are an institution. They are cheap, giant and delicious. Imagine a tube the size of a bazooka shell, filled with spicy grilled meat, guacamole, salsa, tomatoes, refried beans, rice, onions and cilantro. It has the same relationship to Taco Bell that a Lamborghini has to a Hot Wheels car. + +There are about two hundred Mission burrito joints. They're all heroically ugly, with uncomfortable seats, minimal decor -- faded Mexican tourist office posters and electrified framed Jesus and Mary holograms -- and loud mariachi music. The thing that distinguishes them, mostly, is what kind of exotic meat they fill their wares with. The really authentic places have brains and tongue, which I never order, but it's nice to know it's there. + +The place we went to had both brains and tongue, which we didn't order. I got carne asada and she got shredded chicken and we each got a big cup of horchata. + +As soon as we sat down, she unrolled her burrito and took a little bottle out of her purse. It was a little stainless-steel aerosol canister that looked for all the world like a pepper-spray self-defense unit. She aimed it at her burrito's exposed guts and misted them with a fine red oily spray. I caught a whiff of it and my throat closed and my eyes watered. + +"What the hell are you doing to that poor, defenseless burrito?" + +She gave me a wicked smile. "I'm a spicy food addict," she said. "This is capsaicin oil in a mister." + +"Capsaicin --" + +"Yeah, the stuff in pepper spray. This is like pepper spray but slightly more dilute. And way more delicious. Think of it as Spicy Cajun Visine if it helps." + +My eyes burned just thinking of it. + +"You're kidding," I said. "You are so not going to eat that." + +Her eyebrows shot up. "That sounds like a challenge, sonny. You just watch me." + +She rolled the burrito up as carefully as a stoner rolling up a joint, tucking the ends in, then re-wrapping it in tinfoil. She peeled off one end and brought it up to her mouth, poised with it just before her lips. + +Right up to the time she bit into it, I couldn't believe that she was going to do it. I mean, that was basically an anti-personnel weapon she'd just slathered on her dinner. + +She bit into it. Chewed. Swallowed. Gave every impression of having a delicious dinner. + +"Want a bite?" she said, innocently. + +"Yeah," I said. I like spicy food. I always order the curries with four chilies next to them on the menu at the Pakistani places. + +I peeled back more foil and took a big bite. + +Big mistake. + +You know that feeling you get when you take a big bite of horseradish or wasabi or whatever, and it feels like your sinuses are closing at the same time as your windpipe, filling your head with trapped, nuclear-hot air that tries to batter its way out through your watering eyes and nostrils? That feeling like steam is about to pour out of your ears like a cartoon character? + +This was a lot worse. + +This was like putting your hand on a hot stove, only it's not your hand, it's the entire inside of your head, and your esophagus all the way down to your stomach. My entire body sprang out in a sweat and I choked and choked. + +Wordlessly, she passed me my horchata and I managed to get the straw into my mouth and suck hard on it, gulping down half of it in one go. + +"So there's a scale, the Scoville scale, that we chili-fanciers use to talk about how spicy a pepper is. Pure capsaicin is about 15 million Scovilles. Tabasco is about 50,000. Pepper spray is a healthy three million. This stuff is a puny 200,000, about as hot as a mild Scotch Bonnet Pepper. I worked up to it in about a year. Some of the real hardcore can get up to a million or so, twenty times hotter than Tabasco. That's pretty freaking hot. At Scoville temperatures like that, your brain gets totally awash in endorphins. It's a better body-stone than hash. And it's good for you." + +I was getting my sinuses back now, able to breathe without gasping. + +"Of course, you get a ferocious ring of fire when you go to the john," she said, winking at me. + +Yowch. + +"You are insane," I said. + +"Fine talk from a man whose hobby is building and smashing laptops," she said. + +"Touche," I said and touched my forehead. + +"Want some?" She held out her mister. + +"Pass," I said, quickly enough that we both laughed. + +When we left the restaurant and headed for Dolores park, she put her arm around my waist and I found that she was just the right height for me to put my arm around her shoulders. That was new. I'd never been a tall guy, and the girls I'd dated had all been my height -- teenaged girls grow faster than guys, which is a cruel trick of nature. It was nice. It felt nice. + +We turned the corner on 20th Street and walked up toward Dolores. Before we'd taken a single step, we could feel the buzz. It was like the hum of a million bees. There were lots of people streaming toward the park, and when I looked toward it, I saw that it was about a hundred times more crowded than it had been when I went to meet Ange. + +That sight made my blood run hot. It was a beautiful cool night and we were about to party, really party, party like there was no tomorrow. "Eat drink and be merry, for tomorrow we die." + +Without saying anything we both broke into a trot. There were lots of cops, with tense faces, but what the hell were they going to do? There were a /{lot}/ of people in the park. I'm not so good at counting crowds. The papers later quoted organizers as saying there were 20,000 people; the cops said 5,000. Maybe that means there were 12,500. + +Whatever. It was more people than I'd ever stood among, as part of an unscheduled, unsanctioned, /{illegal}/ event. + +We were among them in an instant. I can't swear to it, but I don't think there was anyone over 25 in that press of bodies. Everyone was smiling. Some young kids were there, 10 or 12, and that made me feel better. No one would do anything too stupid with kids that little in the crowd. No one wanted to see little kids get hurt. This was just going to be a glorious spring night of celebration. + +I figured the thing to do was push in towards the tennis courts. We threaded our way through the crowd, and to stay together we took each other's hands. Only staying together didn't require us to intertwine fingers. That was strictly for pleasure. It was very pleasurable. + +The bands were all inside the tennis courts, with their guitars and mixers and keyboards and even a drum kit. Later, on Xnet, I found a Flickr stream of them smuggling all this stuff in, piece by piece, in gym bags and under their coats. Along with it all were huge speakers, the kind you see in automotive supply places, and among them, a stack of...car batteries. I laughed. Genius! That was how they were going to power their stacks. From where I stood, I could see that they were cells from a hybrid car, a Prius. Someone had gutted an eco-mobile to power the night's entertainment. The batteries continued outside the courts, stacked up against the fence, tethered to the main stack by wires threaded through the chain-link. I counted -- 200 batteries! Christ! Those things weighed a ton, too. + +There's no way they organized this without email and wikis and mailing lists. And there's no way people this smart would have done that on the public Internet. This had all taken place on the Xnet, I'd bet my boots on it. + +We just kind of bounced around in the crowd for a while as the bands tuned up and conferred with one another. I saw Trudy Doo from a distance, in the tennis courts. She looked like she was in a cage, like a pro wrestler. She was wearing a torn wife-beater and her hair was in long, fluorescent pink dreads down to her waist. She was wearing army camouflage pants and giant gothy boots with steel over-toes. As I watched, she picked up a heavy motorcycle jacket, worn as a catcher's mitt, and put it on like armor. It probably was armor, I realized. + +I tried to wave to her, to impress Ange I guess, but she didn't see me and I kind of looked like a spazz so I stopped. The energy in the crowd was amazing. You hear people talk about "vibes" and "energy" for big groups of people, but until you've experienced it, you probably think it's just a figure of speech. + +It's not. It's the smiles, infectious and big as watermelons, on every face. Everyone bopping a little to an unheard rhythm, shoulders rocking. Rolling walks. Jokes and laughs. The tone of every voice tight and excited, like a firework about to go off. And you can't help but be a part of it. Because you are. + +By the time the bands kicked off, I was utterly stoned on crowd-vibe. The opening act was some kind of Serbian turbo-folk, which I couldn't figure out how to dance to. I know how to dance to exactly two kinds of music: trance (shuffle around and let the music move you) and punk (bash around and mosh until you get hurt or exhausted or both). The next act was Oakland hip-hoppers, backed by a thrash metal band, which is better than it sounds. Then some bubble-gum pop. Then Speedwhores took the stage, and Trudy Doo stepped up to the mic. + +"My name is Trudy Doo and you're an idiot if you trust me. I'm thirty two and it's too late for me. I'm lost. I'm stuck in the old way of thinking. I still take my freedom for granted and let other people take it away from me. You're the first generation to grow up in Gulag America, and you know what your freedom is worth to the last goddamned cent!" + +The crowd roared. She was playing fast little skittery nervous chords on her guitar and her bass player, a huge fat girl with a dykey haircut and even bigger boots and a smile you could open beer bottles with was laying it down fast and hard already. I wanted to bounce. I bounced. Ange bounced with me. We were sweating freely in the evening, which reeked of perspiration and pot smoke. Warm bodies crushed in on all sides of us. They bounced too. + +"Don't trust anyone over 25!" she shouted. + +We roared. We were one big animal throat, roaring. + +"Don't trust anyone over 25!" + +"/{Don't trust anyone over 25!}/" + +"Don't trust anyone over 25!" + +"/{Don't trust anyone over 25!}/" + +"Don't trust anyone over 25!" + +"/{Don't trust anyone over 25!}/" + +She banged some hard chords on her guitar and the other guitarist, a little pixie of a girl whose face bristled with piercings, jammed in, going wheedle-dee-wheedle-dee-dee up high, past the twelfth fret. + +"It's our goddamned city! It's our goddamned country. No terrorist can take it from us for so long as we're free. Once we're not free, the terrorists win! Take it back! Take it back! You're young enough and stupid enough not to know that you can't possibly win, so you're the only ones who can lead us to victory! *Take it back!" + +"TAKE IT BACK!" we roared. She jammed down hard on her guitar. We roared the note back and then it got really really LOUD. + +# + +I danced until I was so tired I couldn't dance another step. Ange danced alongside of me. Technically, we were rubbing our sweaty bodies against each other for several hours, but believe it or not, I totally wasn't being a horn-dog about it. We were dancing, lost in the godbeat and the thrash and the screaming -- TAKE IT BACK! TAKE IT BACK! + +When I couldn't dance anymore, I grabbed her hand and she squeezed mine like I was keeping her from falling off a building. She dragged me toward the edge of the crowd, where it got thinner and cooler. Out there, on the edge of Dolores Park, we were in the cool air and the sweat on our bodies went instantly icy. We shivered and she threw her arms around my waist. "Warm me," she commanded. I didn't need a hint. I hugged her back. Her heart was an echo of the fast beats from the stage -- breakbeats now, fast and furious and wordless. + +She smelled of sweat, a sharp tang that smelled great. I knew I smelled of sweat too. My nose was pointed into the top of her head, and her face was right at my collarbone. She moved her hands to my neck and tugged. + +"Get down here, I didn't bring a stepladder," is what she said and I tried to smile, but it's hard to smile when you're kissing. + +Like I said, I'd kissed three girls in my life. Two of them had never kissed anyone before. One had been dating since she was 12. She had issues. + +None of them kissed like Ange. She made her whole mouth soft, like the inside of a ripe piece of fruit, and she didn't jam her tongue in my mouth, but slid it in there, and sucked my lips into her mouth at the same time, so it was like my mouth and hers were merging. I heard myself moan and I grabbed her and squeezed her harder. + +Slowly, gently, we lowered ourselves to the grass. We lay on our sides and clutched each other, kissing and kissing. The world disappeared so there was only the kiss. + +My hands found her butt, her waist. The edge of her t-shirt. Her warm tummy, her soft navel. They inched higher. She moaned too. + +"Not here," she said. "Let's move over there." She pointed across the street at the big white church that gives Mission Dolores Park and the Mission its name. Holding hands, moving quickly, we crossed to the church. It had big pillars in front of it. She put my back up against one of them and pulled my face down to hers again. My hands went quickly and boldly back to her shirt. I slipped them up her front. + +"It undoes in the back," she whispered into my mouth. I had a boner that could cut glass. I moved my hands around to her back, which was strong and broad, and found the hook with my fingers, which were trembling. I fumbled for a while, thinking of all those jokes about how bad guys are at undoing bras. I was bad at it. Then the hook sprang free. She gasped into my mouth. I slipped my hands around, feeling the wetness of her armpits -- which was sexy and not at all gross for some reason -- and then brushed the sides of her breasts. + +That's when the sirens started. + +They were louder than anything I'd ever heard. A sound like a physical sensation, like something blowing you off your feet. A sound as loud as your ears could process, and then louder. + +"DISPERSE IMMEDIATELY," a voice said, like God rattling in my skull. + +"THIS IS AN ILLEGAL GATHERING. DISPERSE IMMEDIATELY." + +The band had stopped playing. The noise of the crowd across the street changed. It got scared. Angry. + +I heard a click as the PA system of car-speakers and car-batteries in the tennis courts powered up. + +"TAKE IT BACK!" + +It was a defiant yell, like a sound shouted into the surf or screamed off a cliff. + +"TAKE IT BACK!" + +The crowd /{growled}/, a sound that made the hairs on the back of my neck stand up. + +"/{TAKE IT BACK}/!" they chanted. "TAKE IT BACK TAKE IT BACK TAKE IT BACK!" + +The police moved in in lines, carrying plastic shields, wearing Darth Vader helmets that covered their faces. Each one had a black truncheon and infra-red goggles. They looked like soldiers out of some futuristic war movie. They took a step forward in unison and every one of them banged his truncheon on his shield, a cracking noise like the earth splitting. Another step, another crack. They were all around the park and closing in now. + +"DISPERSE IMMEDIATELY," the voice of God said again. There were helicopters overhead now. No floodlights, though. The infrared goggles, right. Of course. They'd have infrared scopes in the sky, too. I pulled Ange back against the doorway of the church, tucking us back from the cops and the choppers. + +"TAKE IT BACK!" the PA roared. It was Trudy Doo's rebel yell and I heard her guitar thrash out some chords, then her drummer playing, then that big deep bass. + +"TAKE IT BACK!" the crowd answered, and they boiled out of the park at the police lines. + +I've never been in a war, but now I think I know what it must be like. What it must be like when scared kids charge across a field at an opposing force, knowing what's coming, running anyway, screaming, hollering. + +"DISPERSE IMMEDIATELY," the voice of God said. It was coming from trucks parked all around the park, trucks that had swung into place in the last few seconds. + +That's when the mist fell. It came out of the choppers, and we just caught the edge of it. It made the top of my head feel like it was going to come off. It made my sinuses feel like they were being punctured with ice-picks. It made my eyes swell and water, and my throat close. + +Pepper spray. Not 200 thousand Scovilles. A million and a half. They'd gassed the crowd. + +I didn't see what happened next, but I heard it, over the sound of both me and Ange choking and holding each other. First the choking, retching sounds. The guitar and drums and bass crashed to a halt. Then coughing. + +Then screaming. + +The screaming went on for a long time. When I could see again, the cops had their scopes up on their foreheads and the choppers were flooding Dolores Park with so much light it looked like daylight. Everyone was looking at the Park, which was good news, because when the lights went up like that, we were totally visible. + +"What do we do?" Ange said. Her voice was tight, scared. I didn't trust myself to speak for a moment. I swallowed a few times. + +"We walk away," I said. "That's all we can do. Walk away. Like we were just passing by. Down to Dolores and turn left and up towards 16th Street. Like we're just passing by. Like this is none of our business." + +"That'll never work," she said. + +"It's all I've got." + +"You don't think we should try to run for it?" + +"No," I said. "If we run, they'll chase us. Maybe if we walk, they'll figure we haven't done anything and let us alone. They have a lot of arrests to make. They'll be busy for a long time." + +The park was rolling with bodies, people and adults clawing at their faces and gasping. The cops dragged them by the armpits, then lashed their wrists with plastic cuffs and tossed them into the trucks like rag-dolls. + +"OK?" I said. + +"OK," she said. + +And that's just what we did. Walked, holding hands, quickly and business-like, like two people wanting to avoid whatever trouble someone else was making. The kind of walk you adopt when you want to pretend you can't see a panhandler, or don't want to get involved in a street-fight. + +It worked. + +We reached the corner and turned and kept going. Neither of us dared to speak for two blocks. Then I let out a gasp of air I hadn't know I'd been holding in. + +We came to 16th Street and turned down toward Mission Street. Normally that's a pretty scary neighborhood at 2AM on a Saturday night. That night it was a relief -- same old druggies and hookers and dealers and drunks. No cops with truncheons, no gas. + +"Um," I said as we breathed in the night air. "Coffee?" + +"Home," she said. "I think home for now. Coffee later." + +"Yeah," I agreed. She lived up in Hayes Valley. I spotted a taxi rolling by and I hailed it. That was a small miracle -- there are hardly any cabs when you need them in San Francisco. + +"Have you got cabfare home?" + +"Yeah," she said. The cab-driver looked at us through his window. I opened the back door so he wouldn't take off. + +"Good night," I said. + +She put her hands behind my head and pulled my face toward her. She kissed me hard on the mouth, nothing sexual in it, but somehow more intimate for that. + +"Good night," she whispered in my ear, and slipped into the taxi. + +Head swimming, eyes running, a burning shame for having left all those Xnetters to the tender mercies of the DHS and the SFPD, I set off for home. + +# + +Monday morning, Fred Benson was standing behind Ms Galvez's desk. + +"Ms Galvez will no longer be teaching this class," he said, once we'd taken our seats. He had a self-satisfied note that I recognized immediately. On a hunch, I checked out Charles. He was smiling like it was his birthday and he'd been given the best present in the world. + +I put my hand up. + +"Why not?" + +"It's Board policy not to discuss employee matters with anyone except the employee and the disciplinary committee," he said, without even bothering to hide how much he enjoyed saying it. + +"We'll be beginning a new unit today, on national security. Your SchoolBooks have the new texts. Please open them and turn to the first screen." + +The opening screen was emblazoned with a DHS logo and the title: WHAT EVERY AMERICAN SHOULD KNOW ABOUT HOMELAND SECURITY. + +I wanted to throw my SchoolBook on the floor. + +# + +I'd made arrangements to meet Ange at a cafe in her neighborhood after school. I jumped on the BART and found myself sitting behind two guys in suits. They were looking at the San Francisco Chronicle, which featured a full-page post-mortem on the "youth riot" in Mission Dolores Park. They were tutting and clucking over it. Then one said to the other, "It's like they're brainwashed or something. Christ, were we ever that stupid?" + +I got up and moved to another seat. + +1~ Chapter 13 + +_1 /{ [This chapter is dedicated to Books-A-Million,~{ Books-A-Million http://www.booksamillion.com/ncom/books?&isbn=0765319853 }~ a chain of gigantic bookstores spread across the USA. I first encountered Books-A-Million while staying at a hotel in Terre Haute, Indiana (I was giving a speech at the Rose Hulman Institute of Technology later that day). The store was next to my hotel and I really needed some reading material -- I'd been on the road for a solid month and I'd read everything in my suitcase, and I had another five cities to go before I headed home. As I stared intently at the shelves, a clerk asked me if I needed any help. Now, I've worked at bookstores before, and a knowledgeable clerk is worth her weight in gold, so I said sure, and started to describe my tastes, naming authors I'd enjoyed. The clerk smiled and said, "I've got just the book for you," and proceeded to take down a copy of my first novel, Down and Out in the Magic Kingdom. I busted out laughing, introduced myself, and had an absolutely lovely chat about science fiction that almost made me late to give my speech!] }/ + +"They're total whores," Ange said, spitting the word out. "In fact, that's an insult to hardworking whores everywhere. They're, they're /{profiteers.}/" + +We were looking at a stack of newspapers we'd picked up and brought to the cafe. They all contained "reporting" on the party in Dolores Park and to a one, they made it sound like a drunken, druggy orgy of kids who'd attacked the cops. /{USA Today}/ described the cost of the "riot" and included the cost of washing away the pepper-spray residue from the gas-bombing, the rash of asthma attacks that clogged the city's emergency rooms, and the cost of processing the eight hundred arrested "rioters." + +No one was telling our side. + +"Well, the Xnet got it right, anyway," I said. I'd saved a bunch of the blogs and videos and photostreams to my phone and I showed them to her. They were first-hand accounts from people who'd been gassed, and beaten up. The video showed us all dancing, having fun, showed the peaceful political speeches and the chant of "Take It Back" and Trudy Doo talking about us being the only generation that could believe in fighting for our freedoms. + +"We need to make people know about this," she said. + +"Yeah," I said, glumly. "That's a nice theory." + +"Well, why do you think the press doesn't ever publish our side?" + +"You said it, they're whores." + +"Yeah, but whores do it for the money. They could sell more papers and commercials if they had a controversy. All they have now is a crime -- controversy is much bigger." + +"OK, point taken. So why don't they do it? Well, reporters can barely search regular blogs, let alone keep track of the Xnet. It's not as if that's a real adult-friendly place to be." + +"Yeah," she said. "Well, we can fix that, right?" + +"Huh?" + +"Write it all up. Put it in one place, with all the links. A single place where you can go that's intended for the press to find it and get the whole picture. Link it to the HOWTOs for Xnet. Internet users can get to the Xnet, provided they don't care about the DHS finding out what they've been surfing." + +"You think it'll work?" + +"Well, even if it doesn't, it's something positive to do." + +"Why would they listen to us, anyway?" + +"Who wouldn't listen to M1k3y?" + +I put down my coffee. I picked up my phone and slipped it into my pocket. I stood up, turned on my heel, and walked out of the cafe. I picked a direction at random and kept going. My face felt tight, the blood gone into my stomach, which churned. + +/{They know who you are,}/ I thought. /{They know who M1k3y is.}/ That was it. If Ange had figured it out, the DHS had too. I was doomed. I had known that since they let me go from the DHS truck, that someday they'd come and arrest me and put me away forever, send me to wherever Darryl had gone. + +It was all over. + +She nearly tackled me as I reached Market Street. She was out of breath and looked furious. + +"What the /{hell}/ is your problem, mister?" + +I shook her off and kept walking. It was all over. + +She grabbed me again. "Stop it, Marcus, you're scaring me. Come on, talk to me." + +I stopped and looked at her. She blurred before my eyes. I couldn't focus on anything. I had a mad desire to jump into the path of a Muni trolley as it tore past us, down the middle of the road. Better to die than to go back. + +"Marcus!" She did something I'd only seen people do in the movies. She slapped me, a hard crack across the face. "Talk to me, dammit!" + +I looked at her and put my hand to my face, which was stinging hard. + +"No one is supposed to know who I am," I said. "I can't put it any more simply. If you know, it's all over. Once other people know, it's all over." + +"Oh god, I'm sorry. Look, I only know because, well, because I blackmailed Jolu. After the party I stalked you a little, trying to figure out if you were the nice guy you seemed to be or a secret axe-murderer. I've known Jolu for a long time and when I asked him about you, he gushed like you were the Second Coming or something, but I could hear that there was something he wasn't telling me. I've known Jolu for a long time. He dated my older sister at computer camp when he was a kid. I have some really good dirt on him. I told him I'd go public with it if he didn't tell me." + +"So he told you." + +"No," she said. "He told me to go to hell. Then I told him something about me. Something I'd never told anyone else." + +"What?" + +She looked at me. Looked around. Looked back at me. "OK. I won't swear you to secrecy because what's the point? Either I can trust you or I can't. + +"Last year, I --" she broke off. "Last year, I stole the standardized tests and published them on the net. It was just a lark. I happened to be walking past the principal's office and I saw them in his safe, and the door was hanging open. I ducked into his office -- there were six sets of copies and I just put one into my bag and took off again. When I got home, I scanned them all and put them up on a Pirate Party server in Denmark." + +"That was /{you}/?" I said. + +She blushed. "Um. Yeah." + +"Holy crap!" I said. It had been huge news. The Board of Education said that its No Child Left Behind tests had cost tens of millions of dollars to produce and that they'd have to spend it all over again now that they'd had the leak. They called it "edu-terrorism." The news had speculated endlessly about the political motivations of the leaker, wondering if it was a teacher's protest, or a student, or a thief, or a disgruntled government contractor. + +"That was YOU?" + +"It was me," she said. + +"And you told Jolu this --" + +"Because I wanted him to be sure that I would keep the secret. If he knew /{my}/ secret, then he'd have something he could use to put me in jail if I opened my trap. Give a little, get a little. Quid pro quo, like in Silence of the Lambs." + +"And he told you." + +"No," she said. "He didn't." + +"But --" + +"Then I told him how into you I was. How I was planning to totally make an idiot of myself and throw myself at you. /{Then}/ he told me." + +I couldn't think of anything to say then. I looked down at my toes. She grabbed my hands and squeezed them. + +"I'm sorry I squeezed it out of him. It was your decision to tell me, if you were going to tell me at all. I had no business --" + +"No," I said. Now that I knew how she'd found out, I was starting to calm down. "No, it's good you know. /{You}/." + +"Me," she said. "Li'l ol' me." + +"OK, I can live with this. But there's one other thing." + +"What?" + +"There's no way to say this without sounding like a jerk, so I'll just say it. People who date each other -- or whatever it is we're doing now -- they split up. When they split up, they get angry at each other. Sometimes even hate each other. It's really cold to think about that happening between us, but you know, we've got to think about it." + +"I solemnly promise that there is nothing you could ever do to me that would cause me to betray your secret. Nothing. Screw a dozen cheerleaders in my bed while my mother watches. Make me listen to Britney Spears. Rip off my laptop, smash it with hammers and soak it in sea-water. I promise. Nothing. Ever." + +I whooshed out some air. + +"Um," I said. + +"Now would be a good time to kiss me," she said, and turned her face up. + +# + +M1k3y's next big project on the Xnet was putting together the ultimate roundup of reports of the DON'T TRUST party at Dolores Park. I put together the biggest, most bad-ass site I could, with sections showing the action by location, by time, by category -- police violence, dancing, aftermath, singing. I uploaded the whole concert. + +It was pretty much all I worked on for the rest of the night. And the next night. And the next. + +My mailbox overflowed with suggestions from people. They sent me dumps off their phones and their pocket-cameras. Then I got an email from a name I recognized -- Dr Eeevil (three "e"s), one of the prime maintainers of ParanoidLinux. + +> M1k3y + +> I have been watching your Xnet experiment with great interest. Here in Germany, we have much experience with what happens with a government that gets out of control. + +> One thing you should know is that every camera has a unique "noise signature" that can be used to later connect a picture with a camera. That means that the photos you're republishing on your site could potentially be used to identify the photographers, should they later be picked up for something else. + +> Luckily, it's not hard to strip out the signatures, if you care to. There's a utility on the ParanoidLinux distro you're using that does this -- it's called photonomous, and you'll find it in /usr/bin. Just read the man pages for documentation. It's simple though. + +> Good luck with what you're doing. Don't get caught. Stay free. Stay paranoid. + +> Dr Eeevil + +I de-fingerprintized all the photos I'd posted and put them back up, along with a note explaining what Dr Eeevil had told me, warning everyone else to do the same. We all had the same basic ParanoidXbox install, so we could all anonymize our pictures. There wasn't anything I could do about the photos that had already been downloaded and cached, but from now on we'd be smarter. + +That was all the thought I gave the matter that night, until I got down to breakfast the next morning and Mom had the radio on, playing the NPR morning news. + +"Arabic news agency Al-Jazeera is running pictures, video and first-hand accounts of last weekend's youth riot in Mission Dolores park," the announcer said as I was drinking a glass of orange juice. I managed not to spray it across the room, but I /{did}/ choke a little. + +"Al-Jazeera reporters claim that these accounts were published on the so-called 'Xnet,' a clandestine network used by students and Al-Quaeda sympathizers in the Bay Area. This network's existence has long been rumored, but today marks its first mainstream mention." + +Mom shook her head. "Just what we need," she said. "As if the police weren't bad enough. Kids running around, pretending to be guerrillas and giving them the excuse to really crack down." + +"The Xnet weblogs have carried hundreds of reports and multimedia files from young people who attended the riot and allege that they were gathered peacefully until the police attacked /{them}/. Here is one of those accounts. + +"'All we were doing was dancing. I brought my little brother. Bands played and we talked about freedom, about how we were losing it to these jerks who say they hate terrorists but who attack us though we're not terrorists we're Americans. I think they hate freedom, not us. + +"We danced and the bands played and it was all fun and good and then the cops started shouting at us to disperse. We all shouted take it back! Meaning take America back. The cops gassed us with pepper spray. My little brother is twelve. He missed three days of school. My stupid parents say it was my fault. How about the police? We pay them and they're supposed to protect us but they gassed us for no good reason, gassed us like they gas enemy soldiers.' + +"Similar accounts, including audio and video, can be found on Al-Jazeera's website and on the Xnet. You can find directions for accessing this Xnet on NPR's homepage." + +Dad came down. + +"Do you use the Xnet?" he said. He looked intensely at my face. I felt myself squirm. + +"It's for video-games," I said. "That's what most people use it for. It's just a wireless network. It's what everyone did with those free Xboxes they gave away last year." + +He glowered at me. "Games? Marcus, you don't realize it, but you're providing cover for people who plan on attacking and destroying this country. I don't want to see you using this Xnet. Not anymore. Do I make myself clear?" + +I wanted to argue. Hell, I wanted to shake him by the shoulders. But I didn't. I looked away. I said, "Sure, Dad." I went to school. + +# + +At first I was relieved when I discovered that they weren't going to leave Mr Benson in charge of my social studies class. But the woman they found to replace him was my worst nightmare. + +She was young, just about 28 or 29, and pretty, in a wholesome kind of way. She was blonde and spoke with a soft southern accent when she introduced herself to us as Mrs Andersen. That set off alarm bells right away. I didn't know /{any}/ women under the age of sixty that called themselves "Mrs." + +But I was prepared to overlook it. She was young, pretty, she sounded nice. She would be OK. + +She wasn't OK. + +"Under what circumstances should the federal government be prepared to suspend the Bill of Rights?" she said, turning to the blackboard and writing down a row of numbers, one through ten. + +"Never," I said, not waiting to be called on. This was easy. "Constitutional rights are absolute." + +"That's not a very sophisticated view." She looked at her seating-plan. "Marcus. For example, say a policeman conducts an improper search -- he goes beyond the stuff specified in his warrant. He discovers compelling evidence that a bad guy killed your father. It's the only evidence that exists. Should the bad guy go free?" + +I knew the answer to this, but I couldn't really explain it. "Yes," I said, finally. "But the police shouldn't conduct improper searches --" + +"Wrong," she said. "The proper response to police misconduct is disciplinary action against the police, not punishing all of society for one cop's mistake." She wrote "Criminal guilt" under point one on the board. + +"Other ways in which the Bill of Rights can be superseded?" + +Charles put his hand up. "Shouting fire in a crowded theater?" + +"Very good --" she consulted the seating plan -- "Charles. There are many instances in which the First Amendment is not absolute. Let's list some more of those." + +Charles put his hand up again. "Endangering a law enforcement officer." + +"Yes, disclosing the identity of an undercover policeman or intelligence officer. Very good." She wrote it down. "Others?" + +"National security," Charles said, not waiting for her to call on him again. "Libel. Obscenity. Corruption of minors. Child porn. Bomb-making recipes." Mrs Andersen wrote these down fast, but stopped at child porn. "Child porn is just a form of obscenity." + +I was feeling sick. This was not what I'd learned or believed about my country. I put my hand up. + +"Yes, Marcus?" + +"I don't get it. You're making it sound like the Bill of Rights is optional. It's the Constitution. We're supposed to follow it absolutely." + +"That's a common oversimplification," she said, giving me a fake smile. "But the fact of the matter is that the framers of the Constitution intended it to be a living document that was revised over time. They understood that the Republic wouldn't be able to last forever if the government of the day couldn't govern according to the needs of the day. They never intended the Constitution to be looked on like religious doctrine. After all, they came here fleeing religious doctrine." + +I shook my head. "What? No. They were merchants and artisans who were loyal to the King until he instituted policies that were against their interests and enforced them brutally. The religious refugees were way earlier." + +"Some of the Framers were descended from religious refugees," she said. + +"And the Bill of Rights isn't supposed to be something you pick and choose from. What the Framers hated was tyranny. That's what the Bill of Rights is supposed to prevent. They were a revolutionary army and they wanted a set of principles that everyone could agree to. Life, liberty and the pursuit of happiness. The right of people to throw off their oppressors." + +"Yes, yes," she said, waving at me. "They believed in the right of people to get rid of their Kings, but --" Charles was grinning and when she said that, he smiled even wider. + +"They set out the Bill of Rights because they thought that having absolute rights was better than the risk that someone would take them away. Like the First Amendment: it's supposed to protect us by preventing the government from creating two kinds of speech, allowed speech and criminal speech. They didn't want to face the risk that some jerk would decide that the things that he found unpleasant were illegal." + +She turned and wrote, "Life, liberty and the pursuit of happiness" on it. + +"We're getting a little ahead of the lesson, but you seem like an advanced group." The others laughed at this, nervously. + +"The role of government is to secure for citizens the rights of life, liberty and the pursuit of happiness. In that order. It's like a filter. If the government wants to do something that makes us a little unhappy, or takes away some of our liberty, it's OK, providing they're doing it to save our lives. That's why the cops can lock you up if they think you're a danger to yourself or others. You lose your liberty and happiness to protect life. If you've got life, you might get liberty and happiness later." + +Some of the others had their hands up. "Doesn't that mean that they can do anything they want, if they say it's to stop someone from hurting us in the future?" + +"Yeah," another kid said. "This sounds like you're saying that national security is more important than the Constitution." + +I was so proud of my fellow students then. I said, "How can you protect freedom by suspending the Bill of Rights?" + +She shook her head at us like we were being very stupid. "The 'revolutionary' founding fathers /{shot traitors}/ and spies. They didn't believe in absolute freedom, not when it threatened the Republic. Now you take these Xnet people --" + +I tried hard not to stiffen. + +"-- these so-called jammers who were on the news this morning. After this city was attacked by people who've declared war on this country, they set about sabotaging the security measures set up to catch the bad guys and prevent them from doing it again. They did this by endangering and inconveniencing their fellow citizens --" + +"They did it to show that our rights were being taken away in the name of protecting them!" I said. OK, I shouted. God, she had me so steamed. "They did it because the government was treating /{everyone}/ like a suspected terrorist." + +"So they wanted to prove that they shouldn't be treated like terrorists," Charles shouted back, "so they acted like terrorists? So they committed terrorism?" + +I boiled. + +"Oh for Christ's sake. Committed terrorism? They showed that universal surveillance was more dangerous than terrorism. Look at what happened in the park last weekend. Those people were dancing and listening to music. How is /{that}/ terrorism?" + +The teacher crossed the room and stood before me, looming over me until I shut up. "Marcus, you seem to think that nothing has changed in this country. You need to understand that the bombing of the Bay Bridge changed everything. Thousands of our friends and relatives lie dead at the bottom of the Bay. This is a time for national unity in the face of the violent insult our country has suffered --" + +I stood up. I'd had enough of this "everything has changed" crapola. "National unity? The whole point of America is that we're the country where dissent is welcome. We're a country of dissidents and fighters and university dropouts and free speech people." + +I thought of Ms Galvez's last lesson and the thousands of Berkeley students who'd surrounded the police-van when they tried to arrest a guy for distributing civil rights literature. No one tried to stop those trucks when they drove away with all the people who'd been dancing in the park. I didn't try. I was running away. + +Maybe everything /{had}/ changed. + +"I believe you know where Mr Benson's office is," she said to me. "You are to present yourself to him immediately. I will /{not}/ have my classes disrupted by disrespectful behavior. For someone who claims to love freedom of speech, you're certainly willing to shout down anyone who disagrees with you." + +I picked up my SchoolBook and my bag and stormed out. The door had a gas-lift, so it was impossible to slam, or I would have slammed it. + +I went fast to Mr Benson's office. Cameras filmed me as I went. My gait was recorded. The arphids in my student ID broadcast my identity to sensors in the hallway. It was like being in jail. + +"Close the door, Marcus," Mr Benson said. He turned his screen around so that I could see the video feed from the social studies classroom. He'd been watching. + +"What do you have to say for yourself?" + +"That wasn't teaching, it was /{propaganda}/. She told us that the Constitution didn't matter!" + +"No, she said it wasn't religious doctrine. And you attacked her like some kind of fundamentalist, proving her point. Marcus, you of all people should understand that everything changed when the bridge was bombed. Your friend Darryl --" + +"Don't you say a goddamned word about him," I said, the anger bubbling over. "You're not fit to talk about him. Yeah, I understand that everything's different now. We used to be a free country. Now we're not." + +"Marcus, do you know what 'zero-tolerance' means?" + +I backed down. He could expel me for "threatening behavior." It was supposed to be used against gang kids who tried to intimidate their teachers. But of course he wouldn't have any compunctions about using it on me. + +"Yes," I said. "I know what it means." + +"I think you owe me an apology," he said. + +I looked at him. He was barely suppressing his sadistic smile. A part of me wanted to grovel. It wanted to beg for his forgiveness for all my shame. I tamped that part down and decided that I would rather get kicked out than apologize. + +"Governments are instituted among men, deriving their just powers from the consent of the governed, that whenever any form of government becomes destructive of these ends, it is the right of the people to alter or abolish it, and to institute new government, laying its foundation on such principles, and organizing its powers in such form, as to them shall seem most likely to effect their safety and happiness." I remembered it word for word. + +He shook his head. "Remembering things isn't the same as understanding them, sonny." He bent over his computer and made some clicks. His printer purred. He handed me a sheet of warm Board letterhead that said I'd been suspended for two weeks. + +"I'll email your parents now. If you are still on school property in thirty minutes, you'll be arrested for trespassing." + +I looked at him. + +"You don't want to declare war on me in my own school," he said. "You can't win that war. GO!" + +I left. + +1~ Chapter 14 + +_1 /{ [This chapter is dedicated to the incomparable Mysterious Galaxy in San Diego, California.~{ Mysterious Galaxy http://mysteriousgalaxy.booksense.com/NASApp/store/Product?s=showproduct&isbn=9780765319852 7051 Clairemont Mesa Blvd., Suite #302 San Diego, CA USA 92111 +1 858 268 4747 }~ The Mysterious Galaxy folks have had me in to sign books every time I've been in San Diego for a conference or to teach (the Clarion Writers' Workshop is based at UC San Diego in nearby La Jolla, CA), and every time I show up, they pack the house. This is a store with a loyal following of die-hard fans who know that they'll always be able to get great recommendations and great ideas at the store. In summer 2007, I took my writing class from Clarion down to the store for the midnight launch of the final Harry Potter book and I've never seen such a rollicking, awesomely fun party at a store.] }/ + +The Xnet wasn't much fun in the middle of the school-day, when all the people who used it were in school. I had the piece of paper folded in the back pocket of my jeans, and I threw it on the kitchen table when I got home. I sat down in the living room and switched on the TV. I never watched it, but I knew that my parents did. The TV and the radio and the newspapers were where they got all their ideas about the world. + +The news was terrible. There were so many reasons to be scared. American soldiers were dying all over the world. Not just soldiers, either. National guardsmen, who thought they were signing up to help rescue people from hurricanes, stationed overseas for years and years of a long and endless war. + +I flipped around the 24-hour news networks, one after another, a parade of officials telling us why we should be scared. A parade of photos of bombs going off around the world. + +I kept flipping and found myself looking at a familiar face. It was the guy who had come into the truck and spoken to Severe-Haircut woman when I was chained up in the back. Wearing a military uniform. The caption identified him as Major General Graeme Sutherland, Regional Commander, DHS. + +"I hold in my hands actual literature on offer at the so-called concert in Dolores Park last weekend." He held up a stack of pamphlets. There'd been lots of pamphleteers there, I remembered. Wherever you got a group of people in San Francisco, you got pamphlets. + +"I want you to look at these for a moment. Let me read you their titles. WITHOUT THE CONSENT OF THE GOVERNED: A CITIZEN'S GUIDE TO OVERTHROWING THE STATE. Here's one, DID THE SEPTEMBER 11TH BOMBINGS REALLY HAPPEN? And another, HOW TO USE THEIR SECURITY AGAINST THEM. This literature shows us the true purpose of the illegal gathering on Saturday night. This wasn't merely an unsafe gathering of thousands of people without proper precaution, or even toilets. It was a recruiting rally for the enemy. It was an attempt to corrupt children into embracing the idea that America shouldn't protect herself. + +"Take this slogan, DON'T TRUST ANYONE OVER 25. What better way to ensure that no considered, balanced, adult discussion is ever injected into your pro-terrorist message than to exclude adults, limiting your group to impressionable young people? + +"When police came on the scene, they found a recruitment rally for America's enemies in progress. The gathering had already disrupted the nights of hundreds of residents in the area, none of whom had been consulted in the planning of this all night rave party. + +"They ordered these people to disperse -- that much is visible on all the video -- and when the revelers turned to attack them, egged on by the musicians on stage, the police subdued them using non-lethal crowd control techniques. + +"The arrestees were ring-leaders and provocateurs who had led the thousands of impressionistic young people there to charge the police lines. 827 of them were taken into custody. Many of these people had prior offenses. More than 100 of them had outstanding warrants. They are still in custody. + +"Ladies and gentlemen, America is fighting a war on many fronts, but nowhere is she in more grave danger than she is here, at home. Whether we are being attacked by terrorists or those who sympathize with them." + +A reporter held up a hand and said, "General Sutherland, surely you're not saying that these children were terrorist sympathizers for attending a party in a park?" + +"Of course not. But when young people are brought under the influence of our country's enemies, it's easy for them to end up over their heads. Terrorists would love to recruit a fifth column to fight the war on the home front for them. If these were my children, I'd be gravely concerned." + +Another reporter chimed in. "Surely this is just an open air concert, General? They were hardly drilling with rifles." + +The General produced a stack of photos and began to hold them up. "These are pictures that officers took with infra-red cameras before moving in." He held them next to his face and paged through them one at a time. They showed people dancing really rough, some people getting crushed or stepped on. Then they moved into sex stuff by the trees, a girl with three guys, two guys necking together. "There were children as young as ten years old at this event. A deadly cocktail of drugs, propaganda and music resulted in dozens of injuries. It's a wonder there weren't any deaths." + +I switched the TV off. They made it look like it had been a riot. If my parents thought I'd been there, they'd have strapped me to my bed for a month and only let me out afterward wearing a tracking collar. + +Speaking of which, they were going to be /{pissed}/ when they found out I'd been suspended. + +# + +They didn't take it well. Dad wanted to ground me, but Mom and I talked him out of it. + +"You know that vice-principal has had it in for Marcus for years," Mom said. "The last time we met him you cursed him for an hour afterward. I think the word 'asshole' was mentioned repeatedly." + +Dad shook his head. "Disrupting a class to argue against the Department of Homeland Security --" + +"It's a social studies class, Dad," I said. I was beyond caring anymore, but I felt like if Mom was going to stick up for me, I should help her out. "We were talking about the DHS. Isn't debate supposed to be healthy?" + +"Look, son," he said. He'd taking to calling me "son" a lot. It made me feel like he'd stopped thinking of me as a person and switched to thinking of me as a kind of half-formed larva that needed to be guided out of adolescence. I hated it. "You're going to have to learn to live with the fact that we live in a different world today. You have every right to speak your mind of course, but you have to be prepared for the consequences of doing so. You have to face the fact that there are people who are hurting, who aren't going to want to argue the finer points of Constitutional law when their lives are at stake. We're in a lifeboat now, and once you're in the lifeboat, no one wants to hear about how mean the captain is being." + +I barely restrained myself from rolling my eyes. + +"I've been assigned two weeks of independent study, writing one paper for each of my subjects, using the city for my background -- a history paper, a social studies paper, an English paper, a physics paper. It beats sitting around at home watching television." + +Dad looked hard at me, like he suspected I was up to something, then nodded. I said goodnight to them and went up to my room. I fired up my Xbox and opened a word-processor and started to brainstorm ideas for my papers. Why not? It really was better than sitting around at home. + +# + +I ended up IMing with Ange for quite a while that night. She was sympathetic about everything and told me she'd help me with my papers if I wanted to meet her after school the next night. I knew where her school was -- she went to the same school as Van -- and it was all the way over in the East Bay, where I hadn't visited since the bombs went. + +I was really excited at the prospect of seeing her again. Every night since the party, I'd gone to bed thinking of two things: the sight of the crowd charging the police lines and the feeling of the side of her breast under her shirt as we leaned against the pillar. She was amazing. I'd never been with a girl as...aggressive as her before. It had always been me putting the moves on and them pushing me away. I got the feeling that Ange was as much of a horn-dog as I was. It was a tantalizing notion. + +I slept soundly that night, with exciting dreams of me and Ange and what we might do if we found ourselves in a secluded spot somewhere. + +The next day, I set out to work on my papers. San Francisco is a good place to write about. History? Sure, it's there, from the Gold Rush to the WWII shipyards, the Japanese internment camps, the invention of the PC. Physics? The Exploratorium has the coolest exhibits of any museum I've ever been to. I took a perverse satisfaction in the exhibits on soil liquefaction during big quakes. English? Jack London, Beat Poets, science fiction writers like Pat Murphy and Rudy Rucker. Social studies? The Free Speech Movement, Cesar Chavez, gay rights, feminism, anti-war movement... + +I've always loved just learning stuff for its own sake. Just to be smarter about the world around me. I could do that just by walking around the city. I decided I'd do an English paper about the Beats first. City Lights books had a great library in an upstairs room where Alan Ginsberg and his buddies had created their radical druggy poetry. The one we'd read in English class was /{Howl}/ and I would never forget the opening lines, they gave me shivers down my back: + +I saw the best minds of my generation destroyed by madness, starving hysterical naked, + +dragging themselves through the negro streets at dawn looking for an angry fix, + +angelheaded hipsters burning for the ancient heavenly connection to the starry dynamo in the machinery of night... + +I liked the way he ran those words all together, "starving hysterical naked." I knew how that felt. And "best minds of my generation" made me think hard too. It made me remember the park and the police and the gas falling. They busted Ginsberg for obscenity over Howl -- all about a line about gay sex that would hardly have caused us to blink an eye today. It made me happy somehow, knowing that we'd made some progress. That things had been even more restrictive than this before. + +I lost myself in the library, reading these beautiful old editions of the books. I got lost in Jack Kerouac's /{On the Road}/, a novel I'd been meaning to read for a long time, and a clerk who came up to check on me nodded approvingly and found me a cheap edition that he sold me for six bucks. + +I walked into Chinatown and had dim sum buns and noodles with hot-sauce that I had previously considered to be pretty hot, but which would never seem anything like hot ever again, not now that I'd had an Ange special. + +As the day wore on toward the afternoon, I got on the BART and switched to a San Mateo bridge shuttle bus to bring me around to the East Bay. I read my copy of /{On the Road}/ and dug the scenery whizzing past. /{On the Road}/ is a semi-autobiographical novel about Jack Kerouac, a druggy, hard-drinking writer who goes hitchhiking around America, working crummy jobs, howling through the streets at night, meeting people and parting ways. Hipsters, sad-faced hobos, con-men, muggers, scumbags and angels. There's not really a plot -- Kerouac supposedly wrote it in three weeks on a long roll of paper, stoned out of his mind -- only a bunch of amazing things, one thing happening after another. He makes friends with self-destructing people like Dean Moriarty, who get him involved in weird schemes that never really work out, but still it works out, if you know what I mean. + +There was a rhythm to the words, it was luscious, I could hear it being read aloud in my head. It made me want to lie down in the bed of a pickup truck and wake up in a dusty little town somewhere in the central valley on the way to LA, one of those places with a gas station and a diner, and just walk out into the fields and meet people and see stuff and do stuff. + +It was a long bus ride and I must have dozed off a little -- staying up late IMing with Ange was hard on my sleep-schedule, since Mom still expected me down for breakfast. I woke up and changed buses and before long, I was at Ange's school. + +She came bounding out of the gates in her uniform -- I'd never seen her in it before, it was kind of cute in a weird way, and reminded me of Van in her uniform. She gave me a long hug and a hard kiss on the cheek. + +"Hello you!" she said. + +"Hiya!" + +"Whatcha reading?" + +I'd been waiting for this. I'd marked the passage with a finger. "Listen: 'They danced down the streets like dingledodies, and I shambled after as I've been doing all my life after people who interest me, because the only people for me are the mad ones, the ones who are mad to live, mad to talk, mad to be saved, desirous of everything at the same time, the ones that never yawn or say a commonplace thing, but burn, burn, burn like fabulous yellow roman candles exploding like spiders across the stars and in the middle you see the blue centerlight pop and everybody goes "Awww!"'" + +She took the book and read the passage again for herself. "Wow, dingledodies! I love it! Is it all like this?" + +I told her about the parts I'd read, walking slowly down the sidewalk back toward the bus-stop. Once we turned the corner, she put her arm around my waist and I slung mine around her shoulder. Walking down the street with a girl -- my girlfriend? Sure, why not? -- talking about this cool book. It was heaven. Made me forget my troubles for a little while. + +"Marcus?" + +I turned around. It was Van. In my subconscious I'd expected this. I knew because my conscious mind wasn't remotely surprised. It wasn't a big school, and they all got out at the same time. I hadn't spoken to Van in weeks, and those weeks felt like months. We used to talk every day. + +"Hey, Van," I said. I suppressed the urge to take my arm off of Ange's shoulders. Van seemed surprised, but not angry, more ashen, shaken. She looked closely at the two of us. + +"Angela?" + +"Hey, Vanessa," Ange said. + +"What are you doing here?" + +"I came out to get Ange," I said, trying to keep my tone neutral. I was suddenly embarrassed to be seen with another girl. + +"Oh," Van said. "Well, it was nice to see you." + +"Nice to see you too, Vanessa," Ange said, swinging me around, marching me back toward the bus-stop. + +"You know her?" Ange said. + +"Yeah, since forever." + +"Was she your girlfriend?" + +"What? No! No way! We were just friends." + +"You /{were}/ friends?" + +I felt like Van was walking right behind us, listening in, though at the pace we were walking, she would have to be jogging to keep up. I resisted the temptation to look over my shoulder for as long as possible, then I did. There were lots of girls from the school behind us, but no Van. + +"She was with me and Jose-Luis and Darryl when we were arrested. We used to ARG together. The four of us, we were kind of best friends." + +"And what happened?" + +I dropped my voice. "She didn't like the Xnet," I said. "She thought we would get into trouble. That I'd get other people into trouble." + +"And that's why you stopped being friends?" + +"We just drifted apart." + +We walked a few steps. "You weren't, you know, boyfriend/girlfriend friends?" + +"No!" I said. My face was hot. I felt like I sounded like I was lying, even though I was telling the truth. + +Ange jerked us to a halt and studied my face. + +"Were you?" + +"No! Seriously! Just friends. Darryl and her -- well, not quite, but Darryl was so into her. There was no way --" + +"But if Darryl hadn't been into her, you would have, huh?" + +"No, Ange, no. Please, just believe me and let it go. Vanessa was a good friend and we're not anymore, and that upsets me, but I was never into her that way, all right? + +She slumped a little. "OK, OK. I'm sorry. I don't really get along with her is all. We've never gotten along in all the years we've known each other." + +Oh ho, I thought. This would be how it came to be that Jolu knew her for so long and I never met her; she had some kind of thing with Van and he didn't want to bring her around. + +She gave me a long hug and we kissed, and a bunch of girls passed us going /{woooo}/ and we straightened up and headed for the bus-stop. Ahead of us walked Van, who must have gone past while we were kissing. I felt like a complete jerk. + +Of course, she was at the stop and on the bus and we didn't say a word to each other, and I tried to make conversation with Ange all the way, but it was awkward. + +The plan was to stop for a coffee and head to Ange's place to hang out and "study," i.e. take turns on her Xbox looking at the Xnet. Ange's mom got home late on Tuesdays, which was her night for yoga class and dinner with her girls, and Ange's sister was going out with her boyfriend, so we'd have the place to ourselves. I'd been having pervy thoughts about it ever since we'd made the plan. + +We got to her place and went straight to her room and shut the door. Her room was kind of a disaster, covered with layers of clothes and notebooks and parts of PCs that would dig into your stocking feet like caltrops. Her desk was worse than the floor, piled high with books and comics, so we ended up sitting on her bed, which was OK by me. + +The awkwardness from seeing Van had gone away somewhat and we got her Xbox up and running. It was in the center of a nest of wires, some going to a wireless antenna she'd hacked into it and stuck to the window so she could tune in the neighbors' WiFi. Some went to a couple of old laptop screens she'd turned into standalone monitors, balanced on stands and bristling with exposed electronics. The screens were on both bedside tables, which was an excellent setup for watching movies or IMing from bed -- she could turn the monitors sidewise and lie on her side and they'd be right-side-up, no matter which side she lay on. + +We both knew what we were really there for, sitting side by side propped against the bedside table. I was trembling a little and super-conscious of the warmth of her leg and shoulder against mine, but I needed to go through the motions of logging into Xnet and seeing what email I'd gotten and so on. + +There was an email from a kid who liked to send in funny phone-cam videos of the DHS being really crazy -- the last one had been of them disassembling a baby's stroller after a bomb-sniffing dog had shown an interest in it, taking it apart with screwdrivers right on the street in the Marina while all these rich people walked past, staring at them and marveling at how weird it was. + +I'd linked to the video and it had been downloaded like crazy. He'd hosted it on the Internet Archive's Alexandria mirror in Egypt, where they'd host anything for free so long as you'd put it under the Creative Commons license, which let anyone remix it and share it. The US archive -- which was down in the Presidio, only a few minutes away -- had been forced to take down all those videos in the name of national security, but the Alexandria archive had split away into its own organization and was hosting anything that embarrassed the USA. + +This kid -- his handle was Kameraspie -- had sent me an even better video this time around. It was at the doorway to City Hall in Civic Center, a huge wedding cake of a building covered with statues in little archways and gilt leaves and trim. The DHS had a secure perimeter around the building, and Kameraspie's video showed a great shot of their checkpoint as a guy in an officer's uniform approached and showed his ID and put his briefcase on the X-ray belt. + +It was all OK until one of the DHS people saw something he didn't like on the X-ray. He questioned the General, who rolled his eyes and said something inaudible (the video had been shot from across the street, apparently with a homemade concealed zoom lens, so the audio was mostly of people walking past and traffic noises). + +The General and the DHS guys got into an argument, and the longer they argued, the more DHS guys gathered around them. Finally, the General shook his head angrily and waved his finger at the DHS guy's chest and picked up his briefcase and started to walk away. The DHS guys shouted at him, but he didn't slow. His body language really said, "I am totally, utterly pissed." + +Then it happened. The DHS guys ran after the general. Kameraspie slowed the video down here, so we could see, in frame-by-frame slo-mo, the general half-turning, his face all like, "No freaking way are you about to tackle me," then changing to horror as three of the giant DHS guards slammed into him, knocking him sideways, then catching him at the middle, like a career-ending football tackle. The general -- middle aged, steely grey hair, lined and dignified face -- went down like a sack of potatoes and bounced twice, his face slamming off the sidewalk and blood starting out of his nose. + +The DHS hog-tied the general, strapping him at ankles and wrists. The general was shouting now, really shouting, his face purpling under the blood streaming from his nose. Legs swished by in the tight zoom. Passing pedestrians looked at this guy in his uniform, getting tied up, and you could see from his face that this was the worst part, this was the ritual humiliation, the removal of dignity. The clip ended. + +"Oh my dear sweet Buddha," I said looking at the screen as it faded to black, starting the video again. I nudged Ange and showed her the clip. She watched wordless, jaw hanging down to her chest. + +"Post that," she said. "Post that post that post that post that!" + +I posted it. I could barely type as I wrote it up, describing what I'd seen, adding a note to see if anyone could identify the military man in the video, if anyone knew anything about this. + +I hit publish. + +We watched the video. We watched it again. + +My email pinged. + +> I totally recognize that dude -- you can find his bio on Wikipedia. He's General Claude Geist. He commanded the joint UN peacekeeping mission in Haiti. + +I checked the bio. There was a picture of the general at a press conference, and notes about his role in the difficult Haiti mission. It was clearly the same guy. + +I updated the post. + +Theoretically, this was Ange's and my chance to make out, but that wasn't what we ended up doing. We crawled the Xnet blogs, looking for more accounts of the DHS searching people, tackling people, invading them. This was a familiar task, the same thing I'd done with all the footage and accounts from the riots in the park. I started a new category on my blog for this, AbusesOfAuthority, and filed them away. Ange kept coming up with new search terms for me to try and by the time her mom got home, my new category had seventy posts, headlined by General Geist's City Hall takedown. + +# + +I worked on my Beat paper all the next day at home, reading the Kerouac and surfing the Xnet. I was planning on meeting Ange at school, but I totally wimped out at the thought of seeing Van again, so I texted her an excuse about working on the paper. + +There were all kinds of great suggestions for AbusesOfAuthority coming in; hundreds of little and big ones, pictures and audio. The meme was spreading. + +It spread. The next morning there were even more. Someone started a new blog called AbusesOfAuthority that collected hundreds more. The pile grew. We competed to find the juiciest stories, the craziest pictures. + +The deal with my parents was that I'd eat breakfast with them every morning and talk about the projects I was doing. They liked that I was reading Kerouac. It had been a favorite book of both of theirs and it turned out there was already a copy on the bookcase in my parents' room. My dad brought it down and I flipped through it. There were passages marked up with pen, dog-eared pages, notes in the margin. My dad had really loved this book. + +It made me remember a better time, when my Dad and I had been able to talk for five minutes without shouting at each other about terrorism, and we had a great breakfast talking about the way that the novel was plotted, all the crazy adventures. + +But the next morning at breakfast they were both glued to the radio. + +"Abuses of Authority -- it's the latest craze on San Francisco's notorious Xnet, and it's captured the world's attention. Called A-oh-A, the movement is composed of 'Little Brothers' who watch back against the Department of Homeland Security's anti-terrorism measures, documenting the failures and excesses. The rallying cry is a popular viral video clip of a General Claude Geist, a retired three-star general, being tackled by DHS officers on the sidewalk in front of City Hall. Geist hasn't made a statement on the incident, but commentary from young people who are upset with their own treatment has been fast and furious. + +"Most notable has been the global attention the movement has received. Stills from the Geist video have appeared on the front pages of newspapers in Korea, Great Britain, Germany, Egypt and Japan, and broadcasters around the world have aired the clip on prime-time news. The issue came to a head last night, when the British Broadcasting Corporation's National News Evening program ran a special report on the fact that no American broadcaster or news agency has covered this story. Commenters on the BBC's website noted that BBC America's version of the news did not carry the report." + +They brought on a couple of interviews: British media watchdogs, a Swedish Pirate Party kid who made jeering remarks about America's corrupt press, a retired American newscaster living in Tokyo, then they aired a short clip from Al-Jazeera, comparing the American press record and the record of the national news-media in Syria. + +I felt like my parents were staring at me, that they knew what I was doing. But when I cleared away my dishes, I saw that they were looking at each other. + +Dad was holding his coffee cup so hard his hands were shaking. Mom was looking at him. + +"They're trying to discredit us," Dad said finally. "They're trying to sabotage the efforts to keep us safe." + +I opened my mouth, but my mom caught my eye and shook her head. Instead I went up to my room and worked on my Kerouac paper. Once I'd heard the door slam twice, I fired up my Xbox and got online. + +> Hello M1k3y. This is Colin Brown. I'm a producer with the Canadian Broadcasting Corporation's news programme The National. We're doing a story on Xnet and have sent a reporter to San Francisco to cover it from there. Would you be interested in doing an interview to discuss your group and its actions? + +I stared at the screen. Jesus. They wanted to /{interview}/ me about "my group"? + +> Um thanks no. I'm all about privacy. And it's not "my group." But thanks for doing the story! + +A minute later, another email. + +> We can mask you and ensure your anonymity. You know that the Department of Homeland Security will be happy to provide their own spokesperson. I'm interested in getting your side. + +I filed the email. He was right, but I'd be crazy to do this. For all I knew, he /{was}/ the DHS. + +I picked up more Kerouac. Another email came in. Same request, different news-agency: KQED wanted to meet me and record a radio interview. A station in Brazil. The Australian Broadcasting Corporation. Deutsche Welle. All day, the press requests came in. All day, I politely turned them down. + +I didn't get much Kerouac read that day. + +# + +"Hold a press-conference," is what Ange said, as we sat in the cafe near her place that evening. I wasn't keen on going out to her school anymore, getting stuck on a bus with Van again. + +"What? Are you crazy?" + +"Do it in Clockwork Plunder. Just pick a trading post where there's no PvP allowed and name a time. You can login from here." + +PvP is player-versus-player combat. Parts of Clockwork Plunder were neutral ground, which meant that we could theoretically bring in a ton of noob reporters without worrying about gamers killing them in the middle of the press-conference. + +"I don't know anything about press conferences." + +"Oh, just google it. I'm sure someone's written an article on holding a successful one. I mean, if the President can manage it, I'm sure you can. He looks like he can barely tie his shoes without help." + +We ordered more coffee. + +"You are a very smart woman," I said. + +"And I'm beautiful," she said. + +"That too," I said. + +1~ Chapter 15 + +_1 /{ [This chapter is dedicated to Chapters/Indigo,~{ Chapters/Indigo: http://www.chapters.indigo.ca/books/Little-Brother-Cory-Doctorow/9780765319852-item.html }~ the national Canadian megachain. I was working at Bakka, the independent science fiction bookstore, when Chapters opened its first store in Toronto and I knew that something big was going on right away, because two of our smartest, best-informed customers stopped in to tell me that they'd been hired to run the science fiction section. From the start, Chapters raised the bar on what a big corporate bookstore could be, extending its hours, adding a friendly cafe and lots of seating, installing in-store self-service terminals and stocking the most amazing variety of titles.] }/ + +I blogged the press-conference even before I'd sent out the invitations to the press. I could tell that all these writers wanted to make me into a leader or a general or a supreme guerrilla commandant, and I figured one way of solving that would be to have a bunch of Xnetters running around answering questions too. + +Then I emailed the press. The responses ranged from puzzled to enthusiastic -- only the Fox reporter was "outraged" that I had the gall to ask her to play a game in order to appear on her TV show. The rest of them seemed to think that it would make a pretty cool story, though plenty of them wanted lots of tech support for signing onto the game + +I picked 8PM, after dinner. Mom had been bugging me about all the evenings I'd been spending out of the house until I finally spilled the beans about Ange, whereupon she came over all misty and kept looking at me like, my-little-boy's-growing-up. She wanted to meet Ange, and I used that as leverage, promising to bring her over the next night if I could "go to the movies" with Ange tonight. + +Ange's mom and sister were out again -- they weren't real stay-at-homes -- which left me and Ange alone in her room with her Xbox and mine. I unplugged one of her bedside screens and attached my Xbox to it so that we could both login at once. + +Both Xboxes were idle, logged into Clockwork Plunder. I was pacing. + +"It's going to be fine," she said. She glanced at her screen. "Patcheye Pete's Market has 600 players in it now!" We'd picked Patcheye Pete's because it was the market closest to the village square where new players spawned. If the reporters weren't already Clockwork Plunder players -- ha! -- then that's where they'd show up. In my blog post I'd asked people generally to hang out on the route between Patcheye Pete's and the spawn-gate and direct anyone who looked like a disoriented reporter over to Pete's. + +"What the hell am I going to tell them?" + +"You just answer their questions -- and if you don't like a question, ignore it. Someone else can answer it. It'll be fine." + +"This is insane." + +"This is perfect, Marcus. If you want to really screw the DHS, you have to embarrass them. It's not like you're going to be able to out-shoot them. Your only weapon is your ability to make them look like morons." + +I flopped on the bed and she pulled my head into her lap and stroked my hair. I'd been playing around with different haircuts before the bombing, dying it all kinds of funny colors, but since I'd gotten out of jail I couldn't be bothered. It had gotten long and stupid and shaggy and I'd gone into the bathroom and grabbed my clippers and buzzed it down to half an inch all around, which took zero effort to take care of and helped me to be invisible when I was out jamming and cloning arphids. + +I opened my eyes and stared into her big brown eyes behind her glasses. They were round and liquid and expressive. She could make them bug out when she wanted to make me laugh, or make them soft and sad, or lazy and sleepy in a way that made me melt into a puddle of horniness. + +That's what she was doing right now. + +I sat up slowly and hugged her. She hugged me back. We kissed. She was an amazing kisser. I know I've already said that, but it bears repeating. We kissed a lot, but for one reason or another we always stopped before it got too heavy. + +Now I wanted to go farther. I found the hem of her t-shirt and tugged. She put her hands over her head and pulled back a few inches. I knew that she'd do that. I'd known since the night in the park. Maybe that's why we hadn't gone farther -- I knew I couldn't rely on her to back off, which scared me a little. + +But I wasn't scared then. The impending press-conference, the fights with my parents, the international attention, the sense that there was a movement that was careening around the city like a wild pinball -- it made my skin tingle and my blood sing. + +And she was beautiful, and smart, and clever and funny, and I was falling in love with her. + +Her shirt slid off, her arching her back to help me get it over her shoulders. She reached behind her and did something and her bra fell away. I stared goggle-eyed, motionless and breathless, and then she grabbed /{my}/ shirt and pulled it over my head, grabbing me and pulling my bare chest to hers. + +We rolled on the bed and touched each other and ground our bodies together and groaned. She kissed all over my chest and I did the same to her. I couldn't breathe, I couldn't think, I could only move and kiss and lick and touch. + +We dared each other to go forward. I undid her jeans. She undid mine. I lowered her zipper, she did mine, and tugged my jeans off. I tugged off hers. A moment later we were both naked, except for my socks, which I peeled off with my toes. + +It was then that I caught sight of the bedside clock, which had long ago rolled onto the floor and lay there, glowing up at us. + +"Crap!" I yelped. "It starts in two minutes!" I couldn't freaking believe that I was about to stop what I was about to stop doing, when I was about to stop doing it. I mean, if you'd asked me, "Marcus, you are about to get laid for the firstest time EVAR, will you stop if I let off this nuclear bomb in the same room as you?" the answer would have been a resounding and unequivocal /{NO}/. + +And yet we stopped for this. + +She grabbed me and pulled my face to hers and kissed me until I thought I would pass out, then we both grabbed our clothes and more or less dressed, grabbing our keyboards and mice and heading for Patcheye Pete's. + +# + +You could easily tell who the press were: they were the noobs who played their characters like staggering drunks, weaving back and forth and up and down, trying to get the hang of it all, occasionally hitting the wrong key and offering strangers all or part of their inventory, or giving them accidental hugs and kicks. + +The Xnetters were easy to spot, too: we all played Clockwork Plunder whenever we had some spare time (or didn't feel like doing our homework), and we had pretty tricked-out characters with cool weapons and booby-traps on the keys sticking out of our backs that would cream anyone who tried to snatch them and leave us to wind down. + +When I appeared, a system status message displayed M1K3Y HAS ENTERED PATCHEYE PETE'S -- WELCOME SWABBIE WE OFFER FAIR TRADE FOR FINE BOOTY. All the players on the screen froze, then they crowded around me. The chat exploded. I thought about turning on my voice-paging and grabbing a headset, but seeing how many people were trying to talk at once, I realized how confusing that would be. Text was much easier to follow and they couldn't misquote me (heh heh). + +I'd scouted the location before with Ange -- it was great campaigning with her, since we could both keep each other wound up. There was a high-spot on a pile of boxes of salt-rations that I could stand on and be seen from anywhere in the market. + +> Good evening and thank you all for coming. My name is M1k3y and I'm not the leader of anything. All around you are Xnetters who have as much to say about why we're here as I do. I use the Xnet because I believe in freedom and the Constitution of the United States of America. I use Xnet because the DHS has turned my city into a police-state where we're all suspected terrorists. I use Xnet because I think you can't defend freedom by tearing up the Bill of Rights. I learned about the Constitution in a California school and I was raised to love my country for its freedom. If I have a philosophy, it is this: + +> Governments are instituted among men, deriving their just powers from the consent of the governed, that whenever any form of government becomes destructive of these ends, it is the right of the people to alter or abolish it, and to institute new government, laying its foundation on such principles, and organizing its powers in such form, as to them shall seem most likely to effect their safety and happiness. + +> I didn't write that, but I believe it. The DHS does not govern with my consent. + +> Thank you + +I'd written this the day before, bouncing drafts back and forth with Ange. Pasting it in only took a second, though it took everyone in the game a moment to read it. A lot of the Xnetters cheered, big showy pirate "Hurrah"s with raised sabers and pet parrots squawking and flying overhead. + +Gradually, the journalists digested it too. The chat was running past fast, so fast you could barely read it, lots of Xnetters saying things like "Right on" and "America, love it or leave it" and "DHS go home" and "America out of San Francisco," all slogans that had been big on the Xnet blogosphere. + +> M1k3y, this is Priya Rajneesh from the BBC. You say you're not the leader of any movement, but do you believe there is a movement? Is it called the Xnet? + +Lots of answers. Some people said there wasn't a movement, some said there was and lots of people had ideas about what it was called: Xnet, Little Brothers, Little Sisters, and my personal favorite, the United States of America. + +They were really cooking. I let them go, thinking of what I could say. Once I had it, I typed, + +> I think that kind of answers your question, doesn't it? There may be one or more movements and they may be called Xnet or not. + +> M1k3y, I'm Doug Christensen from the Washington Internet Daily. What do you think the DHS should be doing to prevent another attack on San Francisco, if what they're doing isn't successful. + +More chatter. Lots of people said that the terrorists and the government were the same -- either literally, or just meaning that they were equally bad. Some said the government knew how to catch terrorists but preferred not to because "war presidents" got re-elected. + +> I don't know + +I typed finally. + +> I really don't. I ask myself this question a lot because I don't want to get blown up and I don't want my city to get blown up. Here's what I've figured out, though: if it's the DHS's job to keep us safe, they're failing. All the crap they've done, none of it would stop the bridge from being blown up again. Tracing us around the city? Taking away our freedom? Making us suspicious of each other, turning us against each other? Calling dissenters traitors? The point of terrorism is to terrify us. The DHS terrifies me. + +> I don't have any say in what the terrorists do to me, but if this is a free country then I should be able to at least say what my own cops do to me. I should be able to keep them from terrorizing me. + +> I know that's not a good answer. Sorry. + +> What do you mean when you say that the DHS wouldn't stop terrorists? How do you know? + +> Who are you? + +> I'm with the Sydney Morning Herald. + +> I'm 17 years old. I'm not a straight-A student or anything. Even so, I figured out how to make an Internet that they can't wiretap. I figured out how to jam their person-tracking technology. I can turn innocent people into suspects and turn guilty people into innocents in their eyes. I could get metal onto an airplane or beat a no-fly list. I figured this stuff out by looking at the web and by thinking about it. If I can do it, terrorists can do it. They told us they took away our freedom to make us safe. Do you feel safe? + +> In Australia? Why yes I do + +The pirates all laughed. + +More journalists asked questions. Some were sympathetic, some were hostile. When I got tired, I handed my keyboard to Ange and let her be M1k3y for a while. It didn't really feel like M1k3y and me were the same person anymore anyway. M1k3y was the kind of kid who talked to international journalists and inspired a movement. Marcus got suspended from school and fought with his dad and wondered if he was good enough for his kick-ass girlfriend. + +By 11PM I'd had enough. Besides, my parents would be expecting me home soon. I logged out of the game and so did Ange and we lay there for a moment. I took her hand and she squeezed hard. We hugged. + +She kissed my neck and murmured something. + +"What?" + +"I said I love you," she said. "What, you want me to send you a telegram?" + +"Wow," I said. + +"You're that surprised, huh?" + +"No. Um. It's just -- I was going to say that to you." + +"Sure you were," she said, and bit the tip of my nose. + +"It's just that I've never said it before," I said. "So I was working up to it." + +"You still haven't said it, you know. Don't think I haven't noticed. We girls pick upon these things." + +"I love you, Ange Carvelli," I said. + +"I love you too, Marcus Yallow." + +We kissed and nuzzled and I started to breathe hard and so did she. That's when her mom knocked on the door. + +"Angela," she said, "I think it's time your friend went home, don't you?" + +"Yes, mother," she said, and mimed swinging an axe. As I put my socks and shoes on, she muttered, "They'll say, that Angela, she was such a good girl, who would have thought it, all the time she was in the back yard, helping her mother out by sharpening that hatchet." + +I laughed. "You don't know how easy you have it. There is /{no way}/ my folks would leave us alone in my bedroom until 11 o'clock." + +"11:45," she said, checking her clock. + +"Crap!" I yelped and tied my shoes. + +"Go," she said, "run and be free! Look both ways before crossing the road! Write if you get work! Don't even stop for a hug! If you're not out of here by the count of ten, there's going to be /{trouble}/, mister. One. Two. Three." + +I shut her up by leaping onto the bed, landing on her and kissing her until she stopped trying to count. Satisfied with my victory, I pounded down the stairs, my Xbox under my arm. + +Her mom was at the foot of the stairs. We'd only met a couple times. She looked like an older, taller version of Ange -- Ange said her father was the short one -- with contacts instead of glasses. She seemed to have tentatively classed me as a good guy, and I appreciated it. + +"Good night, Mrs Carvelli," I said. + +"Good night, Mr Yallow," she said. It was one of our little rituals, ever since I'd called her Mrs Carvelli when we first met. + +I found myself standing awkwardly by the door. + +"Yes?" she said. + +"Um," I said. "Thanks for having me over." + +"You're always welcome in our home, young man," she said. + +"And thanks for Ange," I said finally, hating how lame it sounded. But she smiled broadly and gave me a brief hug. + +"You're very welcome," she said. + +The whole bus ride home, I thought over the press-conference, thought about Ange naked and writhing with me on her bed, thought about her mother smiling and showing me the door. + +My mom was waiting up for me. She asked me about the movie and I gave her the response I'd worked out in advance, cribbing from the review it had gotten in the /{Bay Guardian}/. + +As I fell asleep, the press-conference came back. I was really proud of it. It had been so cool, to have all these big-shot journos show up in the game, to have them listen to me and to have them listen to all the people who believed in the same things as me. I dropped off with a smile on my lips. + +# + +I should have known better. + +XNET LEADER: I COULD GET METAL ONTO AN AIRPLANE + +DHS DOESN'T HAVE MY CONSENT TO GOVERN + +XNET KIDS: USA OUT OF SAN FRANCISCO + +Those were the /{good}/ headlines. Everyone sent me the articles to blog, but it was the last thing I wanted to do. + +I'd blown it, somehow. The press had come to my press-conference and concluded that we were terrorists or terrorist dupes. The worst was the reporter on Fox News, who had apparently shown up anyway, and who devoted a ten-minute commentary to us, talking about our "criminal treason." Her killer line, repeated on every news-outlet I found, was: + +"They say they don't have a name. I've got one for them. Let's call these spoiled children Cal-Quaeda. They do the terrorists' work on the home front. When -- not if, but when -- California gets attacked again, these brats will be as much to blame as the House of Saud." + +Leaders of the anti-war movement denounced us as fringe elements. One guy went on TV to say that he believed we had been fabricated by the DHS to discredit them. + +The DHS had their own press-conference announcing that they would double the security in San Francisco. They held up an arphid cloner they'd found somewhere and demonstrated it in action, using it to stage a car-theft, and warned everyone to be on their alert for young people behaving suspiciously, especially those whose hands were out of sight. + +They weren't kidding. I finished my Kerouac paper and started in on a paper about the Summer of Love, the summer of 1967 when the anti-war movement and the hippies converged on San Francisco. The guys who founded Ben and Jerry's -- old hippies themselves -- had founded a hippie museum in the Haight, and there were other archives and exhibits to see around town. + +But it wasn't easy getting around. By the end of the week, I was getting frisked an average of four times a day. Cops checked my ID and questioned me about why I was out in the street, carefully eyeballing the letter from Chavez saying that I was suspended. + +I got lucky. No one arrested me. But the rest of the Xnet weren't so lucky. Every night the DHS announced more arrests, "ringleaders" and "operatives" of Xnet, people I didn't know and had never heard of, paraded on TV along with the arphid sniffers and other devices that had been in their pockets. They announced that the people were "naming names," compromising the "Xnet network" and that more arrests were expected soon. The name "M1k3y" was often heard. + +Dad loved this. He and I watched the news together, him gloating, me shrinking away, quietly freaking out. "You should see the stuff they're going to use on these kids," Dad said. "I've seen it in action. They'll get a couple of these kids and check out their friends lists on IM and the speed-dials on their phones, look for names that come up over and over, look for patterns, bringing in more kids. They're going to unravel them like an old sweater." + +I canceled Ange's dinner at our place and started spending even more time there. Ange's little sister Tina started to call me "the house-guest," as in "is the house-guest eating dinner with me tonight?" I liked Tina. All she cared about was going out and partying and meeting guys, but she was funny and utterly devoted to Ange. One night as we were doing the dishes, she dried her hands and said, conversationally, "You know, you seem like a nice guy, Marcus. My sister's just crazy about you and I like you too. But I have to tell you something: if you break her heart, I will track you down and pull your scrotum over your head. It's not a pretty sight." + +I assured her that I would sooner pull my own scrotum over my head than break Ange's heart and she nodded. "So long as we're clear on that." + +"Your sister is a nut," I said as we lay on Ange's bed again, looking at Xnet blogs. That is pretty much all we did: fool around and read Xnet. + +"Did she use the scrotum line on you? I hate it when she does that. She just loves the word 'scrotum,' you know. It's nothing personal." + +I kissed her. We read some more. + +"Listen to this," she said. "Police project four to six /{hundred}/ arrests this weekend in what they say will be the largest coordinated raid on Xnet dissidents to date." + +I felt like throwing up. + +"We've got to stop this," I said. "You know there are people who are doing /{more}/ jamming to show that they're not intimidated? Isn't that just /{crazy?}/" + +"I think it's brave," she said. "We can't let them scare us into submission." + +"What? No, Ange, no. We can't let hundreds of people go to /{jail}/. You haven't been there. I have. It's worse than you think. It's worse than you can imagine." + +"I have a pretty fertile imagination," she said. + +"Stop it, OK? Be serious for a second. I won't do this. I won't send those people to jail. If I do, I'm the guy that Van thinks I am." + +"Marcus, I'm being serious. You think that these people don't know they could go to jail? They believe in the cause. You believe in it too. Give them the credit to know what they're getting into. It's not up to you to decide what risks they can or can't take." + +"It's my responsibility because if I tell them to stop, they'll stop." + +"I thought you weren't the leader?" + +"I'm not, of course I'm not. But I can't help it if they look to me for guidance. And so long as they do, I have a responsibility to help them stay safe. You see that, right?" + +"All I see is you getting ready to cut and run at the first sign of trouble. I think you're afraid they're going to figure out who /{you}/ are. I think you're afraid for /{you}/." + +"That's not fair," I said, sitting up, pulling away from her. + +"Really? Who's the guy who nearly had a heart attack when he thought that his secret identity was out?" + +"That was different," I said. "This isn't about me. You know it isn't. Why are you being like this?" + +"Why are /{you}/ like this?" she said. "Why aren't /{you}/ willing to be the guy who was brave enough to get all this started?" + +"This isn't brave, it's suicide." + +"Cheap teenage melodrama, M1k3y." + +"Don't call me that!" + +"What, 'M1k3y'? Why not, /{M1k3y}/?" + +I put my shoes on. I picked up my bag. I walked home. + +# + +> Why I'm not jamming + +> I won't tell anyone else what to do, because I'm not anyone's leader, no matter what Fox News thinks. + +> But I am going to tell you what /{I}/ plan on doing. If you think that's the right thing to do, maybe you'll do it too. + +> I'm not jamming. Not this week. Maybe not next. It's not because I'm scared. It's because I'm smart enough to know that I'm better free than in prison. They figured out how to stop our tactic, so we need to come up with a new tactic. I don't care what the tactic is, but I want it to work. It's /{stupid}/ to get arrested. It's only jamming if you get away with it. + +> There's another reason not to jam. If you get caught, they might use you to catch your friends, and their friends, and their friends. They might bust your friends even if they're not on Xnet, because the DHS is like a maddened bull and they don't exactly worry if they've got the right guy. + +> I'm not telling you what to do. + +> But the DHS is dumb and we're smart. Jamming proves that they can't fight terrorism because it proves that they can't even stop a bunch of kids. If you get caught, it makes them look like they're smarter than us. + +> THEY AREN'T SMARTER THAN US! We are smarter than them. Let's be smart. Let's figure out how to jam them, no matter how many goons they put on the streets of our city. + +I posted it. I went to bed. + +I missed Ange. + +# + +Ange and I didn't speak for the next four days, including the weekend, and then it was time to go back to school. I'd almost called her a million times, written a thousand unsent emails and IMs. + +Now I was back in Social Studies class, and Mrs Andersen greeted me with voluble, sarcastic courtesy, asking me sweetly how my "holiday" had been. I sat down and mumbled nothing. I could hear Charles snicker. + +She taught us a class on Manifest Destiny, the idea that the Americans were destined to take over the whole world (or at least that's how she made it seem) and seemed to be trying to provoke me into saying something so she could throw me out. + +I felt the eyes of the class on me, and it reminded me of M1k3y and the people who looked up to him. I was sick of being looked up to. I missed Ange. + +I got through the rest of the day without anything making any kind of mark on me. I don't think I said eight words. + +Finally it was over and I hit the doors, heading for the gates and the stupid Mission and my pointless house. + +I was barely out the gate when someone crashed into me. He was a young homeless guy, maybe my age, maybe a little older. He wore a long, greasy overcoat, a pair of baggy jeans, and rotting sneakers that looked like they'd been through a wood-chipper. His long hair hung over his face, and he had a pubic beard that straggled down his throat into the collar of a no-color knit sweater. + +I took this all in as we lay next to each other on the sidewalk, people passing us and giving us weird looks. It seemed that he'd crashed into me while hurrying down Valencia, bent over with the burden of a split backpack that lay beside him on the pavement, covered in tight geometric doodles in magic-marker. + +He got to his knees and rocked back and forth, like he was drunk or had hit his head. + +"Sorry buddy," he said. "Didn't see you. You hurt?" + +I sat up too. Nothing felt hurt. + +"Um. No, it's OK." + +He stood up and smiled. His teeth were shockingly white and straight, like an ad for an orthodontic clinic. He held his hand out to me and his grip was strong and firm. + +"I'm really sorry." His voice was also clear and intelligent. I'd expected him to sound like the drunks who talked to themselves as they roamed the Mission late at night, but he sounded like a knowledgeable bookstore clerk. + +"It's no problem," I said. + +He stuck out his hand again. + +"Zeb," he said. + +"Marcus," I said. + +"A pleasure, Marcus," he said. "Hope to run into you again sometime!" + +Laughing, he picked up his backpack, turned on his heel and hurried away. + +# + +I walked the rest of the way home in a bemused fug. Mom was at the kitchen table and we had a little chat about nothing at all, the way we used to do, before everything changed. + +I took the stairs up to my room and flopped down in my chair. For once, I didn't want to login to the Xnet. I'd checked in that morning before school to discover that my note had created a gigantic controversy among people who agreed with me and people who were righteously pissed that I was telling them to back off from their beloved sport. + +I had three thousand projects I'd been in the middle of when it had all started. I was building a pinhole camera out of legos, I'd been playing with aerial kite photography using an old digital camera with a trigger hacked out of silly putty that was stretched out at launch and slowly snapped back to its original shape, triggering the shutter at regular intervals. I had a vacuum tube amp I'd been building into an ancient, rusted, dented olive-oil tin that looked like an archaeological find -- once it was done, I'd planned to build in a dock for my phone and a set of 5.1 surround-sound speakers out of tuna-fish cans. + +I looked over my workbench and finally picked up the pinhole camera. Methodically snapping legos together was just about my speed. + +I took off my watch and the chunky silver two-finger ring that showed a monkey and a ninja squaring off to fight and dropped them into the little box I used for all the crap I load into my pockets and around my neck before stepping out for the day: phone, wallet, keys, wifinder, change, batteries, retractable cables... I dumped it all out into the box, and found myself holding something I didn't remember putting in there in the first place. + +It was a piece of paper, grey and soft as flannel, furry at the edges where it had been torn away from some larger piece of paper. It was covered in the tiniest, most careful handwriting I'd ever seen. I unfolded it and held it up. The writing covered both sides, running down from the top left corner of one side to a crabbed signature at the bottom right corner of the other side. + +The signature read, simply: ZEB. + +I picked it up and started to read. + +> Dear Marcus + +> You don't know me but I know you. For the past three months, since the Bay Bridge was blown up, I have been imprisoned on Treasure Island. I was in the yard on the day you talked to that Asian girl and got tackled. You were brave. Good on you. + +> I had a burst appendix the day afterward and ended up in the infirmary. In the next bed was a guy named Darryl. We were both in recovery for a long time and by the time we got well, we were too much of an embarrassment to them to let go. + +> So they decided we must really be guilty. They questioned us every day. You've been through their questioning, I know. Imagine it for months. Darryl and I ended up cell-mates. We knew we were bugged, so we only talked about inconsequentialities. But at night, when we were in our cots, we would softly tap out messages to each other in Morse code (I knew my HAM radio days would come in useful sometime). + +> At first, their questions to us were just the same crap as ever, who did it, how'd they do it. But after a little while, they switched to asking us about the Xnet. Of course, we'd never heard of it. That didn't stop them asking. + +> Darryl told me that they brought him arphid cloners, Xboxes, all kinds of technology and demanded that he tell them who used them, where they learned to mod them. Darryl told me about your games and the things you learned. + +> Especially: The DHS asked us about our friends. Who did we know? What were they like? Did they have political feelings? Had they been in trouble at school? With the law? + +> We call the prison Gitmo-by-the-Bay. It's been a week since I got out and I don't think that anyone knows that their sons and daughters are imprisoned in the middle of the Bay. At night we could hear people laughing and partying on the mainland. + +> I got out last week. I won't tell you how, in case this falls into the wrong hands. Maybe others will take my route. + +> Darryl told me how to find you and made me promise to tell you what I knew when I got back. Now that I've done that I'm out of here like last year. One way or another, I'm leaving this country. Screw America. + +> Stay strong. They're scared of you. Kick them for me. Don't get caught. + +> Zeb + +There were tears in my eyes as I finished the note. I had a disposable lighter somewhere on my desk that I sometimes used to melt the insulation off of wires, and I dug it out and held it to the note. I knew I owed it to Zeb to destroy it and make sure no one else ever saw it, in case it might lead them back to him, wherever he was going. + +I held the flame and the note, but I couldn't do it. + +Darryl. + +With all the crap with the Xnet and Ange and the DHS, I'd almost forgotten he existed. He'd become a ghost, like an old friend who'd moved away or gone on an exchange program. All that time, they'd been questioning him, demanding that he rat me out, explain the Xnet, the jammers. He'd been on Treasure Island, the abandoned military base that was halfway along the demolished span of the Bay Bridge. He'd been so close I could have swam to him. + +I put the lighter down and re-read the note. By the time it was done, I was weeping, sobbing. It all came back to me, the lady with the severe haircut and the questions she'd asked and the reek of piss and the stiffness of my pants as the urine dried them into coarse canvas. + +"Marcus?" + +My door was ajar and my mother was standing in it, watching me with a worried look. How long had she been there? + +I armed the tears away from my face and snorted up the snot. "Mom," I said. "Hi." + +She came into my room and hugged me. "What is it? Do you need to talk?" + +The note lay on the table. + +"Is that from your girlfriend? Is everything all right?" + +She'd given me an out. I could just blame it all on problems with Ange and she'd leave my room and leave me alone. I opened my mouth to do just that, and then this came out: + +"I was in jail. After the bridge blew. I was in jail for that whole time." + +The sobs that came then didn't sound like my voice. They sounded like an animal noise, maybe a donkey or some kind of big cat noise in the night. I sobbed so my throat burned and ached with it, so my chest heaved. + +Mom took me in her arms, the way she used to when I was a little boy, and she stroked my hair, and she murmured in my ear, and rocked me, and gradually, slowly, the sobs dissipated. + +I took a deep breath and Mom got me a glass of water. I sat on the edge of my bed and she sat in my desk chair and I told her everything. + +Everything. + +Well, most of it. + +1~ Chapter 16 + +_1 /{ [This chapter is dedicated to San Francisco's Booksmith,~{ Booksmith http://thebooksmith.booksense.com 1644 Haight St. San Francisco CA 94117 USA +1 415 863 8688 }~ ensconced in the storied Haight-Ashbury neighborhood, just a few doors down from the Ben and Jerry's at the exact corner of Haight and Ashbury. The Booksmith folks really know how to run an author event -- when I lived in San Francisco, I used to go down all the time to hear incredible writers speak (William Gibson was unforgettable). They also produce little baseball-card-style trading cards for each author -- I have two from my own appearances there.] }/ + +At first Mom looked shocked, then outraged, and finally she gave up altogether and just let her jaw hang open as I took her through the interrogation, pissing myself, the bag over my head, Darryl. I showed her the note. + +"Why --?" + +In that single syllable, every recrimination I'd dealt myself in the night, every moment that I'd lacked the bravery to tell the world what it was really about, why I was really fighting, what had really inspired the Xnet. + +I sucked in a breath. + +"They told me I'd go to jail if I talked about it. Not just for a few days. Forever. I was -- I was scared." + +Mom sat with me for a long time, not saying anything. Then, "What about Darryl's father?" + +She might as well have stuck a knitting needle in my chest. Darryl's father. He must have assumed that Darryl was dead, long dead. + +And wasn't he? After the DHS has held you illegally for three months, would they ever let you go? + +But Zeb got out. Maybe Darryl would get out. Maybe me and the Xnet could help get Darryl out. + +"I haven't told him," I said. + +Now Mom was crying. She didn't cry easily. It was a British thing. It made her little hiccoughing sobs much worse to hear. + +"You will tell him," she managed. "You will." + +"I will." + +"But first we have to tell your father." + +# + +Dad no longer had any regular time when he came home. Between his consulting clients -- who had lots of work now that the DHS was shopping for data-mining startups on the peninsula -- and the long commute to Berkeley, he might get home any time between 6PM and midnight. + +Tonight Mom called him and told him he was coming home /{right now}/. He said something and she just repeated it: /{right now}/. + +When he got there, we had arranged ourselves in the living room with the note between us on the coffee table. + +It was easier to tell, the second time. The secret was getting lighter. I didn't embellish, I didn't hide anything. I came clean. + +I'd heard of coming clean before but I'd never understood what it meant until I did it. Holding in the secret had dirtied me, soiled my spirit. It had made me afraid and ashamed. It had made me into all the things that Ange said I was. + +Dad sat stiff as a ramrod the whole time, his face carved of stone. When I handed him the note, he read it twice and then set it down carefully. + +He shook his head and stood up and headed for the front door. + +"Where are you going?" Mom asked, alarmed. + +"I need a walk," was all he managed to gasp, his voice breaking. + +We stared awkwardly at each other, Mom and me, and waited for him to come home. I tried to imagine what was going on in his head. He'd been such a different man after the bombings and I knew from Mom that what had changed him were the days of thinking I was dead. He'd come to believe that the terrorists had nearly killed his son and it had made him crazy. + +Crazy enough to do whatever the DHS asked, to line up like a good little sheep and let them control him, drive him. + +Now he knew that it was the DHS that had imprisoned me, the DHS that had taken San Francisco's children hostage in Gitmo-by-the-Bay. It made perfect sense, now that I thought of it. Of course it had been Treasure Island where I'd been kept. Where else was a ten-minute boat-ride from San Francisco? + +When Dad came back, he looked angrier than he ever had in his life. + +"You should have told me!" he roared. + +Mom interposed herself between him and me. "You're blaming the wrong person," she said. "It wasn't Marcus who did the kidnapping and the intimidation." + +He shook his head and stamped. "I'm not blaming Marcus. I know /{exactly}/ who's to blame. Me. Me and the stupid DHS. Get your shoes on, grab your coats." + +"Where are we going?" + +"To see Darryl's father. Then we're going to Barbara Stratford's place." + +# + +I knew the name Barbara Stratford from somewhere, but I couldn't remember where. I thought that maybe she was an old friend of my parents, but I couldn't exactly place her. + +Meantime, I was headed for Darryl's father's place. I'd never really felt comfortable around the old man, who'd been a Navy radio operator and ran his household like a tight ship. He'd taught Darryl Morse code when he was a kid, which I'd always thought was cool. It was one of the ways I knew that I could trust Zeb's letter. But for every cool thing like Morse code, Darryl's father had some crazy military discipline that seemed to be for its own sake, like insisting on hospital corners on the beds and shaving twice a day. It drove Darryl up the wall. + +Darryl's mother hadn't liked it much either, and had taken off back to her family in Minnesota when Darryl was ten -- Darryl spent his summers and Christmases there. + +I was sitting in the back of the car, and I could see the back of Dad's head as he drove. The muscles in his neck were tense and kept jumping around as he ground his jaws. + +Mom kept her hand on his arm, but no one was around to comfort me. If only I could call Ange. Or Jolu. Or Van. Maybe I would when the day was done. + +"He must have buried his son in his mind," Dad said, as we whipped up through the hairpin curves leading up Twin Peaks to the little cottage that Darryl and his father shared. The fog was on Twin Peaks, the way it often was at night in San Francisco, making the headlamps reflect back on us. Each time we swung around a corner, I saw the valleys of the city laid out below us, bowls of twinkling lights that shifted in the mist. + +"Is this the one?" + +"Yes," I said. "This is it." I hadn't been to Darryl's in months, but I'd spent enough time here over the years to recognize it right off. + +The three of us stood around the car for a long moment, waiting to see who would go and ring the doorbell. To my surprise, it was me. + +I rang it and we all waited in held-breath silence for a minute. I rang it again. Darryl's father's car was in the driveway, and we'd seen a light burning in the living room. I was about to ring a third time when the door opened. + +"Marcus?" Darryl's father wasn't anything like I remembered him. Unshaven, in a housecoat and bare feet, with long toenails and red eyes. He'd gained weight, and a soft extra chin wobbled beneath the firm military jaw. His thin hair was wispy and disordered. + +"Mr Glover," I said. My parents crowded into the door behind me. + +"Hello, Ron," my mother said. + +"Ron," my father said. + +"You too? What's going on?" + +"Can we come in?" + +# + +His living room looked like one of those news-segments they show about abandoned kids who spend a month locked in before they're rescued by the neighbors: frozen meal boxes, empty beer cans and juice bottles, moldy cereal bowls and piles of newspapers. There was a reek of cat piss and litter crunched underneath our feet. Even without the cat piss, the smell was incredible, like a bus-station toilet. + +The couch was made up with a grimy sheet and a couple of greasy pillows and the cushions had a dented, much-slept-upon look. + +We all stood there for a long silent moment, embarrassment overwhelming every other emotion. Darryl's father looked like he wanted to die. + +Slowly, he moved aside the sheets from the sofa and cleared the stacked, greasy food-trays off of a couple of the chairs, carrying them into the kitchen, and, from the sound of it, tossing them on the floor. + +We sat gingerly in the places he'd cleared, and then he came back and sat down too. + +"I'm sorry," he said vaguely. "I don't really have any coffee to offer you. I'm having more groceries delivered tomorrow so I'm running low --" + +"Ron," my father said. "Listen to us. We have something to tell you, and it's not going to be easy to hear." + +He sat like a statue as I talked. He glanced down at the note, read it without seeming to understand it, then read it again. He handed it back to me. + +He was trembling. + +"He's --" + +"Darryl is alive," I said. "Darryl is alive and being held prisoner on Treasure Island." + +He stuffed his fist in his mouth and made a horrible groaning sound. + +"We have a friend," my father said. "She writes for the /{Bay Guardian}/. An investigative reporter." + +That's where I knew the name from. The free weekly /{Guardian}/ often lost its reporters to bigger daily papers and the Internet, but Barbara Stratford had been there forever. I had a dim memory of having dinner with her when I was a kid. + +"We're going there now," my mother said. "Will you come with us, Ron? Will you tell her Darryl's story?" + +He put his face in his hands and breathed deeply. Dad tried to put his hand on his shoulders, but Mr Glover shook it off violently. + +"I need to clean myself up," he said. "Give me a minute." + +Mr Glover came back downstairs a changed man. He'd shaved and gelled his hair back, and had put on a crisp military dress uniform with a row of campaign ribbons on the breast. He stopped at the foot of the stairs and kind of gestured at it. + +"I don't have much clean stuff that's presentable at the moment. And this seemed appropriate. You know, if she wanted to take pictures." + +He and Dad rode up front and I got in the back, behind him. Up close, he smelled a little of beer, like it was coming through his pores. + +# + +It was midnight by the time we rolled into Barbara Stratford's driveway. She lived out of town, down in Mountain View, and as we sped down the 101, none of us said a word. The high-tech buildings alongside the highway streamed past us. + +This was a different Bay Area to the one I lived in, more like the suburban America I sometimes saw on TV. Lots of freeways and subdivisions of identical houses, towns where there weren't any homeless people pushing shopping carts down the sidewalk -- there weren't even sidewalks! + +Mom had phoned Barbara Stratford while we were waiting for Mr Glover to come downstairs. The journalist had been sleeping, but Mom had been so wound up she forgot to be all British and embarrassed about waking her up. Instead, she just told her, tensely, that she had something to talk about and that it had to be in person. + +When we rolled up to Barbara Stratford's house, my first thought was of the Brady Bunch place -- a low ranch house with a brick baffle in front of it and a neat, perfectly square lawn. There was a kind of abstract tile pattern on the baffle, and an old-fashioned UHF TV antenna rising from behind it. We wandered around to the entrance and saw that there were lights on inside already. + +The writer opened the door before we had a chance to ring the bell. She was about my parents' age, a tall thin woman with a hawk-like nose and shrewd eyes with a lot of laugh-lines. She was wearing a pair of jeans that were hip enough to be seen at one of the boutiques on Valencia Street, and a loose Indian cotton blouse that hung down to her thighs. She had small round glasses that flashed in her hallway light. + +She smiled a tight little smile at us. + +"You brought the whole clan, I see," she said. + +Mom nodded. "You'll understand why in a minute," she said. Mr Glover stepped from behind Dad. + +"And you called in the Navy?" + +"All in good time." + +We were introduced one at a time to her. She had a firm handshake and long fingers. + +Her place was furnished in Japanese minimalist style, just a few precisely proportioned, low pieces of furniture, large clay pots of bamboo that brushed the ceiling, and what looked like a large, rusted piece of a diesel engine perched on top of a polished marble plinth. I decided I liked it. The floors were old wood, sanded and stained, but not filled, so you could see cracks and pits underneath the varnish. I /{really}/ liked that, especially as I walked over it in my stocking feet. + +"I have coffee on," she said. "Who wants some?" + +We all put up our hands. I glared defiantly at my parents. + +"Right," she said. + +She disappeared into another room and came back a moment later bearing a rough bamboo tray with a half-gallon thermos jug and six cups of precise design but with rough, sloppy decorations. I liked those too. + +"Now," she said, once she'd poured and served. "It's very good to see you all again. Marcus, I think the last time I saw you, you were maybe seven years old. As I recall, you were very excited about your new video games, which you showed me." + +I didn't remember it at all, but that sounded like what I'd been into at seven. I guessed it was my Sega Dreamcast. + +She produced a tape-recorder and a yellow pad and a pen, and twirled the pen. "I'm here to listen to whatever you tell me, and I can promise you that I'll take it all in confidence. But I can't promise that I'll do anything with it, or that it's going to get published." The way she said it made me realize that my Mom had called in a pretty big favor getting this lady out of bed, friend or no friend. It must be kind of a pain in the ass to be a big-shot investigative reporter. There were probably a million people who would have liked her to take up their cause. + +Mom nodded at me. Even though I'd told the story three times that night, I found myself tongue-tied. This was different from telling my parents. Different from telling Darryl's father. This -- this would start a new move in the game. + +I started slowly, and watched Barbara take notes. I drank a whole cup of coffee just explaining what ARGing was and how I got out of school to play. Mom and Dad and Mr Glover all listened intently to this part. I poured myself another cup and drank it on the way to explaining how we were taken in. By the time I'd run through the whole story, I'd drained the pot and I needed a piss like a race-horse. + +Her bathroom was just as stark as the living-room, with a brown, organic soap that smelled like clean mud. I came back in and found the adults quietly watching me. + +Mr Glover told his story next. He didn't have anything to say about what had happened, but he explained that he was a veteran and that his son was a good kid. He talked about what it felt like to believe that his son had died, about how his ex-wife had had a collapse when she found out and ended up in a hospital. He cried a little, unashamed, the tears streaming down his lined face and darkening the collar of his dress-uniform. + +When it was all done, Barbara went into a different room and came back with a bottle of Irish whiskey. "It's a Bushmills 15 year old rum-cask aged blend," she said, setting down four small cups. None for me. "It hasn't been sold in ten years. I think this is probably an appropriate time to break it out." + +She poured them each a small glass of the liquor, then raised hers and sipped at it, draining half the glass. The rest of the adults followed suit. They drank again, and finished the glasses. She poured them new shots. + +"All right," she said. "Here's what I can tell you right now. I believe you. Not just because I know you, Lillian. The story sounds right, and it ties in with other rumors I've heard. But I'm not going to be able to just take your word for it. I'm going to have to investigate every aspect of this, and every element of your lives and stories. I need to know if there's anything you're not telling me, anything that could be used to discredit you after this comes to light. I need everything. It could take weeks before I'm ready to publish. + +"You also need to think about your safety and this Darryl's safety. If he's really an 'un-person' then bringing pressure to bear on the DHS could cause them to move him somewhere much further away. Think Syria. They could also do something much worse." She let that hang in the air. I knew she meant that they might kill him. + +"I'm going to take this letter and scan it now. I want pictures of the two of you, now and later -- we can send out a photographer, but I want to document this as thoroughly as I can tonight, too." + +I went with her into her office to do the scan. I'd expected a stylish, low-powered computer that fit in with her decor, but instead, her spare-bedroom/office was crammed with top-of-the-line PCs, big flat-panel monitors, and a scanner big enough to lay a whole sheet of newsprint on. She was fast with it all, too. I noted with some approval that she was running ParanoidLinux. This lady took her job seriously. + +The computers' fans set up an effective white-noise shield, but even so, I closed the door and moved in close to her. + +"Um, Barbara?" + +"Yes?" + +"About what you said, about what might be used to discredit me?" + +"Yes?" + +"What I tell you, you can't be forced to tell anyone else, right?" + +"In theory. Let me put it this way. I've gone to jail twice rather than rat out a source." + +"OK, OK. Good. Wow. Jail. Wow. OK." I took a deep breath. "You've heard of Xnet? Of M1k3y?" + +"Yes?" + +"I'm M1k3y." + +"Oh," she said. She worked the scanner and flipped the note over to get the reverse. She was scanning at some unbelievable resolution, 10,000 dots per inch or higher, and on-screen it was like the output of an electron-tunneling microscope. + +"Well, that does put a different complexion on this." + +"Yeah," I said. "I guess it does." + +"Your parents don't know." + +"Nope. And I don't know if I want them to." + +"That's something you're going to have to work out. I need to think about this. Can you come by my office? I'd like to talk to you about what this means, exactly." + +"Do you have an Xbox Universal? I could bring over an installer." + +"Yes, I'm sure that can be arranged. When you come by, tell the receptionist that you're Mr Brown, to see me. They know what that means. No note will be taken of you coming, and all the security camera footage for the day will be automatically scrubbed and the cameras deactivated until you leave." + +"Wow," I said. "You think like I do." + +She smiled and socked me in the shoulder. "Kiddo, I've been at this game for a hell of a long time. So far, I've managed to spend more time free than behind bars. Paranoia is my friend." + +# + +I was like a zombie the next day in school. I'd totaled about three hours of sleep, and even three cups of the Turk's caffeine mud failed to jump-start my brain. The problem with caffeine is that it's too easy to get acclimated to it, so you have to take higher and higher doses just to get above normal. + +I'd spent the night thinking over what I had to do. It was like running though a maze of twisty little passages, all alike, every one leading to the same dead end. When I went to Barbara, it would be over for me. That was the outcome, no matter how I thought about it. + +By the time the school day was over, all I wanted was to go home and crawl into bed. But I had an appointment at the /{Bay Guardian}/, down on the waterfront. I kept my eyes on my feet as I wobbled out the gate, and as I turned into 24th Street, another pair of feet fell into step with me. I recognized the shoes and stopped. + +"Ange?" + +She looked like I felt. Sleep-deprived and raccoon-eyed, with sad brackets in the corners of her mouth. + +"Hi there," she said. "Surprise. I gave myself French Leave from school. I couldn't concentrate anyway." + +"Um," I said. + +"Shut up and give me a hug, you idiot." + +I did. It felt good. Better than good. It felt like I'd amputated part of myself and it had been reattached. + +"I love you, Marcus Yallow." + +"I love you, Angela Carvelli." + +"OK," she said breaking it off. "I liked your post about why you're not jamming. I can respect it. What have you done about finding a way to jam them without getting caught?" + +"I'm on my way to meet an investigative journalist who's going to publish a story about how I got sent to jail, how I started Xnet, and how Darryl is being illegally held by the DHS at a secret prison on Treasure Island." + +"Oh." She looked around for a moment. "Couldn't you think of anything, you know, ambitious?" + +"Want to come?" + +"I am coming, yes. And I would like you to explain this in detail if you don't mind." + +After all the re-tellings, this one, told as we walked to Potrero Avenue and down to 15th Street, was the easiest. She held my hand and squeezed it often. + +We took the stairs up to the /{Bay Guardian}/'s offices two at a time. My heart was pounding. I got to the reception desk and told the bored girl behind it, "I'm here to see Barbara Stratford. My name is Mr Green." + +"I think you mean Mr Brown?" + +"Yeah," I said, and blushed. "Mr Brown." + +She did something at her computer, then said, "Have a seat. Barbara will be out in a minute. Can I get you anything?" + +"Coffee," we both said in unison. Another reason to love Ange: we were addicted to the same drug. + +The receptionist -- a pretty latina woman only a few years older than us, dressed in Gap styles so old they were actually kind of hipster-retro -- nodded and stepped out and came back with a couple of cups bearing the newspaper's masthead. + +We sipped in silence, watching visitors and reporters come and go. Finally, Barbara came to get us. She was wearing practically the same thing as the night before. It suited her. She quirked an eyebrow at me when she saw that I'd brought a date. + +"Hello," I said. "Um, this is --" + +"Ms Brown," Ange said, extending a hand. Oh, yeah, right, our identities were supposed to be a secret. "I work with Mr Green." She elbowed me lightly. + +"Let's go then," Barbara said, and led us back to a board-room with long glass walls with their blinds drawn shut. She set down a tray of Whole Foods organic Oreo clones, a digital recorder, and another yellow pad. + +"Do you want to record this too?" she asked. + +Hadn't actually thought of that. I could see why it would be useful if I wanted to dispute what Barbara printed, though. Still, if I couldn't trust her to do right by me, I was doomed anyway. + +"No, that's OK," I said. + +"Right, let's go. Young lady, my name is Barbara Stratford and I'm an investigative reporter. I gather you know why I'm here, and I'm curious to know why you're here." + +"I work with Marcus on the Xnet," she said. "Do you need to know my name?" + +"Not right now, I don't," Barbara said. "You can be anonymous if you'd like. Marcus, I asked you to tell me this story because I need to know how it plays with the story you told me about your friend Darryl and the note you showed me. I can see how it would be a good adjunct; I could pitch this as the origin of the Xnet. 'They made an enemy they'll never forget,' that sort of thing. But to be honest, I'd rather not have to tell that story if I don't have to. + +"I'd rather have a nice clean tale about the secret prison on our doorstep, without having to argue about whether the prisoners there are the sort of people likely to walk out the doors and establish an underground movement bent on destabilizing the federal government. I'm sure you can understand that." + +I did. If the Xnet was part of the story, some people would say, see, they need to put guys like that in jail or they'll start a riot. + +"This is your show," I said. "I think you need to tell the world about Darryl. When you do that, it's going to tell the DHS that I've gone public and they're going to go after me. Maybe they'll figure out then that I'm involved with the Xnet. Maybe they'll connect me to M1k3y. I guess what I'm saying is, once you publish about Darryl, it's all over for me no matter what. I've made my peace with that." + +"As good be hanged for a sheep as a lamb," she said. "Right. Well, that's settled. I want the two of you to tell me everything you can about the founding and operation of the Xnet, and then I want a demonstration. What do you use it for? Who else uses it? How did it spread? Who wrote the software? Everything." + +"This'll take a while," Ange said. + +"I've got a while," Barbara said. She drank some coffee and ate a fake Oreo. "This could be the most important story of the War on Terror. This could be the story that topples the government. When you have a story like this, you take it very carefully." + +1~ Chapter 17 + +_1 /{ [This chapter is dedicated to Waterstone's,~{ Waterstones http://www.waterstones.com }~ the national UK bookselling chain. Waterstone's is a chain of stores, but each one has the feel of a great independent store, with tons of personality, great stock (especially audiobooks!), and knowledgeable staff.] }/ + +So we told her. I found it really fun, actually. Teaching people how to use technology is always exciting. It's so cool to watch people figure out how the technology around them can be used to make their lives better. Ange was great too -- we made an excellent team. We'd trade off explaining how it all worked. Barbara was pretty good at this stuff to begin with, of course. + +It turned out that she'd covered the crypto wars, the period in the early nineties when civil liberties groups like the Electronic Frontier Foundation fought for the right of Americans to use strong crypto. I dimly knew about that period, but Barbara explained it in a way that made me get goose-pimples. + +It's unbelievable today, but there was a time when the government classed crypto as a munition and made it illegal for anyone to export or use it on national security grounds. Get that? We used to have illegal /{math}/ in this country. + +The National Security Agency were the real movers behind the ban. They had a crypto standard that they said was strong enough for bankers and their customers to use, but not so strong that the mafia would be able to keep its books secret from them. The standard, DES-56, was said to be practically unbreakable. Then one of EFF's millionaire co-founders built a $250,000 DES-56 cracker that could break the cipher in two hours. + +Still the NSA argued that it should be able to keep American citizens from possessing secrets it couldn't pry into. Then EFF dealt its death-blow. In 1995, they represented a Berkeley mathematics grad student called Dan Bernstein in court. Bernstein had written a crypto tutorial that contained computer code that could be used to make a cipher stronger than DES-56. Millions of times stronger. As far as the NSA was concerned, that made his article into a weapon, and therefore unpublishable. + +Well, it may be hard to get a judge to understand crypto and what it means, but it turned out that the average Appeals Court judge isn't real enthusiastic about telling grad students what kind of articles they're allowed to write. The crypto wars ended with a victory for the good guys when the 9th Circuit Appellate Division Court ruled that code was a form of expression protected under the First Amendment -- "Congress shall make no law abridging the freedom of speech." If you've ever bought something on the Internet, or sent a secret message, or checked your bank-balance, you used crypto that EFF legalized. Good thing, too: the NSA just isn't that smart. Anything they know how to crack, you can be sure that terrorists and mobsters can get around too. + +Barbara had been one of the reporters who'd made her reputation from covering the issue. She'd cut her teeth covering the tail end of the civil rights movement in San Francisco, and she recognized the similarity between the fight for the Constitution in the real world and the fight in cyberspace. + +So she got it. I don't think I could have explained this stuff to my parents, but with Barbara it was easy. She asked smart questions about our cryptographic protocols and security procedures, sometimes asking stuff I didn't know the answer to -- sometimes pointing out potential breaks in our procedure. + +We plugged in the Xbox and got it online. There were four open WiFi nodes visible from the board room and I told it to change between them at random intervals. She got this too -- once you were actually plugged into the Xnet, it was just like being on the Internet, only some stuff was a little slower, and it was all anonymous and unsniffable. + +"So now what?" I said as we wound down. I'd talked myself dry and I had a terrible acid feeling from the coffee. Besides, Ange kept squeezing my hand under the table in a way that made me want to break away and find somewhere private to finish making up for our first fight. + +"Now I do journalism. You go away and I research all the things you've told me and try to confirm them to the extent that I can. I'll let you see what I'm going to publish and I'll let you know when it's going to go live. I'd prefer that you /{not}/ talk about this with anyone else now, because I want the scoop and because I want to make sure that I get the story before it goes all muddy from press speculation and DHS spin. + +"I /{will}/ have to call the DHS for comment before I go to press, but I'll do that in a way that protects you to whatever extent possible. I'll also be sure to let you know before that happens. + +"One thing I need to be clear on: this isn't your story anymore. It's mine. You were very generous to give it to me and I'll try to repay the gift, but you don't get the right to edit anything out, to change it, or to stop me. This is now in motion and it won't stop. Do you understand that?" + +I hadn't thought about it in those terms but once she said it, it was obvious. It meant that I had launched and I wouldn't be able to recall the rocket. It was going to fall where it was aimed, or it would go off course, but it was in the air and couldn't be changed now. Sometime in the near future, I would stop being Marcus -- I would be a public figure. I'd be the guy who blew the whistle on the DHS. + +I'd be a dead man walking. + +I guess Ange was thinking along the same lines, because she'd gone a color between white and green. + +"Let's get out of here," she said. + +# + +Ange's mom and sister were out again, which made it easy to decide where we were going for the evening. It was past supper time, but my parents had known that I was meeting with Barbara and wouldn't give me any grief if I came home late. + +When we got to Ange's, I had no urge to plug in my Xbox. I had had all the Xnet I could handle for one day. All I could think about was Ange, Ange, Ange. Living without Ange. Knowing Ange was angry with me. Ange never going to talk to me again. Ange never going to kiss me again. + +She'd been thinking the same. I could see it in her eyes as we shut the door to her bedroom and looked at each other. I was hungry for her, like you'd hunger for dinner after not eating for days. Like you'd thirst for a glass of water after playing soccer for three hours straight. + +Like none of that. It was more. It was something I'd never felt before. I wanted to eat her whole, devour her. + +Up until now, she'd been the sexual one in our relationship. I'd let her set and control the pace. It was amazingly erotic to have /{her}/ grab /{me}/ and take off my shirt, drag my face to hers. + +But tonight I couldn't hold back. I wouldn't hold back. + +The door clicked shut and I reached for the hem of her t-shirt and yanked, barely giving her time to lift her arms as I pulled it over her head. I tore my own shirt over my head, listening to the cotton crackle as the stitches came loose. + +Her eyes were shining, her mouth open, her breathing fast and shallow. Mine was too, my breath and my heart and my blood all roaring in my ears. + +I took off the rest of our clothes with equal zest, throwing them into the piles of dirty and clean laundry on the floor. There were books and papers all over the bed and I swept them aside. We landed on the unmade bedclothes a second later, arms around one another, squeezing like we would pull ourselves right through one another. She moaned into my mouth and I made the sound back, and I felt her voice buzz in my vocal chords, a feeling more intimate than anything I'd ever felt before. + +She broke away and reached for the bedstand. She yanked open the drawer and threw a white pharmacy bag on the bed before me. I looked inside. Condoms. Trojans. One dozen spermicidal. Still sealed. I smiled at her and she smiled back and I opened the box. + +# + +I'd thought about what it would be like for years. A hundred times a day I'd imagined it. Some days, I'd thought of practically nothing else. + +It was nothing like I expected. Parts of it were better. Parts of it were lots worse. While it was going on, it felt like an eternity. Afterwards, it seemed to be over in the blink of an eye. + +Afterwards, I felt the same. But I also felt different. Something had changed between us. + +It was weird. We were both shy as we put our clothes on and puttered around the room, looking away, not meeting each other's eyes. I wrapped the condom in a kleenex from a box beside the bed and took it into the bathroom and wound it with toilet paper and stuck it deep into the trash-can. + +When I came back in, Ange was sitting up in bed and playing with her Xbox. I sat down carefully beside her and took her hand. She turned to face me and smiled. We were both worn out, trembly. + +"Thanks," I said. + +She didn't say anything. She turned her face to me. She was grinning hugely, but fat tears were rolling down her cheeks. + +I hugged her and she grabbed tightly onto me. "You're a good man, Marcus Yallow," she whispered. "Thank you." + +I didn't know what to say, but I squeezed her back. Finally, we parted. She wasn't crying any more, but she was still smiling. + +She pointed at my Xbox, on the floor beside the bed. I took the hint. I picked it up and plugged it in and logged in. + +Same old same old. Lots of email. The new posts on the blogs I read streamed in. Spam. God did I get a lot of spam. My Swedish mailbox was repeatedly "joe-jobbed" -- used as the return address for spams sent to hundreds of millions of Internet accounts, so that all the bounces and angry messages came back to me. I didn't know who was behind it. Maybe the DHS trying to overwhelm my mailbox. Maybe it was just people pranking. The Pirate Party had pretty good filters, though, and they gave anyone who wanted it 500 gigabytes of email storage, so I wasn't likely to be drowned any time soon. + +I filtered it all out, hammering on the delete key. I had a separate mailbox for stuff that came in encrypted to my public key, since that was likely to be Xnet-related and possibly sensitive. Spammers hadn't figured out that using public keys would make their junk mail more plausible yet, so for now this worked well. + +There were a couple dozen encrypted messages from people in the web of trust. I skimmed them -- links to videos and pics of new abuses from the DHS, horror stories about near-escapes, rants about stuff I'd blogged. The usual. + +Then I came to one that was only encrypted to my public key. That meant that no one else could read it, but I had no idea who had written it. It said it came from Masha, which could either be a handle or a name -- I couldn't tell which. + +> M1k3y + +> You don't know me, but I know you. + +> I was arrested the day that the bridge blew. They questioned me. They decided I was innocent. They offered me a job: help them hunt down the terrorists who'd killed my neighbors. + +> It sounded like a good deal at the time. Little did I realize that my actual job would turn out to be spying on kids who resented their city being turned into a police state. + +> I infiltrated Xnet on the day it launched. I am in your web of trust. If I wanted to spill my identity, I could send you email from an address you'd trust. Three addresses, actually. I'm totally inside your network as only another 17-year-old can be. Some of the email you've gotten has been carefully chosen misinformation from me and my handlers. + +> They don't know who you are, but they're coming close. They continue to turn people, to compromise them. They mine the social network sites and use threats to turn kids into informants. There are hundreds of people working for the DHS on Xnet right now. I have their names, handles and keys. Private and public. + +> Within days of the Xnet launch, we went to work on exploiting ParanoidLinux. The exploits so far have been small and insubstantial, but a break is inevitable. Once we have a zero-day break, you're dead. + +> I think it's safe to say that if my handlers knew that I was typing this, my ass would be stuck in Gitmo-by-the-Bay until I was an old woman. + +> Even if they don't break ParanoidLinux, there are poisoned ParanoidXbox distros floating around. They don't match the checksums, but how many people look at the checksums? Besides me and you? Plenty of kids are already dead, though they don't know it. + +> All that remains is for my handlers to figure out the best time to bust you to make the biggest impact in the media. That time will be sooner, not later. Believe. + +> You're probably wondering why I'm telling you this. + +> I am too. + +> Here's where I come from. I signed up to fight terrorists. Instead, I'm spying on Americans who believe things that the DHS doesn't like. Not people who plan on blowing up bridges, but protestors. I can't do it anymore. + +> But neither can you, whether or not you know it. Like I say, it's only a matter of time until you're in chains on Treasure Island. That's not if, that's when. + +> So I'm through here. Down in Los Angeles, there are some people. They say they can keep me safe if I want to get out. + +> I want to get out. + +> I will take you with me, if you want to come. Better to be a fighter than a martyr. If you come with me, we can figure out how to win together. I'm as smart as you. Believe. + +> What do you say? + +> Here's my public key. + +> Masha + +# + +When in trouble or in doubt, run in circles, scream and shout. + +Ever hear that rhyme? It's not good advice, but at least it's easy to follow. I leapt off the bed and paced back and forth. My heart thudded and my blood sang in a cruel parody of the way I'd felt when we got home. This wasn't sexual excitement, it was raw terror. + +"What?" Ange said. "What?" + +I pointed at the screen on my side of the bed. She rolled over and grabbed my keyboard and scribed on the touchpad with her fingertip. She read in silence. + +I paced. + +"This has to be lies," she said. "The DHS is playing games with your head." + +I looked at her. She was biting her lip. She didn't look like she believed it. + +"You think?" + +"Sure. They can't beat you, so they're coming after you using Xnet." + +"Yeah." + +I sat back down on the bed. I was breathing fast again. + +"Chill out," she said. "It's just head-games. Here." + +She never took my keyboard from me before, but now there was a new intimacy between us. She hit reply and typed, + +> Nice try. + +She was writing as M1k3y now, too. We were together in a way that was different from before. + +"Go ahead and sign it. We'll see what she says." + +I didn't know if that was the best idea, but I didn't have any better ones. I signed it and encrypted it with my private key and the public key Masha had provided. + +The reply was instant. + +> I thought you'd say something like that. + +> Here's a hack you haven't thought of. I can anonymously tunnel video over DNS. Here are some links to clips you might want to look at before you decide I'm full of it. These people are all recording each other, all the time, as insurance against a back-stab. It's pretty easy to snoop off them as they snoop on each other. + +> Masha + +Attached was source-code for a little program that appeared to do exactly what Masha claimed: pull video over the Domain Name Service protocol. + +Let me back up a moment here and explain something. At the end of the day, every Internet protocol is just a sequence of text sent back and forth in a prescribed order. It's kind of like getting a truck and putting a car in it, then putting a motorcycle in the car's trunk, then attaching a bicycle to the back of the motorcycle, then hanging a pair of Rollerblades on the back of the bike. Except that then, if you want, you can attach the truck to the Rollerblades. + +For example, take Simple Mail Transport Protocol, or SMTP, which is used for sending email. + +Here's a sample conversation between me and my mail server, sending a message to myself: + +> HELO littlebrother.com.se + +250 mail.pirateparty.org.se Hello mail.pirateparty.org.se, pleased to meet you + +> MAIL FROM:m1k3y@littlebrother.com.se + +250 2.1.0 m1k3y@littlebrother.com.se... Sender ok + +> RCPT TO:m1k3y@littlebrother.com.se + +250 2.1.5 m1k3y@littlebrother.com.se... Recipient ok + +> DATA + +354 Enter mail, end with "." on a line by itself + +> When in trouble or in doubt, run in circles, scream and shout + +> . + +250 2.0.0 k5SMW0xQ006174 Message accepted for delivery + +QUIT + +221 2.0.0 mail.pirateparty.org.se closing connection + +Connection closed by foreign host. + +This conversation's grammar was defined in 1982 by Jon Postel, one of the Internet's heroic forefathers, who used to literally run the most important servers on the net under his desk at the University of Southern California, back in the paleolithic era. + +Now, imagine that you hooked up a mail-server to an IM session. You could send an IM to the server that said "HELO littlebrother.com.se" and it would reply with "250 mail.pirateparty.org.se Hello mail.pirateparty.org.se, pleased to meet you." In other words, you could have the same conversation over IM as you do over SMTP. With the right tweaks, the whole mail-server business could take place inside of a chat. Or a web-session. Or anything else. + +This is called "tunneling." You put the SMTP inside a chat "tunnel." You could then put the chat back into an SMTP tunnel if you wanted to be really weird, tunneling the tunnel in another tunnel. + +In fact, every Internet protocol is susceptible to this process. It's cool, because it means that if you're on a network with only Web access, you can tunnel your mail over it. You can tunnel your favorite P2P over it. You can even tunnel Xnet -- which itself is a tunnel for dozens of protocols -- over it. + +Domain Name Service is an interesting and ancient Internet protocol, dating back to 1983. It's the way that your computer converts a computer's name -- like pirateparty.org.se -- to the IP number that computers actually use to talk to each other over the net, like 204.11.50.136. It generally works like magic, even though it's got millions of moving parts -- every ISP runs a DNS server, as do most governments and lots of private operators. These DNS boxes all talk to each other all the time, making and filling requests to each other so no matter how obscure the name is you feed to your computer, it will be able to turn it into a number. + +Before DNS, there was the HOSTS file. Believe it or not, this was a single document that listed the name and address of /{every single computer}/ connected to the Internet. Every computer had a copy of it. This file was eventually too big to move around, so DNS was invented, and ran on a server that used to live under Jon Postel's desk. If the cleaners knocked out the plug, the entire Internet lost its ability to find itself. Seriously. + +The thing about DNS today is that it's everywhere. Every network has a DNS server living on it, and all of those servers are configured to talk to each other and to random people all over the Internet. + +What Masha had done was figure out a way to tunnel a video-streaming system over DNS. She was breaking up the video into billions of pieces and hiding each of them in a normal message to a DNS server. By running her code, I was able to pull the video from all those DNS servers, all over the Internet, at incredible speed. It must have looked bizarre on the network histograms, like I was looking up the address of every computer in the world. + +But it had two advantages I appreciated at once: I was able to get the video with blinding speed -- as soon as I clicked the first link, I started to receive full-screen pictures, without any jitter or stuttering -- and I had no idea where it was hosted. It was totally anonymous. + +At first I didn't even clock the content of the video. I was totally floored by the cleverness of this hack. Streaming video from DNS? That was so smart and weird, it was practically /{perverted}/. + +Gradually, what I was seeing began to sink in. + +It was a board-room table in a small room with a mirror down one wall. I knew that room. I'd sat in that room, while Severe-Haircut woman had made me speak my password aloud. There were five comfortable chairs around the table, each with a comfortable person, all in DHS uniform. I recognized Major General Graeme Sutherland, the DHS Bay Area commander, along with Severe Haircut. The others were new to me. They all watched a video screen at the end of the table, on which there was an infinitely more familiar face. + +Kurt Rooney was known nationally as the President's chief strategist, the man who returned the party for its third term, and who was steaming towards a fourth. They called him "Ruthless" and I'd seen a news report once about how tight a rein he kept his staffers on, calling them, IMing them, watching their every motion, controlling every step. He was old, with a lined face and pale gray eyes and a flat nose with broad, flared nostrils and thin lips, a man who looked like he was smelling something bad all the time. + +He was the man on the screen. He was talking, and everyone else was focused on his screen, everyone taking notes as fast as they could type, trying to look smart. + +"-- say that they're angry with authority, but we need to show the country that it's terrorists, not the government, that they need to blame. Do you understand me? The nation does not love that city. As far as they're concerned, it is a Sodom and Gomorrah of fags and atheists who deserve to rot in hell. The only reason the country cares what they think in San Francisco is that they had the good fortune to have been blown to hell by some Islamic terrorists. + +"These Xnet children are getting to the point where they might start to be useful to us. The more radical they get, the more the rest of the nation understands that there are threats everywhere." + +His audience finished typing. + +"We can control that, I think," Severe Haircut Lady said. "Our people in the Xnet have built up a lot of influence. The Manchurian Bloggers are running as many as fifty blogs each, flooding the chat channels, linking to each other, mostly just taking the party line set by this M1k3y. But they've already shown that they can provoke radical action, even when M1k3y is putting the brakes on." + +Major General Sutherland nodded. "We have been planning to leave them underground until about a month before the midterms." I guessed that meant the mid-term elections, not my exams. "That's per the original plan. But it sounds like --" + +"We've got another plan for the midterms," Rooney said. "Need-to-know, of course, but you should all probably not plan on traveling for the month before. Cut the Xnet loose now, as soon as you can. So long as they're moderates, they're a liability. Keep them radical." + +The video cut off. + +Ange and I sat on the edge of the bed, looking at the screen. Ange reached out and started the video again. We watched it. It was worse the second time. + +I tossed the keyboard aside and got up. + +"I am /{so sick}/ of being scared," I said. "Let's take this to Barbara and have her publish it all. Put it all on the net. Let them take me away. At least I'll know what's going to happen then. At least then I'll have a little /{certainty}/ in my life." + +Ange grabbed me and hugged me, soothed me. "I know baby, I know. It's all terrible. But you're focusing on the bad stuff and ignoring the good stuff. You've created a movement. You've outflanked the jerks in the White House, the crooks in DHS uniforms. You've put yourself in a position where you could be responsible for blowing the lid off of the entire rotten DHS thing. + +"Sure they're out to get you. Course they are. Have you ever doubted it for a moment? I always figured they were. But Marcus, /{they don't know who you are}/. Think about that. All those people, money, guns and spies, and you, a seventeen year old high school kid -- you're still beating them. They don't know about Barbara. They don't know about Zeb. You've jammed them in the streets of San Francisco and humiliated them before the world. So stop moping, all right? You're winning." + +"They're coming for me, though. You see that. They're going to put me in jail forever. Not even jail. I'll just disappear, like Darryl. Maybe worse. Maybe Syria. Why leave me in San Francisco? I'm a liability as long as I'm in the USA." + +She sat down on the bed with me. + +"Yeah," she said. "That." + +"That." + +"Well, you know what you have to do, right?" + +"What?" She looked pointedly at my keyboard. I could see the tears rolling down her cheeks. "No! You're out of your mind. You think I'm going to run off with some nut off the Internet? Some spy?" + +"You got a better idea?" + +I kicked a pile of her laundry into the air. "Whatever. Fine. I'll talk to her some more." + +"You talk to her," Ange said. "You tell her you and your girlfriend are getting out." + +"What?" + +"Shut up, dickhead. You think you're in danger? I'm in just as much danger, Marcus. It's called guilt by association. When you go, I go." She had her jaw thrust out at a mutinous angle. "You and I -- we're together now. You have to understand that." + +We sat down on the bed together. + +"Unless you don't want me," she said, finally, in a small voice. + +"You're kidding me, right?" + +"Do I look like I'm kidding?" + +"There's no way I would voluntarily go without you, Ange. I could never have asked you to come, but I'm ecstatic that you offered." + +She smiled and tossed me my keyboard. + +"Email this Masha creature. Let's see what this chick can do for us." + +I emailed her, encrypting the message, waiting for a reply. Ange nuzzled me a little and I kissed her and we necked. Something about the danger and the pact to go together -- it made me forget the awkwardness of having sex, made me freaking horny as hell. + +We were half naked again when Masha's email arrived. + +> Two of you? Jesus, like it won't be hard enough already. + +> I don't get to leave except to do field intelligence after a big Xnet hit. You get me? The handlers watch my every move, but I go off the leash when something big happens with Xnetters. I get sent into the field then. + +> You do something big. I get sent to it. I get us both out. All three of us, if you insist. + +> Make it fast, though. I can't send you a lot of email, understand? They watch me. They're closing in on you. You don't have a lot of time. Weeks? Maybe just days. + +> I need you to get me out. That's why I'm doing this, in case you're wondering. I can't escape on my own. I need a big Xnet distraction. That's your department. Don't fail me, M1k3y, or we're both dead. Your girlie too. + +> Masha + +My phone rang, making us both jump. It was my mom wanting to know when I was coming home. I told her I was on my way. She didn't mention Barbara. We'd agreed that we wouldn't talk about any of this stuff on the phone. That was my dad's idea. He could be as paranoid as me. + +"I have to go," I said. + +"Our parents will be --" + +"I know," I said. "I saw what happened to my parents when they thought I was dead. Knowing that I'm a fugitive isn't going to be much better. But they'd rather I be a fugitive than a prisoner. That's what I think. Anyway, once we disappear, Barbara can publish without worrying about getting us into trouble." + +We kissed at the door of her room. Not one of the hot, sloppy numbers we usually did when parting ways. A sweet kiss this time. A slow kiss. A goodbye kind of kiss. + +# + +BART rides are introspective. When the train rocks back and forth and you try not to make eye contact with the other riders and you try not to read the ads for plastic surgery, bail bondsmen and AIDS testing, when you try to ignore the graffiti and not look too closely at the stuff in the carpeting. That's when your mind starts to really churn and churn. + +You rock back and forth and your mind goes over all the things you've overlooked, plays back all the movies of your life where you're no hero, where you're a chump or a sucker. + +Your brain comes up with theories like this one: + +/{If the DHS wanted to catch M1k3y, what better way than to lure him into the open, panic him into leading some kind of big, public Xnet event? Wouldn't that be worth the chance of a compromising video leaking?}/ + +Your brain comes up with stuff like that even when the train ride only lasts two or three stops. When you get off, and you start moving, the blood gets running and sometimes your brain helps you out again. + +Sometimes your brain gives you solutions in addition to problems. + +1~ Chapter 18 + +_1 /{ [This chapter is dedicated to Vancouver's multilingual Sophia Books,~{ Sophia Books http://www.sophiabooks.com/ 450 West Hastings St., Vancouver, BC Canada V6B1L1 +1 604 684 0484 }~ a diverse and exciting store filled with the best of the strange and exciting pop culture worlds of many lands. Sophia was around the corner from my hotel when I went to Van to give a talk at Simon Fraser University, and the Sophia folks emailed me in advance to ask me to drop in and sign their stock while I was in the neighborhood. When I got there, I discovered a treasure-trove of never-before-seen works in a dizzying array of languages, from graphic novels to thick academic treatises, presided over by good-natured (even slapstick) staff who so palpably enjoyed their jobs that it spread to every customer who stepped through the door.] }/ + +There was a time when my favorite thing in the world was putting on a cape and hanging out in hotels, pretending to be an invisible vampire whom everyone stared at. + +It's complicated, and not nearly as weird as it sounds. The Live Action Role Playing scene combines the best aspects of D&D with drama club with going to sci-fi cons. + +I understand that this might not make it sound as appealing to you as it was to me when I was 14. + +The best games were the ones at the Scout Camps out of town: a hundred teenagers, boys and girls, fighting the Friday night traffic, swapping stories, playing handheld games, showing off for hours. Then debarking to stand in the grass before a group of older men and women in bad-ass, home-made armor, dented and scarred, like armor must have been in the old days, not like it's portrayed in the movies, but like a soldier's uniform after a month in the bush. + +These people were nominally paid to run the games, but you didn't get the job unless you were the kind of person who'd do it for free. They'd have already divided us into teams based on the questionnaires we'd filled in beforehand, and we'd get our team assignments then, like being called up for baseball sides. + +Then you'd get your briefing packages. These were like the briefings the spies get in the movies: here's your identity, here's your mission, here's the secrets you know about the group. + +From there, it was time for dinner: roaring fires, meat popping on spits, tofu sizzling on skillets (it's northern California, a vegetarian option is not optional), and a style of eating and drinking that can only be described as quaffing. + +Already, the keen kids would be getting into character. My first game, I was a wizard. I had a bag of beanbags that represented spells -- when I threw one, I would shout the name of the spell I was casting -- fireball, magic missile, cone of light -- and the player or "monster" I threw it at would keel over if I connected. Or not -- sometimes we had to call in a ref to mediate, but for the most part, we were all pretty good about playing fair. No one liked a dice lawyer. + +By bedtime, we were all in character. At 14, I wasn't super-sure what a wizard was supposed to sound like, but I could take my cues from the movies and novels. I spoke in slow, measured tones, keeping my face composed in a suitably mystical expression, and thinking mystical thoughts. + +The mission was complicated, retrieving a sacred relic that had been stolen by an ogre who was bent on subjugating the people of the land to his will. It didn't really matter a whole lot. What mattered was that I had a private mission, to capture a certain kind of imp to serve as my familiar, and that I had a secret nemesis, another player on the team who had taken part in a raid that killed my family when I was a boy, a player who didn't know that I'd come back, bent on revenge. Somewhere, of course, there was another player with a similar grudge against me, so that even as I was enjoying the camaraderie of the team, I'd always have to keep an eye open for a knife in the back, poison in the food. + +For the next two days, we played it out. There were parts of the weekend that were like hide-and-seek, some that were like wilderness survival exercises, some that were like solving crossword puzzles. The game-masters had done a great job. And you really got to be friends with the other people on the mission. Darryl was the target of my first murder, and I put my back into it, even though he was my pal. Nice guy. Shame I'd have to kill him. + +I fireballed him as he was seeking out treasure after we wiped out a band of orcs, playing rock-papers-scissors with each orc to determine who would prevail in combat. This is a lot more exciting than it sounds. + +It was like summer camp for drama geeks. We talked until late at night in tents, looked at the stars, jumped in the river when we got hot, slapped away mosquitos. Became best friends, or lifelong enemies. + +I don't know why Charles's parents sent him LARPing. He wasn't the kind of kid who really enjoyed that kind of thing. He was more the pulling-wings-off-flies type. Oh, maybe not. But he just was not into being in costume in the woods. He spent the whole time mooching around, sneering at everyone and everything, trying to convince us all that we weren't having the good time we all felt like we were having. You've no doubt found that kind of person before, the kind of person who is compelled to ensure that everyone else has a rotten time. + +The other thing about Charles was that he couldn't get the hang of simulated combat. Once you start running around the woods and playing these elaborate, semi-military games, it's easy to get totally adrenalized to the point where you're ready to tear out someone's throat. This is not a good state to be in when you're carrying a prop sword, club, pike or other utensil. This is why no one is ever allowed to hit anyone, under any circumstances, in these games. Instead, when you get close enough to someone to fight, you play a quick couple rounds of rock-paper-scissors, with modifiers based on your experience, armaments, and condition. The referees mediate disputes. It's quite civilized, and a little weird. You go running after someone through the woods, catch up with him, bare your teeth, and sit down to play a little roshambo. But it works -- and it keeps everything safe and fun. + +Charles couldn't really get the hang of this. I think he was perfectly capable of understanding that the rule was no contact, but he was simultaneously capable of deciding that the rule didn't matter, and that he wasn't going to abide by it. The refs called him on it a bunch of times over the weekend, and he kept on promising to stick by it, and kept on going back. He was one of the bigger kids there already, and he was fond of "accidentally" tackling you at the end of a chase. Not fun when you get tackled into the rocky forest floor. + +I had just mightily smote Darryl in a little clearing where he'd been treasure-hunting, and we were having a little laugh over my extreme sneakiness. He was going to go monstering -- killed players could switch to playing monsters, which meant that the longer the game wore on, the more monsters there were coming after you, meaning that everyone got to keep on playing and the game's battles just got more and more epic. + +That was when Charles came out of the woods behind me and tackled me, throwing me to the ground so hard that I couldn't breathe for a moment. "Gotcha!" he yelled. I only knew him slightly before this, and I'd never thought much of him, but now I was ready for murder. I climbed slowly to my feet and looked at him, his chest heaving, grinning. "You're so dead," he said. "I totally got you." + +I smiled and something felt wrong and sore in my face. I touched my upper lip. It was bloody. My nose was bleeding and my lip was split, cut on a root I'd face-planted into when he tackled me. + +I wiped the blood on my pants-leg and smiled. I made like I thought that it was all in fun. I laughed a little. I moved towards him. + +Charles wasn't fooled. He was already backing away, trying to fade into the woods. Darryl moved to flank him. I took the other flank. Abruptly, he turned and ran. Darryl's foot hooked his ankle and sent him sprawling. We rushed him, just in time to hear a ref's whistle. + +The ref hadn't seen Charles foul me, but he'd seen Charles's play that weekend. He sent Charles back to the camp entrance and told him he was out of the game. Charles complained mightily, but to our satisfaction, the ref wasn't having any of it. Once Charles had gone, he gave /{us}/ both a lecture, too, telling us that our retaliation was no more justified than Charles's attack. + +It was OK. That night, once the games had ended, we all got hot showers in the scout dorms. Darryl and I stole Charles's clothes and towel. We tied them in knots and dropped them in the urinal. A lot of the boys were happy to contribute to the effort of soaking them. Charles had been very enthusiastic about his tackles. + +I wish I could have watched him when he got out of his shower and discovered his clothes. It's a hard decision: do you run naked across the camp, or pick apart the tight, piss-soaked knots in your clothes and then put them on? + +He chose nudity. I probably would have chosen the same. We lined up along the route from the showers to the shed where the packs were stored and applauded him. I was at the front of the line, leading the applause. + +# + +The Scout Camp weekends only came three or four times a year, which left Darryl and me -- and lots of other LARPers -- with a serious LARP deficiency in our lives. + +Luckily, there were the Wretched Daylight games in the city hotels. Wretched Daylight is another LARP, rival vampire clans and vampire hunters, and it's got its own quirky rules. Players get cards to help them resolve combat skirmishes, so each skirmish involves playing a little hand of a strategic card game. Vampires can become invisible by cloaking themselves, crossing their arms over their chests, and all the other players have to pretend they don't see them, continuing on with their conversations about their plans and so on. The true test of a good player is whether you're honest enough to go on spilling your secrets in front of an "invisible" rival without acting as though he was in the room. + +There were a couple of big Wretched Daylight games every month. The organizers of the games had a good relationship with the city's hotels and they let it be known that they'd take ten unbooked rooms on Friday night and fill them with players who'd run around the hotel, playing low-key Wretched Daylight in the corridors, around the pool, and so on, eating at the hotel restaurant and paying for the hotel WiFi. They'd close the booking on Friday afternoon, email us, and we'd go straight from school to whichever hotel it was, bringing our knapsacks, sleeping six or eight to a room for the weekend, living on junk-food, playing until three AM. It was good, safe fun that our parents could get behind. + +The organizers were a well-known literacy charity that ran kids' writing workshops, drama workshops and so on. They had been running the games for ten years without incident. Everything was strictly booze- and drug-free, to keep the organizers from getting busted on some kind of corruption of minors rap. We'd draw between ten and a hundred players, depending on the weekend, and for the cost of a couple movies, you could have two and a half days' worth of solid fun. + +One day, though, they lucked into a block of rooms at the Monaco, a hotel in the Tenderloin that catered to arty older tourists, the kind of place where every room came with a goldfish bowl, where the lobby was full of beautiful old people in fine clothes, showing off their plastic surgery results. + +Normally, the mundanes -- our word for non-players -- just ignored us, figuring that we were skylarking kids. But that weekend there happened to be an editor for an Italian travel magazine staying, and he took an interest in things. He cornered me as I skulked in the lobby, hoping to spot the clan-master of my rivals and swoop in on him and draw his blood. I was standing against the wall with my arms folded over my chest, being invisible, when he came up to me and asked me, in accented English, what me and my friends were doing in the hotel that weekend? + +I tried to brush him off, but he wouldn't be put off. So I figured I'd just make something up and he'd go away. + +I didn't imagine that he'd print it. I really didn't imagine that it would get picked up by the American press. + +"We're here because our prince has died, and so we've had to come in search of a new ruler." + +"A prince?" + +"Yes," I said, getting into it. "We're the Old People. We came to America in the 16th Century and have had our own royal family in the wilds of Pennsylvania ever since. We live simply in the woods. We don't use modern technology. But the prince was the last of the line and he died last week. Some terrible wasting disease took him. The young men of my clan have left to find the descendants of his great-uncle, who went away to join the modern people in the time of my grandfather. He is said to have multiplied, and we will find the last of his bloodline and bring them back to their rightful home." + +I read a lot of fantasy novels. This kind of thing came easily to me. + +"We found a woman who knew of these descendants. She told us one was staying in this hotel, and we've come to find him. But we've been tracked here by a rival clan who would keep us from bringing home our prince, to keep us weak and easy to dominate. Thus it is vital we keep to ourselves. We do not talk to the New People when we can help it. Talking to you now causes me great discomfort." + +He was watching me shrewdly. I had uncrossed my arms, which meant that I was now "visible" to rival vampires, one of whom had been slowly sneaking up on us. At the last moment, I turned and saw her, arms spread, hissing at us, vamping it up in high style. + +I threw my arms wide and hissed back at her, then pelted through the lobby, hopping over a leather sofa and deking around a potted plant, making her chase me. I'd scouted an escape route down through the stairwell to the basement health-club and I took it, shaking her off. + +I didn't see him again that weekend, but I /{did}/ relate the story to some of my fellow LARPers, who embroidered the tale and found lots of opportunities to tell it over the weekend. + +The Italian magazine had a staffer who'd done her master's degree on Amish anti-technology communities in rural Pennsylvania, and she thought we sounded awfully interesting. Based on the notes and taped interviews of her boss from his trip to San Francisco, she wrote a fascinating, heart-wrenching article about these weird, juvenile cultists who were crisscrossing America in search of their "prince." Hell, people will print anything these days. + +But the thing was, stories like that get picked up and republished. First it was Italian bloggers, then a few American bloggers. People across the country reported "sightings" of the Old People, though whether they were making it up, or whether others were playing the same game, I didn't know. + +It worked its way up the media food-chain all the way to the /{New York Times}/, who, unfortunately, have an unhealthy appetite for fact-checking. The reporter they put on the story eventually tracked it down to the Monaco Hotel, who put them in touch with the LARP organizers, who laughingly spilled the whole story. + +Well, at that point, LARPing got a lot less cool. We became known as the nation's foremost hoaxers, as weird, pathological liars. The press who we'd inadvertently tricked into covering the story of the Old People were now interested in redeeming themselves by reporting on how unbelievably weird we LARPers were, and that was when Charles let everyone in school know that Darryl and I were the biggest LARPing weenies in the city. + +That was not a good season. Some of the gang didn't mind, but we did. The teasing was merciless. Charles led it. I'd find plastic fangs in my bag, and kids I passed in the hall would go "bleh, bleh" like a cartoon vampire, or they'd talk with fake Transylvanian accents when I was around. + +We switched to ARGing pretty soon afterwards. It was more fun in some ways, and it was a lot less weird. Every now and again, though, I missed my cape and those weekends in the hotel. + +# + +The opposite of esprit d'escalier is the way that life's embarrassments come back to haunt us even after they're long past. I could remember every stupid thing I'd ever said or done, recall them with picture-perfect clarity. Any time I was feeling low, I'd naturally start to remember other times I felt that way, a hit-parade of humiliations coming one after another to my mind. + +As I tried to concentrate on Masha and my impending doom, the Old People incident kept coming back to haunt me. There'd been a similar, sick, sinking doomed feeling then, as more and more press outlets picked up the story, as the likelihood increased of someone figuring out that it had been me who'd sprung the story on the stupid Italian editor in the designer jeans with crooked seams, the starched collarless shirt, and the oversized metal-rimmed glasses. + +There's an alternative to dwelling on your mistakes. You can learn from them. + +It's a good theory, anyway. Maybe the reason your subconscious dredges up all these miserable ghosts is that they need to get closure before they can rest peacefully in humiliation afterlife. My subconscious kept visiting me with ghosts in the hopes that I would do something to let them rest in peace. + +All the way home, I turned over this memory and the thought of what I would do about "Masha," in case she was playing me. I needed some insurance. + +And by the time I reached my house -- to be swept up into melancholy hugs from Mom and Dad -- I had it. + +# + +The trick was to time this so that it happened fast enough that the DHS couldn't prepare for it, but with a long enough lead time that the Xnet would have time to turn out in force. + +The trick was to stage this so that there were too many present to arrest us all, but to put it somewhere that the press could see it and the grownups, so the DHS wouldn't just gas us again. + +The trick was to come up with something with the media friendliness of the levitation of the Pentagon. The trick was to stage something that we could rally around, like 3,000 Berkeley students refusing to let one of their number be taken away in a police van. + +The trick was to put the press there, ready to say what the police did, the way they had in 1968 in Chicago. + +It was going to be some trick. + +I cut out of school an hour early the next day, using my customary techniques for getting out, not caring if it would trigger some kind of new DHS checker that would result in my parents getting a note. + +One way or another, my parents' last problem after tomorrow would be whether I was in trouble at school. + +I met Ange at her place. She'd had to cut out of school even earlier, but she'd just made a big deal out of her cramps and pretended she was going to keel over and they sent her home. + +We started to spread the word on Xnet. We sent it in email to trusted friends, and IMmed it to our buddy lists. We roamed the decks and towns of Clockwork Plunder and told our team-mates. Giving everyone enough information to get them to show up but not so much as to tip our hand to the DHS was tricky, but I thought I had just the right balance: + +> VAMPMOB TOMORROW + +> If you're a goth, dress to impress. If you're not a goth, find a goth and borrow some clothes. Think vampire. + +> The game starts at 8:00AM sharp. SHARP. Be there and ready to be divided into teams. The game lasts 30 minutes, so you'll have plenty of time to get to school afterward. + +> Location will be revealed tomorrow. Email your public key to m1k3y@littlebrother.pirateparty.org.se and check your messages at 7AM for the update. If that's too early for you, stay up all night. That's what we're going to do. + +> This is the most fun you will have all year, guaranteed. + +> Believe. + +> M1k3y + +Then I sent a short message to Masha. + +> Tomorrow + +> M1k3y + +A minute later, she emailed back: + +> I thought so. VampMob, huh? You work fast. Wear a red hat. Travel light. + +# + +What do you bring along when you go fugitive? I'd carried enough heavy packs around enough scout camps to know that every ounce you add cuts into your shoulders with all the crushing force of gravity with every step you take -- it's not just one ounce, it's one ounce that you carry for a million steps. It's a ton. + +"Right," Ange said. "Smart. And you never take more than three days' worth of clothes, either. You can rinse stuff out in the sink. Better to have a spot on your t-shirt than a suitcase that's too big and heavy to stash under a plane-seat." + +She'd pulled out a ballistic nylon courier bag that went across her chest, between her breasts -- something that made me get a little sweaty -- and slung diagonally across her back. It was roomy inside, and she'd set it down on the bed. Now she was piling clothes next to it. + +"I figure that three t-shirts, a pair of pants, a pair of shorts, three changes of underwear, three pairs of socks and a sweater will do it." + +She dumped out her gym bag and picked out her toiletries. "I'll have to remember to stick my toothbrush in tomorrow morning before I head down to Civic Center." + +Watching her pack was impressive. She was ruthless about it all. It was also freaky -- it made me realize that the next day, I was going to go away. Maybe for a long time. Maybe forever. + +"Do I bring my Xbox?" she asked. "I've got a ton of stuff on the hard-drive, notes and sketches and email. I wouldn't want it to fall into the wrong hands." + +"It's all encrypted," I said. "That's standard with ParanoidXbox. But leave the Xbox behind, there'll be plenty of them in LA. Just create a Pirate Party account and email an image of your hard-drive to yourself. I'm going to do the same when I get home." + +She did so, and queued up the email. It was going to take a couple hours for all the data to squeeze through her neighbor's WiFi network and wing its way to Sweden. + +Then she closed the flap on the bag and tightened the compression straps. She had something the size of a soccer-ball slung over her back now, and I stared admiringly at it. She could walk down the street with that under her shoulder and no one would look twice -- she looked like she was on her way to school. + +"One more thing," she said, and went to her bedside table and took out the condoms. She took the strips of rubbers out of the box and opened the bag and stuck them inside, then gave me a slap on the ass. + +"Now what?" I said. + +"Now we go to your place and do your stuff. It's time I met your parents, no?" + +She left the bag amid the piles of clothes and junk all over the floor. She was ready to turn her back on all of it, walk away, just to be with me. Just to support the cause. It made me feel brave, too. + +# + +Mom was already home when I got there. She had her laptop open on the kitchen table and was answering email while talking into a headset connected to it, helping some poor Yorkshireman and his family acclimate to living in Louisiana. + +I came through the door and Ange followed, grinning like mad, but holding my hand so tight I could feel the bones grinding together. I didn't know what she was so worried about. It wasn't like she was going to end up spending a lot of time hanging around with my parents after this, even if it went badly. + +Mom hung up on the Yorkshireman when we got in. + +"Hello, Marcus," she said, giving me a kiss on the cheek. "And who is this?" + +"Mom, meet Ange. Ange, this is my Mom, Lillian." Mom stood up and gave Ange a hug. + +"It's very good to meet you, darling," she said, looking her over from top to bottom. Ange looked pretty acceptable, I think. She dressed well, and low-key, and you could tell how smart she was just by looking at her. + +"A pleasure to meet you, Mrs Yallow," she said. She sounded very confident and self-assured. Much better than I had when I'd met her mom. + +"It's Lillian, love," she said. She was taking in every detail. "Are you staying for dinner?" + +"I'd love that," she said. + +"Do you eat meat?" Mom's pretty acclimated to living in California. + +"I eat anything that doesn't eat me first," she said. + +"She's a hot-sauce junkie," I said. "You could serve her old tires and she'd eat 'em if she could smother them in salsa." + +Ange socked me gently in the shoulder. + +"I was going to order Thai," Mom said. "I'll add a couple of their five-chili dishes to the order." + +Ange thanked her politely and Mom bustled around the kitchen, getting us glasses of juice and a plate of biscuits and asking three times if we wanted any tea. I squirmed a little. + +"Thanks, Mom," I said. "We're going to go upstairs for a while." + +Mom's eyes narrowed for a second, then she smiled again. "Of course," she said. "Your father will be home in an hour, we'll eat then." + +I had my vampire stuff all stashed in the back of my closet. I let Ange sort through it while I went through my clothes. I was only going as far as LA. They had stores there, all the clothing I could need. I just needed to get together three or four favorite tees and a favorite pair of jeans, a tube of deodorant, a roll of dental floss. + +"Money!" I said. + +"Yeah," she said. "I was going to clean out my bank account on the way home at an ATM. I've got maybe five hundred saved up." + +"Really?" + +"What am I going to spend it on?" she said. "Ever since the Xnet, I haven't had to even pay any service charges." + +"I think I've got three hundred or so." + +"Well, there you go. Grab it on the way to Civic Center in the morning." + +I had a big book-bag I used when I was hauling lots of gear around town. It was less conspicuous than my camping pack. Ange went through my piles mercilessly and culled them down to her favorites. + +Once it was packed and under my bed, we both sat down. + +"We're going to have to get up really early tomorrow," she said. + +"Yeah, big day." + +The plan was to get messages out with a bunch of fake VampMob locations tomorrow, sending people out to secluded spots within a few minutes' walk of Civic Center. We'd cut out a spray-paint stencil that just said VAMPMOB CIVIC CENTER -> -> that we would spray-paint at those spots around 5AM. That would keep the DHS from locking down the Civic Center before we got there. I had the mailbot ready to send out the messages at 7AM -- I'd just leave my Xbox running when I went out. + +"How long. . ." She trailed off. + +"That's what I've been wondering, too," I said. "It could be a long time, I suppose. But who knows? With Barbara's article coming out --" I'd queued an email to her for the next morning, too -- "and all, maybe we'll be heroes in two weeks." + +"Maybe," she said and sighed. + +I put my arm around her. Her shoulders were shaking. + +"I'm terrified," I said. "I think that it would be crazy not to be terrified." + +"Yeah," she said. "Yeah." + +Mom called us to dinner. Dad shook Ange's hand. He looked unshaved and worried, the way he had since we'd gone to see Barbara, but on meeting Ange, a little of the old Dad came back. She kissed him on the cheek and he insisted that she call him Drew. + +Dinner was actually really good. The ice broke when Ange took out her hot-sauce mister and treated her plate, and explained about Scoville units. Dad tried a forkful of her food and went reeling into the kitchen to drink a gallon of milk. Believe it or not, Mom still tried it after that and gave every impression of loving it. Mom, it turned out, was an undiscovered spicy food prodigy, a natural. + +Before she left, Ange pressed the hot-sauce mister on Mom. "I have a spare at home," she said. I'd watched her pack it in her backpack. "You seem like the kind of woman who should have one of these." + +1~ Chapter 19 + +/{ [This chapter is dedicated to the MIT Press Bookshop,~{ MIT Press Bookstore http://web.mit.edu/bookstore/www/ Building E38, 77 Massachusetts Ave., Cambridge, MA USA 02139-4307 +1 617 253 5249 }~ a store I've visited on every single trip to Boston over the past ten years. MIT, of course, is one of the legendary origin nodes for global nerd culture, and the campus bookstore lives up to the incredible expectations I had when I first set foot in it. In addition to the wonderful titles published by the MIT press, the bookshop is a tour through the most exciting high-tech publications in the world, from hacker zines like 2600 to fat academic anthologies on video-game design. This is one of those stores where I have to ask them to ship my purchases home because they don't fit in my suitcase.] }/ + +Here's the email that went out at 7AM the next day, while Ange and I were spray-painting VAMP-MOB CIVIC CENTER -> -> at strategic locations around town. + +> RULES FOR VAMPMOB + +> You are part of a clan of daylight vampires. You've discovered the secret of surviving the terrible light of the sun. The secret was cannibalism: the blood of another vampire can give you the strength to walk among the living. + +> You need to bite as many other vampires as you can in order to stay in the game. If one minute goes by without a bite, you're out. Once you're out, turn your shirt around backwards and go referee -- watch two or three vamps to see if they're getting their bites in. + +> To bite another vamp, you have to say "Bite!" five times before they do. So you run up to a vamp, make eye-contact, and shout "bite bite bite bite bite!" and if you get it out before she does, you live and she crumbles to dust. + +> You and the other vamps you meet at your rendezvous are a team. They are your clan. You derive no nourishment from their blood. + +> You can "go invisible" by standing still and folding your arms over your chest. You can't bite invisible vamps, and they can't bite you. + +> This game is played on the honor system. The point is to have fun and get your vamp on, not to win. + +> There is an end-game that will be passed by word of mouth as winners begin to emerge. The game-masters will start a whisper campaign among the players when the time comes. Spread the whisper as quickly as you can and watch for the sign. + +> M1k3y + +> bite bite bite bite bite! + +We'd hoped that a hundred people would be willing to play VampMob. We'd sent out about two hundred invites each. But when I sat bolt upright at 4AM and grabbed my Xbox, there were /{400}/ replies there. Four /{hundred}/. + +I fed the addresses to the bot and stole out of the house. I descended the stairs, listening to my father snore and my mom rolling over in their bed. I locked the door behind me. + +At 4:15 AM, Potrero Hill was as quiet as the countryside. There were some distant traffic rumbles, and once, a car crawled past me. I stopped at an ATM and drew out $320 in twenties, rolled them up and put a rubber-band around them, and stuck the roll in a zip-up pocket low on the thigh of my vampire pants. + +I was wearing my cape again, and a ruffled shirt, and tuxedo pants that had been modded to have enough pockets to carry all my little bits and pieces. I had on pointed boots with silver-skull buckles, and I'd teased my hair into a black dandelion clock around my head. Ange was bringing the white makeup and had promised to do my eyeliner and black nail-polish. Why the hell not? When was the next time I was going to get to play dressup like this? + +Ange met me in front of her house. She had her backpack on too, and fishnet tights, a ruffled gothic lolita maid's dress, white face-paint, elaborate kabuki eye-makeup, and her fingers and throat dripped with silver jewelry. + +"You look /{great}/!" we said to each other in unison, then laughed quietly and stole off through the streets, spray-paint cans in our pockets. + +# + +As I surveyed Civic Center, I thought about what it would look like once 400 VampMobbers converged on it. I expected them in ten minutes, out front of City Hall. Already the big plaza teemed with commuters who neatly sidestepped the homeless people begging there. + +I've always hated Civic Center. It's a collection of huge wedding-cake buildings: court houses, museums, and civic buildings like City Hall. The sidewalks are wide, the buildings are white. In the tourist guides to San Francisco, they manage to photograph it so that it looks like Epcot Center, futuristic and austere. + +But on the ground, it's grimy and gross. Homeless people sleep on all the benches. The district is empty by 6PM except for drunks and druggies, because with only one kind of building there, there's no legit reason for people to hang around after the sun goes down. It's more like a mall than a neighborhood, and the only businesses there are bail-bondsmen and liquor stores, places that cater to the families of crooks on trial and the bums who make it their nighttime home. + +I really came to understand all of this when I read an interview with an amazing old urban planner, a woman called Jane Jacobs who was the first person to really nail why it was wrong to slice cities up with freeways, stick all the poor people in housing projects, and use zoning laws to tightly control who got to do what where. + +Jacobs explained that real cities are organic and they have a lot of variety -- rich and poor, white and brown, Anglo and Mex, retail and residential and even industrial. A neighborhood like that has all kinds of people passing through it at all hours of the day or night, so you get businesses that cater to every need, you get people around all the time, acting like eyes on the street. + +You've encountered this before. You go walking around some older part of some city and you find that it's full of the coolest looking stores, guys in suits and people in fashion-rags, upscale restaurants and funky cafes, a little movie theater maybe, houses with elaborate paint-jobs. Sure, there might be a Starbucks too, but there's also a neat-looking fruit market and a florist who appears to be three hundred years old as she snips carefully at the flowers in her windows. It's the opposite of a planned space, like a mall. It feels like a wild garden or even a woods: like it /{grew}/. + +You couldn't get any further from that than Civic Center. I read an interview with Jacobs where she talked about the great old neighborhood they knocked down to build it. It had been just that kind of neighborhood, the kind of place that happened without permission or rhyme or reason. + +Jacobs said that she predicted that within a few years, Civic Center would be one of the worst neighborhoods in the city, a ghost-town at night, a place that sustained a thin crop of weedy booze shops and flea-pit motels. In the interview, she didn't seem very glad to have been vindicated; she sounded like she was talking about a dead friend when she described what Civic Center had become. + +Now it was rush hour and Civic Center was as busy as it could be. The Civic Center BART also serves as the major station for Muni trolley lines, and if you need to switch from one to another, that's where you do it. At 8AM, there were thousands of people coming up the stairs, going down the stairs, getting into and out of taxis and on and off buses. They got squeezed by DHS checkpoints by the different civic buildings, and routed around aggressive panhandlers. They all smelled like their shampoos and colognes, fresh out of the shower and armored in their work suits, swinging laptop bags and briefcases. At 8AM, Civic Center was business central. + +And here came the vamps. A couple dozen coming down Van Ness, a couple dozen coming up Market. More coming from the other side of Market. More coming up from Van Ness. They slipped around the side of the buildings, wearing the white face-paint and the black eyeliner, black clothes, leather jackets, huge stompy boots. Fishnet fingerless gloves. + +They began to fill up the plaza. A few of the business people gave them passing glances and then looked away, not wanting to let these weirdos into their personal realities as they thought about whatever crap they were about to wade through for another eight hours. The vamps milled around, not sure when the game was on. They pooled together in large groups, like an oil spill in reverse, all this black gathering in one place. A lot of them sported old-timey hats, bowlers and toppers. Many of the girls were in full-on elegant gothic lolita maid costumes with huge platforms. + +I tried to estimate the numbers. 200. Then, five minutes later, it was 300. 400. They were still streaming in. The vamps had brought friends. + +Someone grabbed my ass. I spun around and saw Ange, laughing so hard she had to hold her thighs, bent double. + +"Look at them all, man, look at them all!" she gasped. The square was twice as crowded as it had been a few minutes ago. I had no idea how many Xnetters there were, but easily 1000 of them had just showed up to my little party. Christ. + +The DHS and SFPD cops were starting to mill around, talking into their radios and clustering together. I heard a far-away siren. + +"All right," I said, shaking Ange by the arm. "All right, let's /{go}/." + +We both slipped off into the crowd and as soon as we encountered our first vamp, we both said, loudly, "Bite bite bite bite bite!" My victim was a stunned -- but cute -- girl with spider-webs drawn on her hands and smudged mascara running down her cheeks. She said, "Crap," and moved away, acknowledging that I'd gotten her. + +The call of "bite bite bite bite bite" had scrambled the other nearby vamps. Some of them were attacking each other, others were moving for cover, hiding out. I had my victim for the minute, so I skulked away, using mundanes for cover. All around me, the cry of "bite bite bite bite bite!" and shouts and laughs and curses. + +The sound spread like a virus through the crowd. All the vamps knew the game was on now, and the ones who were clustered together were dropping like flies. They laughed and cussed and moved away, clueing the still-in vamps that the game was on. And more vamps were arriving by the second. + +8:16. It was time to bag another vamp. I crouched low and moved through the legs of the straights as they headed for the BART stairs. They jerked back with surprise and swerved to avoid me. I had my eyes laser-locked on a set of black platform boots with steel dragons over the toes, and so I wasn't expecting it when I came face to face with another vamp, a guy of about 15 or 16, hair gelled straight back and wearing a PVC Marilyn Manson jacket draped with necklaces of fake tusks carved with intricate symbols. + +"Bite bite bite --" he began, when one of the mundanes tripped over him and they both went sprawling. I leapt over to him and shouted "bite bite bite bite bite!" before he could untangle himself again. + +More vamps were arriving. The suits were really freaking out. The game overflowed the sidewalk and moved into Van Ness, spreading up toward Market Street. Drivers honked, the trolleys made angry /{ding}/s. I heard more sirens, but now traffic was snarled in every direction. + +It was freaking /{glorious}/. + +BITE BITE BITE BITE BITE! + +The sound came from all around me. There were so many vamps there, playing so furiously, it was like a roar. I risked standing up and looking around and found that I was right in the middle of a giant crowd of vamps that went as far as I could see in every direction. + +BITE BITE BITE BITE BITE! + +This was even better than the concert in Dolores Park. That had been angry and rockin', but this was -- well, it was just /{fun}/. It was like going back to the playground, to the epic games of tag we'd play on lunch breaks when the sun was out, hundreds of people chasing each other around. The adults and the cars just made it more fun, more funny. + +That's what it was: it was /{funny}/. We were all laughing now. + +But the cops were really mobilizing now. I heard helicopters. Any second now, it would be over. Time for the endgame. + +I grabbed a vamp. + +"Endgame: when the cops order us to disperse, pretend you've been gassed. Pass it on. What did I just say?" + +The vamp was a girl, tiny, so short I thought she was really young, but she must have been 17 or 18 from her face and the smile. "Oh, that's wicked," she said. + +"What did I say?" + +"Endgame: when the cops order us to disperse, pretend you've been gassed. Pass it on. What did I just say?" + +"Right," I said. "Pass it on." + +She melted into the crowd. I grabbed another vamp. I passed it on. He went off to pass it on. + +Somewhere in the crowd, I knew Ange was doing this too. Somewhere in the crowd, there might be infiltrators, fake Xnetters, but what could they do with this knowledge? It's not like the cops had a choice. They were going to order us to disperse. That was guaranteed. + +I had to get to Ange. The plan was to meet at the Founder's Statue in the Plaza, but reaching it was going to be hard. The crowd wasn't moving anymore, it was /{surging}/, like the mob had in the way down to the BART station on the day the bombs went off. I struggled to make my way through it just as the PA underneath the helicopter switched on. + +"THIS IS THE DEPARTMENT OF HOMELAND SECURITY. YOU ARE ORDERED TO DISPERSE IMMEDIATELY." + +Around me, hundreds of vamps fell to the ground, clutching their throats, clawing at their eyes, gasping for breath. It was easy to fake being gassed, we'd all had plenty of time to study the footage of the partiers in Mission Dolores Park going down under the pepper-spray clouds. + +"DISPERSE IMMEDIATELY." + +I fell to the ground, protecting my pack, reaching around to the red baseball hat folded into the waistband of my pants. I jammed it on my head and then grabbed my throat and made horrendous retching noises. + +The only ones still standing were the mundanes, the salarymen who'd been just trying to get to their jobs. I looked around as best as I could at them as I choked and gasped. + +"THIS IS THE DEPARTMENT OF HOMELAND SECURITY. YOU ARE ORDERED TO DISPERSE IMMEDIATELY. DISPERSE IMMEDIATELY." The voice of god made my bowels ache. I felt it in my molars and in my femurs and my spine. + +The salarymen were scared. They were moving as fast as they could, but in no particular direction. The helicopters seemed to be directly overhead no matter where you stood. The cops were wading into the crowd now, and they'd put on their helmets. Some had shields. Some had gas masks. I gasped harder. + +Then the salarymen were running. I probably would have run too. I watched a guy whip a $500 jacket off and wrap it around his face before heading south toward Mission, only to trip up and go sprawling. His curses joined the choking sounds. + +This wasn't supposed to happen -- the choking was just supposed to freak people out and get them confused, not panic them into a stampede. + +There were screams now, screams I recognized all too well from the night in the park. That was the sound of people who were scared spitless, running into each other as they tried like hell to get away. + +And then the air-raid sirens began. + +I hadn't heard that sound since the bombs went off, but I would never forget it. It sliced through me and went straight into my balls, turning my legs into jelly on the way. It made me want to run away in a panic. I got to my feet, red cap on my head, thinking of only one thing: Ange. Ange and the Founders' Statue. + +Everyone was on their feet now, running in all directions, screaming. I pushed people out of my way, holding onto my pack and my hat, heading for Founders' Statue. Masha was looking for me, I was looking for Ange. Ange was out there. + +I pushed and cursed. Elbowed someone. Someone came down on my foot so hard I felt something go /{crunch}/ and I shoved him so he went down. He tried to get up and someone stepped on him. I shoved and pushed. + +Then I reached out my arm to shove someone else and strong hands grabbed my wrist and my elbow in one fluid motion and brought my arm back around behind my back. It felt like my shoulder was about to wrench out of its socket, and I instantly doubled over, hollering, a sound that was barely audible over the din of the crowd, the thrum of the choppers, the wail of the sirens. + +I was brought back upright by the strong hands behind me, which steered me like a marionette. The hold was so perfect I couldn't even think of squirming. I couldn't think of the noise or the helicopter or Ange. All I could think of was moving the way that the person who had me wanted me to move. I was brought around so that I was face-to-face with the person. + +It was a girl whose face was sharp and rodent-like, half-hidden by a giant pair of sunglasses. Over the sunglasses, a mop of bright pink hair, spiked out in all directions. + +"You!" I said. I knew her. She'd taken a picture of me and threatened to rat me out to truant watch. That had been five minutes before the alarms started. She'd been the one, ruthless and cunning. We'd both run from that spot in the Tenderloin as the klaxon sounded behind us, and we'd both been picked up by the cops. I'd been hostile and they'd decided that I was an enemy. + +She -- Masha -- became their ally. + +"Hello, M1k3y," she hissed in my ear, close as a lover. A shiver went up my back. She let go of my arm and I shook it out. + +"Christ," I said. "You!" + +"Yes, me," she said. "The gas is gonna come down in about two minutes. Let's haul ass." + +"Ange -- my girlfriend -- is by the Founders' Statue." + +Masha looked over the crowd. "No chance," she said. "We try to make it there, we're doomed. The gas is coming down in two minutes, in case you missed it the first time." + +I stopped moving. "I don't go without Ange," I said. + +She shrugged. "Suit yourself," she shouted in my ear. "Your funeral." + +She began to push through the crowd, moving away, north, toward downtown. I continued to push for the Founders' Statue. A second later, my arm was back in the terrible lock and I was being swung around and propelled forward. + +"You know too much, jerk-off," she said. "You've seen my face. You're coming with me." + +I screamed at her, struggled till it felt like my arm would break, but she was pushing me forward. My sore foot was agony with every step, my shoulder felt like it would break. + +With her using me as a battering ram, we made good progress through the crowd. The whine of the helicopters changed and she gave me a harder push. "RUN!" she yelled. "Here comes the gas!" + +The crowd noise changed, too. The choking sounds and scream sounds got much, much louder. I'd heard that pitch of sound before. We were back in the park. The gas was raining down. I held my breath and /{ran}/. + +We cleared the crowd and she let go of my arm. I shook it out. I limped as fast as I could up the sidewalk as the crowd thinned and thinned. We were heading towards a group of DHS cops with riot shields and helmets and masks. As we drew near them, they moved to block us, but Masha held up a badge and they melted away like she was Obi Wan Kenobi, saying "These aren't the droids you're looking for." + +"You goddamned /{bitch}/," I said as we sped up Market Street. "We have to go back for Ange." + +She pursed her lips and shook her head. "I feel for you, buddy. I haven't seen my boyfriend in months. He probably thinks I'm dead. Fortunes of war. We go back for your Ange, we're dead. If we push on, we have a chance. So long as we have a chance, she has a chance. Those kids aren't all going to Gitmo. They'll probably take a few hundred in for questioning and send the rest home." + +We were moving up Market Street now, past the strip joints where the little encampments of bums and junkies sat, stinking like open toilets. Masha guided me to a little alcove in the shut door of one of the strip places. She stripped off her jacket and turned it inside out -- the lining was a muted stripe pattern, and with the jacket's seams reversed, it hung differently. She produced a wool hat from her pocket and pulled it over her hair, letting it form a jaunty, off-center peak. Then she took out some make-up remover wipes and went to work on her face and fingernails. In a minute, she was a different woman. + +"Wardrobe change," she said. "Now you. Lose the shoes, lose the jacket, lose the hat." I could see her point. The cops would be looking very carefully at anyone who looked like they'd been a part of the VampMob. I ditched the hat entirely -- I'd never liked ball caps. Then I jammed the jacket into my pack and got out a long-sleeved tee with a picture of Rosa Luxembourg on it and pulled it over my black tee. I let Masha wipe my makeup off and clean my nails and a minute later, I was clean. + +"Switch off your phone," she said. "You carrying any arphids?" + +I had my student card, my ATM card, my Fast Pass. They all went into a silvered bag she held out, which I recognized as a radio-proof Faraday pouch. But as she put them in her pocket, I realized I'd just turned my ID over to her. If she was on the other side... + +The magnitude of what had just happened began to sink in. In my mind, I'd pictured having Ange with me at this point. Ange would make it two against one. Ange would help me see if there was something amiss. If Masha wasn't all she said she was. + +"Put these pebbles in your shoes before you put them on --" + +"It's OK. I sprained my foot. No gait recognition program will spot me now." + +She nodded once, one pro to another, and slung her pack. I picked up mine and we moved. The total time for the changeover was less than a minute. We looked and walked like two different people. + +She looked at her watch and shook her head. "Come on," she said. "We have to make our rendezvous. Don't think of running, either. You've got two choices now. Me, or jail. They'll be analyzing the footage from that mob for days, but once they're done, every face in it will go in a database. Our departure will be noted. We are both wanted criminals now." + +# + +She got us off Market Street on the next block, swinging back into the Tenderloin. I knew this neighborhood. This was where we'd gone hunting for an open WiFi access-point back on the day, playing Harajuku Fun Madness. + +"Where are we going?" I said. + +"We're about to catch a ride," she said. "Shut up and let me concentrate." + +We moved fast, and sweat streamed down my face from under my hair, coursed down my back and slid down the crack of my ass and my thighs. My foot was /{really}/ hurting and I was seeing the streets of San Francisco race by, maybe for the last time, ever. + +It didn't help that we were ploughing straight uphill, moving for the zone where the seedy Tenderloin gives way to the nosebleed real-estate values of Nob Hill. My breath came in ragged gasps. She moved us mostly up narrow alleys, using the big streets just to get from one alley to the next. + +We were just stepping into one such alley, Sabin Place, when someone fell in behind us and said, "Freeze right there." It was full of evil mirth. We stopped and turned around. + +At the mouth of the alley stood Charles, wearing a halfhearted VampMob outfit of black t-shirt and jeans and white face-paint. "Hello, Marcus," he said. "You going somewhere?" He smiled a huge, wet grin. "Who's your girlfriend?" + +"What do you want, Charles?" + +"Well, I've been hanging out on that traitorous Xnet ever since I spotted you giving out DVDs at school. When I heard about your VampMob, I thought I'd go along and hang around the edges, just to see if you showed up and what you did. You know what I saw?" + +I said nothing. He had his phone in his hand, pointed at us. Recording. Maybe ready to dial 911. Beside me, Masha had gone still as a board. + +"I saw you /{leading}/ the damned thing. And I /{recorded}/ it, Marcus. So now I'm going to call the cops and we're going to wait right here for them. And then you're going to go to pound-you-in-the-ass prison, for a long, long time." + +Masha stepped forward. + +"Stop right there, chickie," he said. "I saw you get him away. I saw it all --" + +She took another step forward and snatched the phone out of his hand, reaching behind her with her other hand and bringing it out holding a wallet open. + +"DHS, dick-head," she said. "I'm DHS. I've been running this twerp back to his masters to see where he went. I /{was}/ doing that. Now you've blown it. We have a name for that. We call it 'Obstruction of National Security.' You're about to hear that phrase a lot more often." + +Charles took a step backward, his hands held up in front of him. He'd gone even paler under his makeup. "What? No! I mean -- I didn't know! I was trying to /{help}/!" + +"The last thing we need is a bunch of high school Junior G-men 'helping' buddy. You can tell it to the judge." + +He moved back again, but Masha was fast. She grabbed his wrist and twisted him into the same judo hold she'd had me in back at Civic Center. Her hand dipped back to her pockets and came out holding a strip of plastic, a handcuff strip, which she quickly wound around his wrists. + +That was the last thing I saw as I took off running. + +# + +I made it as far as the other end of the alley before she caught up with me, tackling me from behind and sending me sprawling. I couldn't move very fast, not with my hurt foot and the weight of my pack. I went down in a hard face-plant and skidded, grinding my cheek into the grimy asphalt. + +"Jesus," she said. "You're a goddamned idiot. You didn't /{believe}/ that, did you?" + +My heart thudded in my chest. She was on top of me and slowly she let me up. + +"Do I need to cuff you, Marcus?" + +I got to my feet. I hurt all over. I wanted to die. + +"Come on," she said. "It's not far now." + +# + +'It' turned out to be a moving van on a Nob Hill side-street, a sixteen-wheeler the size of one of the ubiquitous DHS trucks that still turned up on San Francisco's street corners, bristling with antennas. + +This one, though, said "Three Guys and a Truck Moving" on the side, and the three guys were very much in evidence, trekking in and out of a tall apartment building with a green awning. They were carrying crated furniture, neatly labeled boxes, loading them one at a time onto the truck and carefully packing them there. + +She walked us around the block once, apparently unsatisfied with something, then, on the next pass, she made eye-contact with the man who was watching the van, an older black guy with a kidney-belt and heavy gloves. He had a kind face and he smiled at us as she led us quickly, casually up the truck's three stairs and into its depth. "Under the big table," he said. "We left you some space there." + +The truck was more than half full, but there was a narrow corridor around a huge table with a quilted blanket thrown over it and bubble-wrap wound around its legs. + +Masha pulled me under the table. It was stuffy and still and dusty under there, and I suppressed a sneeze as we scrunched in among the boxes. The space was so tight that we were on top of each other. I didn't think that Ange would have fit in there. + +"Bitch," I said, looking at Masha. + +"Shut up. You should be licking my boots thanking me. You would have ended up in jail in a week, two tops. Not Gitmo-by-the-Bay. Syria, maybe. I think that's where they sent the ones they really wanted to disappear." + +I put my head on my knees and tried to breathe deeply. + +"Why would you do something so stupid as declaring war on the DHS anyway?" + +I told her. I told her about being busted and I told her about Darryl. + +She patted her pockets and came up with a phone. It was Charles's. "Wrong phone." She came up with another phone. She turned it on and the glow from its screen filled our little fort. After fiddling for a second, she showed it to me. + +It was the picture she'd snapped of us, just before the bombs blew. It was the picture of Jolu and Van and me and -- + +Darryl. + +I was holding in my hand proof that Darryl had been with us minutes before we'd all gone into DHS custody. Proof that he'd been alive and well and in our company. + +"You need to give me a copy of this," I said. "I need it." + +"When we get to LA," she said, snatching the phone back. "Once you've been briefed on how to be a fugitive without getting both our asses caught and shipped to Syria. I don't want you getting rescue ideas about this guy. He's safe enough where he is -- for now." + +I thought about trying to take it from her by force, but she'd already demonstrated her physical skill. She must have been a black-belt or something. + +We sat there in the dark, listening to the three guys load the truck with box after box, tying things down, grunting with the effort of it. I tried to sleep, but couldn't. Masha had no such problem. She snored. + +There was still light shining through the narrow, obstructed corridor that led to the fresh air outside. I stared at it, through the gloom, and thought of Ange. + +My Ange. Her hair brushing her shoulders as she turned her head from side to side, laughing at something I'd done. Her face when I'd seen her last, falling down in the crowd at VampMob. All those people at VampMob, like the people in the park, down and writhing, the DHS moving in with truncheons. The ones who disappeared. + +Darryl. Stuck on Treasure Island, his side stitched up, taken out of his cell for endless rounds of questioning about the terrorists. + +Darryl's father, ruined and boozy, unshaven. Washed up and in his uniform, "for the photos." Weeping like a little boy. + +My own father, and the way that he had been changed by my disappearance to Treasure Island. He'd been just as broken as Darryl's father, but in his own way. And his face, when I told him where I'd been. + +That was when I knew that I couldn't run. + +That was when I knew that I had to stay and fight. + +# + +Masha's breathing was deep and regular, but when I reached with glacial slowness into her pocket for her phone, she snuffled a little and shifted. I froze and didn't even breathe for a full two minutes, counting one hippopotami, two hippopotami. + +Slowly, her breath deepened again. I tugged the phone free of her jacket-pocket one millimeter at a time, my fingers and arm trembling with the effort of moving so slowly. + +Then I had it, a little candy-bar shaped thing. + +I turned to head for the light, when I had a flash of memory: Charles, holding out his phone, waggling it at us, taunting us. It had been a candy-bar-shaped phone, silver, plastered in the logos of a dozen companies that had subsidized the cost of the handset through the phone company. It was the kind of phone where you had to listen to a commercial every time you made a call. + +It was too dim to see the phone clearly in the truck, but I could feel it. Were those company decals on its sides? Yes? Yes. I had just stolen /{Charles's}/ phone from Masha. + +I turned back around slowly, slowly, and slowly, slowly, /{slowly}/, I reached back into her pocket. /{Her}/ phone was bigger and bulkier, with a better camera and who knew what else? + +I'd been through this once before -- that made it a little easier. Millimeter by millimeter again, I teased it free of her pocket, stopping twice when she snuffled and twitched. + +I had the phone free of her pocket and I was beginning to back away when her hand shot out, fast as a snake, and grabbed my wrist, hard, fingertips grinding away at the small, tender bones below my hand. + +I gasped and stared into Masha's wide-open, staring eyes. + +"You are such an idiot," she said, conversationally, taking the phone from me, punching at its keypad with her other hand. "How did you plan on unlocking this again?" + +I swallowed. I felt bones grind against each other in my wrist. I bit my lip to keep from crying out. + +She continued to punch away with her other hand. "Is this what you thought you'd get away with?" She showed me the picture of all of us, Darryl and Jolu, Van and me. "This picture?" + +I didn't say anything. My wrist felt like it would shatter. + +"Maybe I should just delete it, take temptation out of your way." Her free hand moved some more. Her phone asked her if she was sure and she had to look at it to find the right button. + +That's when I moved. I had Charles's phone in my other hand still, and I brought it down on her crushing hand as hard as I could, banging my knuckles on the table overhead. I hit her hand so hard the phone shattered and she yelped and her hand went slack. I was still moving, reaching for her other hand, for her now-unlocked phone with her thumb still poised over the OK key. Her fingers spasmed on the empty air as I snatched the phone out of her hand. + +I moved down the narrow corridor on hands and knees, heading for the light. I felt her hands slap at my feet and ankles twice, and I had to shove aside some of the boxes that had walled us in like a Pharaoh in a tomb. A few of them fell down behind me, and I heard Masha grunt again. + +The rolling truck door was open a crack and I dove for it, slithering out under it. The steps had been removed and I found myself hanging over the road, sliding headfirst into it, clanging my head off the blacktop with a thump that rang my ears like a gong. I scrambled to my feet, holding the bumper, and desperately dragged down on the door-handle, slamming it shut. Masha screamed inside -- I must have caught her fingertips. I felt like throwing up, but I didn't. + +I padlocked the truck instead. + +1~ Chapter 20 + +_1 /{ [This chapter is dedicated to The Tattered Cover,~{ The Tattered Cover http://www.tatteredcover.com/NASApp/store/Product?s=showproduct&isbn=9780765319852 1628 16th St., Denver, CO USA 80202 +1 303 436 1070 }~ Denver's legendary independent bookstore. I happened upon The Tattered Cover quite by accident: Alice and I had just landed in Denver, coming in from London, and it was early and cold and we needed coffee. We drove in aimless rental-car circles, and that's when I spotted it, the Tattered Cover's sign. Something about it tingled in my hindbrain -- I knew I'd heard of this place. We pulled in (got a coffee) and stepped into the store -- a wonderland of dark wood, homey reading nooks, and miles and miles of bookshelves.] }/ + +None of the three guys were around at the moment, so I took off. My head hurt so much I thought I must be bleeding, but my hands came away dry. My twisted ankle had frozen up in the truck so that I ran like a broken marionette, and I stopped only once, to cancel the photo-deletion on Masha's phone. I turned off its radio -- both to save battery and to keep it from being used to track me -- and set the sleep timer to two hours, the longest setting available. I tried to set it to not require a password to wake from sleep, but that required a password itself. I was just going to have to tap the keypad at least once every two hours until I could figure out how to get the photo off of the phone. I would need a charger, then. + +I didn't have a plan. I needed one. I needed to sit down, to get online -- to figure out what I was going to do next. I was sick of letting other people do my planning for me. I didn't want to be acting because of what Masha did, or because of the DHS, or because of my dad. Or because of Ange? Well, maybe I'd act because of Ange. That would be just fine, in fact. + +I'd just been slipping downhill, taking alleys when I could, merging with the Tenderloin crowds. I didn't have any destination in mind. Every few minutes, I put my hand in my pocket and nudged one of the keys on Masha's phone to keep it from going asleep. It made an awkward bulge, unfolded there in my jacket. + +I stopped and leaned against a building. My ankle was killing me. Where was I, anyway? + +O'Farrell, at Hyde Street. In front of a dodgy "Asian Massage Parlor." My traitorous feet had taken me right back to the beginning -- taken me back to where the photo on Masha's phone had been taken, seconds before the Bay Bridge blew, before my life changed forever. + +I wanted to sit down on the sidewalk and bawl, but that wouldn't solve my problems. I had to call Barbara Stratford, tell her what had happened. Show her the photo of Darryl. + +What was I thinking? I had to show her the video, the one that Masha had sent me -- the one where the President's Chief of Staff gloated at the attacks on San Francisco and admitted that he knew when and where the next attacks would happen and that he wouldn't stop them because they'd help his man get re-elected. + +That was a plan, then: get in touch with Barbara, give her the documents, and get them into print. The VampMob had to have really freaked people out, made them think that we really were a bunch of terrorists. Of course, when I'd been planning it, I had been thinking of how good a distraction it would be, not how it would look to some NASCAR Dad in Nebraska. + +I'd call Barbara, and I'd do it smart, from a payphone, putting my hood up so that the inevitable CCTV wouldn't get a photo of me. I dug a quarter out of my pocket and polished it on my shirt-tail, getting the fingerprints off it. + +I headed downhill, down and down to the BART station and the payphones there. I made it to the trolley-car stop when I spotted the cover of the week's /{Bay Guardian}/, stacked in a high pile next to a homeless black guy who smiled at me. "Go ahead and read the cover, it's free -- it'll cost you fifty cents to look inside, though." + +The headline was set in the biggest type I'd seen since 9/11: + +INSIDE GITMO-BY-THE-BAY + +Beneath it, in slightly smaller type: + +"How the DHS has kept our children and friends in secret prisons on our doorstep. + +"By Barbara Stratford, Special to the Bay Guardian" + +The newspaper seller shook his head. "Can you believe that?" he said. "Right here in San Francisco. Man, the government /{sucks}/." + +Theoretically, the /{Guardian}/ was free, but this guy appeared to have cornered the local market for copies of it. I had a quarter in my hand. I dropped it into his cup and fished for another one. I didn't bother polishing the fingerprints off of it this time. + +"We're told that the world changed forever when the Bay Bridge was blown up by parties unknown. Thousands of our friends and neighbors died on that day. Almost none of them have been recovered; their remains are presumed to be resting in the city's harbor. + +"But an extraordinary story told to this reporter by a young man who was arrested by the DHS minutes after the explosion suggests that our own government has illegally held many of those thought dead on Treasure Island, which had been evacuated and declared off-limits to civilians shortly after the bombing..." + +I sat down on a bench -- the same bench, I noted with a prickly hair-up-the-neck feeling, where we'd rested Darryl after escaping from the BART station -- and read the article all the way through. It took a huge effort not to burst into tears right there. Barbara had found some photos of me and Darryl goofing around together and they ran alongside the text. The photos were maybe a year old, but I looked so much /{younger}/ in them, like I was 10 or 11. I'd done a lot of growing up in the past couple months. + +The piece was beautifully written. I kept feeling outraged on behalf of the poor kids she was writing about, then remembering that she was writing about /{me}/. Zeb's note was there, his crabbed handwriting reproduced in large, a half-sheet of the newspaper. Barbara had dug up more info on other kids who were missing and presumed dead, a long list, and asked how many had been stuck there on the island, just a few miles from their parents' doorsteps. + +I dug another quarter out of my pocket, then changed my mind. What was the chance that Barbara's phone wasn't tapped? There was no way I was going to be able to call her now, not directly. I needed some intermediary to get in touch with her and get her to meet me somewhere south. So much for plans. + +What I really, really needed was the Xnet. + +How the hell was I going to get online? My phone's wifinder was blinking like crazy -- there was wireless all around me, but I didn't have an Xbox and a TV and a ParanoidXbox DVD to boot from. WiFi, WiFi everywhere... + +That's when I spotted them. Two kids, about my age, moving among the crowd at the top of the stairs down into the BART. + +What caught my eye was the way they were moving, kind of clumsy, nudging up against the commuters and the tourists. Each had a hand in his pocket, and whenever they met one another's eye, they snickered. They couldn't have been more obvious jammers, but the crowd was oblivious to them. Being down in that neighborhood, you expect to be dodging homeless people and crazies, so you don't make eye contact, don't look around at all if you can help it. + +I sidled up to one. He seemed really young, but he couldn't have been any younger than me. + +"Hey," I said. "Hey, can you guys come over here for a second?" + +He pretended not to hear me. He looked right through me, the way you would a homeless person. + +"Come on," I said. "I don't have a lot of time." I grabbed his shoulder and hissed in his ear. "The cops are after me. I'm from Xnet." + +He looked scared now, like he wanted to run away, and his friend was moving toward us. "I'm serious," I said. "Just hear me out." + +His friend came over. He was taller, and beefy -- like Darryl. "Hey," he said. "Something wrong?" + +His friend whispered in his ear. The two of them looked like they were going to bolt. + +I grabbed my copy of the /{Bay Guardian}/ from under my arm and rattled it in front of them. "Just turn to page 5, OK?" + +They did. They looked at the headline. The photo. Me. + +"Oh, dude," the first one said. "We are /{so}/ not worthy." He grinned at me like crazy, and the beefier one slapped me on the back. + +"No /{way}/ --" he said. "You're M --" + +I put a hand over his mouth. "Come over here, OK?" + +I brought them back to my bench. I noticed that there was something old and brown staining the sidewalk underneath it. Darryl's blood? It made my skin pucker up. We sat down. + +"I'm Marcus," I said, swallowing hard as I gave my real name to these two who already knew me as M1k3y. I was blowing my cover, but the /{Bay Guardian}/ had already made the connection for me. + +"Nate," the small one said. "Liam," the bigger one said. "Dude, it is /{such}/ an honor to meet you. You're like our all-time hero --" + +"Don't say that," I said. "Don't say that. You two are like a flashing advertisement that says, 'I am jamming, please put my ass in Gitmo-by-the-Bay. You couldn't be more obvious." + +Liam looked like he might cry. + +"Don't worry, you didn't get busted. I'll give you some tips, later." He brightened up again. What was becoming weirdly clear was that these two really /{did}/ idolize M1k3y, and that they'd do anything I said. They were grinning like idiots. It made me uncomfortable, sick to my stomach. + +"Listen, I need to get on Xnet, now, without going home or anywhere near home. Do you two live near here?" + +"I do," Nate said. "Up at the top of California Street. It's a bit of a walk -- steep hills." I'd just walked all the way down them. Masha was somewhere up there. But still, it was better than I had any right to expect. + +"Let's go," I said. + +# + +Nate loaned me his baseball hat and traded jackets with me. I didn't have to worry about gait-recognition, not with my ankle throbbing the way it was -- I limped like an extra in a cowboy movie. + +Nate lived in a huge four-bedroom apartment at the top of Nob Hill. The building had a doorman, in a red overcoat with gold brocade, and he touched his cap and called Nate, "Mr Nate" and welcomed us all there. The place was spotless and smelled of furniture polish. I tried not to gawp at what must have been a couple million bucks' worth of condo. + +"My dad," he explained. "He was an investment banker. Lots of life insurance. He died when I was 14 and we got it all. They'd been divorced for years, but he left my mom as beneficiary." + +From the floor-to-ceiling window, you could see a stunning view of the other side of Nob Hill, all the way down to Fisherman's Wharf, to the ugly stub of the Bay Bridge, the crowd of cranes and trucks. Through the mist, I could just make out Treasure Island. Looking down all that way, it gave me a crazy urge to jump. + +I got online with his Xbox and a huge plasma screen in the living room. He showed me how many open WiFi networks were visible from his high vantage point -- twenty, thirty of them. This was a good spot to be an Xnetter. + +There was a /{lot}/ of email in my M1k3y account. 20,000 new messages since Ange and I had left her place that morning. Lots of it was from the press, asking for followup interviews, but most of it was from the Xnetters, people who'd seen the /{Guardian}/ story and wanted to tell me that they'd do anything to help me, anything I needed. + +That did it. Tears started to roll down my cheeks. + +Nate and Liam exchanged glances. I tried to stop, but it was no good. I was sobbing now. Nate went to an oak book-case on one wall and swung a bar out of one of its shelves, revealing gleaming rows of bottles. He poured me a shot of something golden brown and brought it to me. + +"Rare Irish whiskey," he said. "Mom's favorite." + +It tasted like fire, like gold. I sipped at it, trying not to choke. I didn't really like hard liquor, but this was different. I took several deep breaths. + +"Thanks, Nate," I said. He looked like I'd just pinned a medal on him. He was a good kid. + +"All right," I said, and picked up the keyboard. The two boys watched in fascination as I paged through my mail on the gigantic screen. + +What I was looking for, first and foremost, was email from Ange. There was a chance that she'd just gotten away. There was always that chance. + +I was an idiot to even hope. There was nothing from her. I started going through the mail as fast as I could, picking apart the press requests, the fan mail, the hate mail, the spam... + +And that's when I found it: a letter from Zeb. + +"It wasn't nice to wake up this morning and find the letter that I thought you would destroy in the pages of the newspaper. Not nice at all. Made me feel -- hunted. + +"But I've come to understand why you did it. I don't know if I can approve of your tactics, but it's easy to see that your motives were sound. + +"If you're reading this, that means that there's a good chance you've gone underground. It's not easy. I've been learning that. I've been learning a lot more. + +"I can help you. I should do that for you. You're doing what you can for me. (Even if you're not doing it with my permission.) + +"Reply if you get this, if you're on the run and alone. Or reply if you're in custody, being run by our friends on Gitmo, looking for a way to make the pain stop. If they've got you, you'll do what they tell you. I know that. I'll take that risk. + +"For you, M1k3y." + +"Wooooah," Liam breathed. "Duuuuude." I wanted to smack him. I turned to say something awful and cutting to him, but he was staring at me with eyes as big as saucers, looking like he wanted to drop to his knees and worship me. + +"Can I just say," Nate said, "can I just say that it is the biggest honor of my entire life to help you? Can I just say that?" + +I was blushing now. There was nothing for it. These two were totally star-struck, even though I wasn't any kind of star, not in my own mind at least. + +"Can you guys --" I swallowed. "Can I have some privacy here?" + +They slunk out of the room like bad puppies and I felt like a tool. I typed fast. + +"I got away, Zeb. And I'm on the run. I need all the help I can get. I want to end this now." I remembered to take Masha's phone out of my pocket and tickle it to keep it from going to sleep. + +They let me use the shower, gave me a change of clothes, a new backpack with half their earthquake kit in it -- energy bars, medicine, hot and cold packs, and an old sleeping-bag. They even slipped a spare Xbox Universal already loaded with ParanoidXbox on it into there. That was a nice touch. I had to draw the line at a flaregun. + +I kept on checking my email to see if Zeb had replied. I answered the fan mail. I answered the mail from the press. I deleted the hate mail. I was half-expecting to see something from Masha, but chances were she was halfway to LA by now, her fingers hurt, and in no position to type. I tickled her phone again. + +They encouraged me to take a nap and for a brief, shameful moment, I got all paranoid like maybe these guys were thinking of turning me in once I was asleep. Which was idiotic -- they could have turned me in just as easily when I was awake. I just couldn't compute the fact that they thought /{so much}/ of me. I had known, intellectually, that there were people who would follow M1k3y. I'd met some of those people that morning, shouting BITE BITE BITE and vamping it up at Civic Center. But these two were more personal. They were just nice, goofy guys, they coulda been any of my friends back in the days before the Xnet, just two pals who palled around having teenage adventures. They'd volunteered to join an army, my army. I had a responsibility to them. Left to themselves, they'd get caught, it was only a matter of time. They were too trusting. + +"Guys, listen to me for a second. I have something serious I need to talk to you about." + +They almost stood at attention. It would have been funny if it wasn't so scary. + +"Here's the thing. Now that you've helped me, it's really dangerous. If you get caught, I'll get caught. They'll get anything you know out of you --" I held up my hand to forestall their protests. "No, stop. You haven't been through it. Everyone talks. Everyone breaks. If you're ever caught, you tell them everything, right away, as fast as you can, as much as you can. They'll get it all eventually anyway. That's how they work. + +"But you won't get caught, and here's why: you're not jammers anymore. You are retired from active duty. You're a --" I fished in my memory for vocabulary words culled from spy thrillers -- "you're a sleeper cell. Stand down. Go back to being normal kids. One way or another, I'm going to break this thing, break it wide open, end it. Or it will get me, finally, do me in. If you don't hear from me within 72 hours, assume that they got me. Do whatever you want then. But for the next three days -- and forever, if I do what I'm trying to do -- stand down. Will you promise me that?" + +They promised with all solemnity. I let them talk me into napping, but made them swear to rouse me once an hour. I'd have to tickle Masha's phone and I wanted to know as soon as Zeb got back in touch with me. + +# + +The rendezvous was on a BART car, which made me nervous. They're full of cameras. But Zeb knew what he was doing. He had me meet him in the last car of a certain train departing from Powell Street Station, at a time when that car was filled with the press of bodies. He sidled up to me in the crowd, and the good commuters of San Francisco cleared a space for him, the hollow that always surrounds homeless people. + +"Nice to see you again," he muttered, facing into the doorway. Looking into the dark glass, I could see that there was no one close enough to eavesdrop -- not without some kind of high-efficiency mic rig, and if they knew enough to show up here with one of those, we were dead anyway. + +"You too, brother," I said. "I'm -- I'm sorry, you know?" + +"Shut up. Don't be sorry. You were braver than I am. Are you ready to go underground now? Ready to disappear?" + +"About that." + +"Yes?" + +"That's not the plan." + +"Oh," he said. + +"Listen, OK? I have -- I have pictures, video. Stuff that really /{proves}/ something." I reached into my pocket and tickled Masha's phone. I'd bought a charger for it in Union Square on the way down, and had stopped and plugged it in at a cafe for long enough to get the battery up to four out of five bars. "I need to get it to Barbara Stratford, the woman from the /{Guardian}/. But they're going to be watching her -- watching to see if I show up." + +"You don't think that they'll be watching for me, too? If your plan involves me going within a mile of that woman's home or office --" + +"I want you to get Van to come and meet me. Did Darryl ever tell you about Van? The girl --" + +"He told me. Yes, he told me. You don't think they'll be watching her? All of you who were arrested?" + +"I think they will. I don't think they'll be watching her as hard. And Van has totally clean hands. She never cooperated with any of my --" I swallowed. "With my projects. So they might be a little more relaxed about her. If she calls the Bay Guardian to make an appointment to explain why I'm just full of crap, maybe they'll let her keep it." + +He stared at the door for a long time. + +"You know what happens when they catch us again." It wasn't a question. + +I nodded. + +"Are you sure? Some of the people that were on Treasure Island with us got taken away in helicopters. They got taken /{offshore}/. There are countries where America can outsource its torture. Countries where you will rot forever. Countries where you wish they would just get it over with, have you dig a trench and then shoot you in the back of the head as you stand over it." + +I swallowed and nodded. + +"Is it worth the risk? We can go underground for a long, long time here. Someday we might get our country back. We can wait it out." + +I shook my head. "You can't get anything done by doing nothing. It's our /{country}/. They've taken it from us. The terrorists who attack us are still free -- but /{we're not}/. I can't go underground for a year, ten years, my whole life, waiting for freedom to be handed to me. Freedom is something you have to take for yourself." + +# + +That afternoon, Van left school as usual, sitting in the back of the bus with a tight knot of her friends, laughing and joking the way she always did. The other riders on the bus took special note of her, she was so loud, and besides, she was wearing that stupid, giant floppy hat, something that looked like a piece out of a school play about Renaissance sword fighters. At one point they all huddled together, then turned away to look out the back of the bus, pointing and giggling. The girl who wore the hat now was the same height as Van, and from behind, it could be her. + +No one paid any attention to the mousy little Asian girl who got off a few stops before the BART. She was dressed in a plain old school uniform, and looking down shyly as she stepped off. Besides, at that moment, the loud Korean girl let out a whoop and her friends followed along, laughing so loudly that even the bus driver slowed down, twisted in his seat and gave them a dirty look. + +Van hurried away down the street with her head down, her hair tied back and dropped down the collar of her out-of-style bubble jacket. She had slipped lifts into her shoes that made her two wobbly, awkward inches taller, and had taken her contacts out and put on her least-favored glasses, with huge lenses that took up half her face. Although I'd been waiting in the bus-shelter for her and knew when to expect her, I hardly recognized her. I got up and walked along behind her, across the street, trailing by half a block. + +The people who passed me looked away as quickly as possible. I looked like a homeless kid, with a grubby cardboard sign, street-grimy overcoat, huge, overstuffed knapsack with duct-tape over its rips. No one wants to look at a street-kid, because if you meet his eye, he might ask you for some spare change. I'd walked around Oakland all afternoon and the only person who'd spoken to me was a Jehovah's Witness and a Scientologist, both trying to convert me. It felt gross, like being hit on by a pervert. + +Van followed the directions I'd written down carefully. Zeb had passed them to her the same way he'd given me the note outside school -- bumping into her as she waited for the bus, apologizing profusely. I'd written the note plainly and simply, just laying it out for her: I know you don't approve. I understand. But this is it, this is the most important favor I've ever asked of you. Please. Please. + +She'd come. I knew she would. We had a lot of history, Van and I. She didn't like what had happened to the world, either. Besides, an evil, chuckling voice in my head had pointed out, she was under suspicion now that Barbara's article was out. + +We walked like that for six or seven blocks, looking at who was near us, what cars went past. Zeb told me about five-person trails, where five different undercovers traded off duties following you, making it nearly impossible to spot them. You had to go somewhere totally desolate, where anyone at all would stand out like a sore thumb. + +The overpass for the 880 was just a few blocks from the Coliseum BART station, and even with all the circling Van did, it didn't take long to reach it. The noise from overhead was nearly deafening. No one else was around, not that I could tell. I'd visited the site before I suggested it to Van in the note, taking care to check for places where someone could hide. There weren't any. + +Once she stopped at the appointed place, I moved quickly to catch up to her. She blinked owlishly at me from behind her glasses. + +"Marcus," she breathed, and tears swam in her eyes. I found that I was crying too. I'd make a really rotten fugitive. Too sentimental. + +She hugged me so hard I couldn't breathe. I hugged her back even harder. + +Then she kissed me. + +Not on the cheek, not like a sister. Full on the lips, a hot, wet, steamy kiss that seemed to go on forever. I was so overcome with emotion -- + +No, that's bull. I knew exactly what I was doing. I kissed her back. + +Then I stopped and pulled away, nearly shoved her away. "Van," I gasped. + +"Oops," she said. + +"Van," I said again. + +"Sorry," she said. "I --" + +Something occurred to me just then, something I guess I should have seen a long, long time before. + +"You /{like}/ me, don't you?" + +She nodded miserably. "For years," she said. + +Oh, God. Darryl, all these years, so in love with her, and the whole time she was looking at me, secretly wanting me. And then I ended up with Ange. Ange said that she'd always fought with Van. And I was running around, getting into so much trouble. + +"Van," I said. "Van, I'm so sorry." + +"Forget it," she said, looking away. "I know it can't be. I just wanted to do that once, just in case I never --" She bit down on the words. + +"Van, I need you to do something for me. Something important. I need you to meet with the journalist from the Bay Guardian, Barbara Stratford, the one who wrote the article. I need you to give her something." I explained about Masha's phone, told her about the video that Masha had sent me. + +"What good will this do, Marcus? What's the point?" + +"Van, you were right, at least partly. We can't fix the world by putting other people at risk. I need to solve the problem by telling what I know. I should have done that from the start. Should have walked straight out of their custody and to Darryl's father's house and told him what I knew. Now, though, I have evidence. This stuff -- it could change the world. This is my last hope. The only hope for getting Darryl out, for getting a life that I don't spend underground, hiding from the cops. And you're the only person I can trust to do this." + +"Why me?" + +"You're kidding, right? Look at how well you handled getting here. You're a pro. You're the best at this of any of us. You're the only one I can trust. That's why you." + +"Why not your friend Angie?" She said the name without any inflection at all, like it was a block of cement. + +I looked down. "I thought you knew. They arrested her. She's in Gitmo -- on Treasure Island. She's been there for days now." I had been trying not to think about this, not to think about what might be happening to her. Now I couldn't stop myself and I started to sob. I felt a pain in my stomach, like I'd been kicked, and I pushed my hands into my middle to hold myself in. I folded there, and the next thing I knew, I was on my side in the rubble under the freeway, holding myself and crying. + +Van knelt down by my side. "Give me the phone," she said, her voice an angry hiss. I fished it out of my pocket and passed it to her. + +Embarrassed, I stopped crying and sat up. I knew that snot was running down my face. Van was giving me a look of pure revulsion. "You need to keep it from going to sleep," I said. "I have a charger here." I rummaged in my pack. I hadn't slept all the way through the night since I acquired it. I set the phone's alarm to go off every 90 minutes and wake me up so that I could keep it from going to sleep. "Don't fold it shut, either." + +"And the video?" + +"That's harder," I said. "I emailed a copy to myself, but I can't get onto the Xnet anymore." In a pinch, I could have gone back to Nate and Liam and used their Xbox again, but I didn't want to risk it. "Look, I'm going to give you my login and password for the Pirate Party's mail-server. You'll have to use Tor to access it -- Homeland Security is bound to be scanning for people logging into p-party mail." + +"Your login and password," she said, looking a little surprised. + +"I trust you, Van. I know I can trust you." + +She shook her head. "You /{never}/ give out your passwords, Marcus." + +"I don't think it matters anymore. Either you succeed or I -- or it's the end of Marcus Yallow. Maybe I'll get a new identity, but I don't think so. I think they'll catch me. I guess I've known all along that they'd catch me, some day." + +She looked at me, furious now. "What a waste. What was it all for, anyway?" + +Of all the things she could have said, nothing could have hurt me more. It was like another kick in the stomach. What a waste, all of it, futile. Darryl and Ange, gone. I might never see my family again. And still, Homeland Security had my city and my country caught in a massive, irrational shrieking freak-out where anything could be done in the name of stopping terrorism. + +Van looked like she was waiting for me to say something, but I had nothing to say to that. She left me there. + +# + +Zeb had a pizza for me when I got back "home" -- to the tent under a freeway overpass in the Mission that he'd staked out for the night. He had a pup tent, military surplus, stenciled with SAN FRANCISCO LOCAL HOMELESS COORDINATING BOARD. + +The pizza was a Dominos, cold and clabbered, but delicious for all that. "You like pineapple on your pizza?" + +Zeb smiled condescendingly at me. "Freegans can't be choosy," he said. + +"Freegans?" + +"Like vegans, but we only eat free food." + +"Free food?" + +He grinned again. "You know -- /{free}/ food. From the free food store?" + +"You stole this?" + +"No, dummy. It's from the other store. The little one out behind the store? Made of blue steel? Kind of funky smelling?" + +"You got this out of the garbage?" + +He flung his head back and cackled. "Yes indeedy. You should /{see}/ your face. Dude, it's OK. It's not like it was rotten. It was fresh -- just a screwed up order. They threw it out in the box. They sprinkle rat poison over everything at closing-time, but if you get there quick, you're OK. You should see what grocery stores throw out! Wait until breakfast. I'm going to make you a fruit salad you won't believe. As soon as one strawberry in the box goes a little green and fuzzy, the whole thing is out --" + +I tuned him out. The pizza was fine. It wasn't as if sitting in the dumpster would infect it or something. If it was gross, that was only because it came from Domino's -- the worst pizza in town. I'd never liked their food, and I'd given it up altogether when I found out that they bankrolled a bunch of ultra-crazy politicians who thought that global warming and evolution were satanic plots. + +It was hard to shake the feeling of grossness, though. + +But there /{was}/ another way to look at it. Zeb had showed me a secret, something I hadn't anticipated: there was a whole hidden world out there, a way of getting by without participating in the system. + +"Freegans, huh?" + +"Yogurt, too," he said, nodding vigorously. "For the fruit salad. They throw it out the day after the best-before date, but it's not as if it goes green at midnight. It's yogurt, I mean, it's basically just rotten milk to begin with." + +I swallowed. The pizza tasted funny. Rat poison. Spoiled yogurt. Furry strawberries. This would take some getting used to. + +I ate another bite. Actually, Domino's pizza sucked a little less when you got it for free. + +Liam's sleeping bag was warm and welcoming after a long, emotionally exhausting day. Van would have made contact with Barbara by now. She'd have the video and the picture. I'd call her in the morning and find out what she thought I should do next. I'd have to come in once she published, to back it all up. + +I thought about that as I closed my eyes, thought about what it would be like to turn myself in, the cameras all rolling, following the infamous M1k3y into one of those big, columnated buildings in Civic Center. + +The sound of the cars screaming by overhead turned into a kind of ocean sound as I drifted away. There were other tents nearby, homeless people. I'd met a few of them that afternoon, before it got dark and we all retreated to huddle near our own tents. They were all older than me, rough looking and gruff. None of them looked crazy or violent, though. Just like people who'd had bad luck, or made bad decisions, or both. + +I must have fallen asleep, because I don't remember anything else until a bright light was shined into my face, so bright it was blinding. + +"That's him," said a voice behind the light. + +"Bag him," said another voice, one I'd heard before, one I'd heard over and over again in my dreams, lecturing to me, demanding my passwords. Severe-haircut-woman. + +The bag went over my head quickly and was cinched so tight at the throat that I choked and threw up my freegan pizza. As I spasmed and choked, hard hands bound my wrists, then my ankles. I was rolled onto a stretcher and hoisted, then carried into a vehicle, up a couple of clanging metal steps. They dropped me into a padded floor. There was no sound at all in the back of the vehicle once they closed the doors. The padding deadened everything except my own choking. + +"Well, hello again," she said. I felt the van rock as she crawled in with me. I was still choking, trying to gasp in a breath. Vomit filled my mouth and trickled down my windpipe. + +"We won't let you die," she said. "If you stop breathing, we'll make sure you start again. So don't worry about it." + +I choked harder. I sipped at air. Some was getting through. Deep, wracking coughs shook my chest and back, dislodging some more of the puke. More breath. + +"See?" she said. "Not so bad. Welcome home, M1k3y. We've got somewhere very special to take you." + +I relaxed onto my back, feeling the van rock. The smell of used pizza was overwhelming at first, but as with all strong stimuli, my brain gradually grew accustomed to it, filtered it out until it was just a faint aroma. The rocking of the van was almost comforting. + +That's when it happened. An incredible, deep calm that swept over me like I was lying on the beach and the ocean had swept in and lifted me as gently as a parent, held me aloft and swept me out onto a warm sea under a warm sun. After everything that had happened, I was caught, but it didn't matter. I had gotten the information to Barbara. I had organized the Xnet. I had won. And if I hadn't won, I had done everything I could have done. More than I ever thought I could do. I took a mental inventory as I rode, thinking of everything that I had accomplished, that /{we}/ had accomplished. The city, the country, the world was full of people who wouldn't live the way DHS wanted us to live. We'd fight forever. They couldn't jail us all. + +I sighed and smiled. + +She'd been talking all along, I realized. I'd been so far into my happy place that she'd just gone away. + +"-- smart kid like you. You'd think that you'd know better than to mess with us. We've had an eye on you since the day you walked out. We would have caught you even if you hadn't gone crying to your lesbo journalist traitor. I just don't get it -- we had an understanding, you and me..." + +We rumbled over a metal plate, the van's shocks rocking, and then the rocking changed. We were on water. Heading to Treasure Island. Hey, Ange was there. Darryl, too. Maybe. + +# + +The hood didn't come off until I was in my cell. They didn't bother with the cuffs at my wrists and ankles, just rolled me off the stretcher and onto the floor. It was dark, but by the moonlight from the single, tiny, high window, I could see that the mattress had been taken off the cot. The room contained me, a toilet, a bed-frame, and a sink, and nothing else. + +I closed my eyes and let the ocean lift me. I floated away. Somewhere, far below me, was my body. I could tell what would happen next. I was being left to piss myself. Again. I knew what that was like. I'd pissed myself before. It smelled bad. It itched. It was humiliating, like being a baby. + +But I'd survived it. + +I laughed. The sound was weird, and it drew me back into my body, back to the present. I laughed and laughed. I'd had the worst that they could throw at me, and I'd survived it, and I'd /{beaten them}/, beaten them for months, showed them up as chumps and despots. I'd /{won}/. + +I let my bladder cut loose. It was sore and full anyway, and no time like the present. + +The ocean swept me away. + +# + +When morning came, two efficient, impersonal guards cut the bindings off of my wrists and ankles. I still couldn't walk -- when I stood, my legs gave way like a stringless marionette's. Too much time in one position. The guards pulled my arms over their shoulders and half-dragged/half-carried me down the familiar corridor. The bar codes on the doors were curling up and dangling now, attacked by the salt air. + +I got an idea. "Ange!" I yelled. "Darryl!" I yelled. My guards yanked me along faster, clearly disturbed but not sure what to do about it. "Guys, it's me, Marcus! Stay free!" + +Behind one of the doors, someone sobbed. Someone else cried out in what sounded like Arabic. Then it was cacophony, a thousand different shouting voices. + +They brought me to a new room. It was an old shower-room, with the shower-heads still present in the mould tiles. + +"Hello, M1k3y," Severe Haircut said. "You seem to have had an eventful morning." She wrinkled her nose pointedly. + +"I pissed myself," I said, cheerfully. "You should try it." + +"Maybe we should give you a bath, then," she said. She nodded, and my guards carried me to another stretcher. This one had restraining straps running its length. They dropped me onto it and it was ice-cold and soaked through. Before I knew it, they had the straps across my shoulders, hips and ankles. A minute later, three more straps were tied down. A man's hands grabbed the railings by my head and released some catches, and a moment later I was tilted down, my head below my feet. + +"Let's start with something simple," she said. I craned my head to see her. She had turned to a desk with an Xbox on it, connected to an expensive-looking flat-panel TV. "I'd like you to tell me your login and password for your Pirate Party email, please?" + +I closed my eyes and let the ocean carry me off the beach. + +"Do you know what waterboarding is, M1k3y?" Her voice reeled me in. "You get strapped down like this, and we pour water over your head, up your nose and down your mouth. You can't suppress the gag reflex. They call it a simulated execution, and from what I can tell from this side of the room, that's a fair assessment. You won't be able to fight the feeling that you're dying." + +I tried to go away. I'd heard of waterboarding. This was it, real torture. And this was just the beginning. + +I couldn't go away. The ocean didn't sweep in and lift me. There was a tightness in my chest, my eyelids fluttered. I could feel clammy piss on my legs and clammy sweat in my hair. My skin itched from the dried puke. + +She swam into view above me. "Let's start with the login," she said. + +I closed my eyes, squeezed them shut. + +"Give him a drink," she said. + +I heard people moving. I took a deep breath and held it. + +The water started as a trickle, a ladleful of water gently poured over my chin, my lips. Up my upturned nostrils. It went back into my throat, starting to choke me, but I wouldn't cough, wouldn't gasp and suck it into my lungs. I held onto my breath and squeezed my eyes harder. + +There was a commotion from outside the room, a sound of chaotic boots stamping, angry, outraged shouts. The dipper was emptied into my face. + +I heard her mutter something to someone in the room, then to me she said, "Just the login, Marcus. It's a simple request. What could I do with your login, anyway?" + +This time, it was a bucket of water, all at once, a flood that didn't stop, it must have been gigantic. I couldn't help it. I gasped and aspirated the water into my lungs, coughed and took more water in. I knew they wouldn't kill me, but I couldn't convince my body of that. In every fiber of my being, I knew I was going to die. I couldn't even cry -- the water was still pouring over me. + +Then it stopped. I coughed and coughed and coughed, but at the angle I was at, the water I coughed up dribbled back into my nose and burned down my sinuses. + +The coughs were so deep they hurt, hurt my ribs and my hips as I twisted against them. I hated how my body was betraying me, how my mind couldn't control my body, but there was nothing for it. + +Finally, the coughing subsided enough for me to take in what was going on around me. People were shouting and it sounded like someone was scuffling, wrestling. I opened my eyes and blinked into the bright light, then craned my neck, still coughing a little. + +The room had a lot more people in it than it had had when we started. Most of them seemed to be wearing body armor, helmets, and smoked-plastic visors. They were shouting at the Treasure Island guards, who were shouting back, necks corded with veins. + +"Stand down!" one of the body-armors said. "Stand down and put your hands in the air. You are under arrest!" + +Severe haircut woman was talking on her phone. One of the body armors noticed her and he moved swiftly to her and batted her phone away with a gloved hand. Everyone fell silent as it sailed through the air in an arc that spanned the small room, clattering to the ground in a shower of parts. + +The silence broke and the body-armors moved into the room. Two grabbed each of my torturers. I almost managed a smile at the look on Severe Haircut's face when two men grabbed her by the shoulders, turned her around, and yanked a set of plastic handcuffs around her wrists. + +One of the body-armors moved forward from the doorway. He had a video camera on his shoulder, a serious rig with blinding white light. He got the whole room, circling me twice while he got me. I found myself staying perfectly still, as though I was sitting for a portrait. + +It was ridiculous. + +"Do you think you could get me off of this thing?" I managed to get it all out with only a little choking. + +Two more body armors moved up to me, one a woman, and began to unstrap me. They flipped their visors up and smiled at me. They had red crosses on their shoulders and helmets. + +Beneath the red crosses was another insignia: CHP. California Highway Patrol. They were State Troopers. + +I started to ask what they were doing there, and that's when I saw Barbara Stratford. She'd evidently been held back in the corridor, but now she came in pushing and shoving. "There you are," she said, kneeling beside me and grabbing me in the longest, hardest hug of my life. + +That's when I knew it -- Guantanamo by the Bay was in the hands of its enemies. I was saved. + +1~ Chapter 21 + +_1 /{ [This chapter is dedicated to Pages Books in Toronto, Canada.~{ Pages Books http://pagesbooks.ca/ 256 Queen St W, Toronto, ON M5V 1Z8 Canada +1 416 598 1447 }~ Long a fixture on the bleedingly trendy Queen Street West strip, Pages is located over the road from CityTV and just a few doors down from the old Bakka store where I worked. We at Bakka loved having Pages down the street from us: what we were to science fiction, they were to everything else: hand-picked material representing the stuff you'd never find elsewhere, the stuff you didn't know you were looking for until you saw it there. Pages also has one of the best news-stands I've ever seen, row on row of incredible magazines and zines from all over the world.] }/ + +They left me and Barbara alone in the room then, and I used the working shower head to rinse off -- I was suddenly embarrassed to be covered in piss and barf. When I finished, Barbara was in tears. + +"Your parents --" she began. + +I felt like I might throw up again. God, my poor folks. What they must have gone through. + +"Are they here?" + +"No," she said. "It's complicated," she said. + +"What?" + +"You're still under arrest, Marcus. Everyone here is. They can't just sweep in and throw open the doors. Everyone here is going to have to be processed through the criminal justice system. It could take, well, it could take months." + +"I'm going to have to stay here for /{months}/?" + +She grabbed my hands. "No, I think we're going to be able to get you arraigned and released on bail pretty fast. But pretty fast is a relative term. I wouldn't expect anything to happen today. And it's not going to be like those people had it. It will be humane. There will be real food. No interrogations. Visits from your family. + +"Just because the DHS is out, it doesn't mean that you get to just walk out of here. What's happened here is that we're getting rid of the bizarro-world version of the justice system they'd instituted and replacing it with the old system. The system with judges, open trials and lawyers. + +"So we can try to get you transferred to a juvie facility on the mainland, but Marcus, those places can be really rough. Really, really rough. This might be the best place for you until we get you bailed out." + +Bailed out. Of course. I was a criminal -- I hadn't been charged yet, but there were bound to be plenty of charges they could think of. It was practically illegal just to think impure thoughts about the government. + +She gave my hands another squeeze. "It sucks, but this is how it has to be. The point is, it's /{over}/. The Governor has thrown the DHS out of the State, dismantled every checkpoint. The Attorney General has issued warrants for any law-enforcement officers involved in 'stress interrogations' and secret imprisonments. They'll go to jail, Marcus, and it's because of what you did." + +I was numb. I heard the words, but they hardly made sense. Somehow, it was over, but it wasn't over. + +"Look," she said. "We probably have an hour or two before this all settles down, before they come back and put you away again. What do you want to do? Walk on the beach? Get a meal? These people had an incredible staff room -- we raided it on the way in. Gourmet all the way." + +At last a question I could answer. "I want to find Ange. I want to find Darryl." + +# + +I tried to use a computer I found to look up their cell-numbers, but it wanted a password, so we were reduced to walking the corridors, calling out their names. Behind the cell-doors, prisoners screamed back at us, or cried, or begged us to let them go. They didn't understand what had just happened, couldn't see their former guards being herded onto the docks in plastic handcuffs, taken away by California state SWAT teams. + +"Ange!" I called over the din, "Ange Carvelli! Darryl Glover! It's Marcus!" + +We'd walked the whole length of the cell-block and they hadn't answered. I felt like crying. They'd been shipped overseas -- they were in Syria or worse. I'd never see them again. + +I sat down and leaned against the corridor wall and put my face in my hands. I saw Severe Haircut Woman's face, saw her smirk as she asked me for my login. She had done this. She would go to jail for it, but that wasn't enough. I thought that when I saw her again, I might kill her. She deserved it. + +"Come on," Barbara said, "Come on, Marcus. Don't give up. There's more around here, come on." + +She was right. All the doors we'd passed in the cellblock were old, rusting things that dated back to when the base was first built. But at the very end of the corridor, sagging open, was a new high-security door as thick as a dictionary. We pulled it open and ventured into the dark corridor within. + +There were four more cell-doors here, doors without bar codes. Each had a small electronic keypad mounted on it. + +"Darryl?" I said. "Ange?" + +"Marcus?" + +It was Ange, calling out from behind the furthest door. Ange, my Ange, my angel. + +"Ange!" I cried. "It's me, it's me!" + +"Oh God, Marcus," she choked out, and then it was all sobs. + +I pounded on the other doors. "Darryl! Darryl, are you here?" + +"I'm here." The voice was very small, and very hoarse. "I'm here. I'm very, very sorry. Please. I'm very sorry." + +He sounded... broken. Shattered. + +"It's me, D," I said, leaning on his door. "It's Marcus. It's over -- they arrested the guards. They kicked the Department of Homeland Security out. We're getting trials, open trials. And we get to testify against /{them}/." + +"I'm sorry," he said. "Please, I'm so sorry." + +The California patrolmen came to the door then. They still had their camera rolling. "Ms Stratford?" one said. He had his faceplate up and he looked like any other cop, not like my savior. Like someone come to lock me up. + +"Captain Sanchez," she said. "We've located two of the prisoners of interest here. I'd like to see them released and inspect them for myself." + +"Ma'am, we don't have access codes for those doors yet," he said. + +She held up her hand. "That wasn't the arrangement. I was to have complete access to this facility. That came direct from the Governor, sir. We aren't budging until you open these cells." Her face was perfectly smooth, without a single hint of give or flex. She meant it. + +The Captain looked like he needed sleep. He grimaced. "I'll see what I can do," he said. + +# + +They did manage to open the cells, finally, about half an hour later. It took three tries, but they eventually got the right codes entered, matching them to the arphids on the ID badges they'd taken off the guards they'd arrested. + +They got into Ange's cell first. She was dressed in a hospital gown, open at the back, and her cell was even more bare than mine had been -- just padding all over, no sink or bed, no light. She emerged blinking into the corridor and the police camera was on her, its bright lights in her face. Barbara stepped protectively between us and it. Ange stepped tentatively out of her cell, shuffling a little. There was something wrong with her eyes, with her face. She was crying, but that wasn't it. + +"They drugged me," she said. "When I wouldn't stop screaming for a lawyer." + +That's when I hugged her. She sagged against me, but she squeezed back, too. She smelled stale and sweaty, and I smelled no better. I never wanted to let go. + +That's when they opened Darryl's cell. + +He had shredded his paper hospital gown. He was curled up, naked, in the back of the cell, shielding himself from the camera and our stares. I ran to him. + +"D," I whispered in his ear. "D, it's me. It's Marcus. It's over. The guards have been arrested. We're going to get bail, we're going home." + +He trembled and squeezed his eyes shut. "I'm sorry," he whispered, and turned his face away. + +They took me away then, a cop in body-armor and Barbara, took me back to my cell and locked the door, and that's where I spent the night. + +# + +I don't remember much about the trip to the courthouse. They had me chained to five other prisoners, all of whom had been in for a lot longer than me. One only spoke Arabic -- he was an old man, and he trembled. The others were all young. I was the only white one. Once we had been gathered on the deck of the ferry, I saw that nearly everyone on Treasure Island had been one shade of brown or another. + +I had only been inside for one night, but it was too long. There was a light drizzle coming down, normally the sort of thing that would make me hunch my shoulders and look down, but today I joined everyone else in craning my head back at the infinite gray sky, reveling in the stinging wet as we raced across the bay to the ferry-docks. + +They took us away in buses. The shackles made climbing into the buses awkward, and it took a long time for everyone to load. No one cared. When we weren't struggling to solve the geometry problem of six people, one chain, narrow bus-aisle, we were just looking around at the city around us, up the hill at the buildings. + +All I could think of was finding Darryl and Ange, but neither were in evidence. It was a big crowd and we weren't allowed to move freely through it. The state troopers who handled us were gentle enough, but they were still big, armored and armed. I kept thinking I saw Darryl in the crowd, but it was always someone else with that same beaten, hunched look that he'd had in his cell. He wasn't the only broken one. + +At the courthouse, they marched us into interview rooms in our shackle group. An ACLU lawyer took our information and asked us a few questions -- when she got to me, she smiled and greeted me by name -- and then led us into the courtroom before the judge. He wore an actual robe, and seemed to be in a good mood. + +The deal seemed to be that anyone who had a family member to post bail could go free, and everyone else got sent to prison. The ACLU lawyer did a lot of talking to the judge, asking for a few more hours while the prisoners' families were rounded up and brought to the court-house. The judge was pretty good about it, but when I realized that some of these people had been locked up since the bridge blew, taken for dead by their families, without trial, subjected to interrogation, isolation, torture -- I wanted to just break the chains myself and set everyone free. + +When I was brought before the judge, he looked down at me and took off his glasses. He looked tired. The ACLU lawyer looked tired. The bailiffs looked tired. Behind me, I could hear a sudden buzz of conversation as my name was called by the bailiff. The judge rapped his gavel once, without looking away from me. He scrubbed at his eyes. + +"Mr Yallow," he said, "the prosecution has identified you as a flight risk. I think they have a point. You certainly have more, shall we say, /{history}/, than the other people here. I am tempted to hold you over for trial, no matter how much bail your parents are prepared to post." + +My lawyer started to say something, but the judge silenced her with a look. He scrubbed at his eyes. + +"Do you have anything to say?" + +"I had the chance to run," I said. "Last week. Someone offered to take me away, get me out of town, help me build a new identity. Instead I stole her phone, escaped from our truck, and ran away. I turned over her phone -- which had evidence about my friend, Darryl Glover, on it -- to a journalist and hid out here, in town." + +"You stole a phone?" + +"I decided that I couldn't run. That I had to face justice -- that my freedom wasn't worth anything if I was a wanted man, or if the city was still under the DHS. If my friends were still locked up. That freedom for me wasn't as important as a free country." + +"But you did steal a phone." + +I nodded. "I did. I plan on giving it back, if I ever find the young woman in question." + +"Well, thank you for that speech, Mr Yallow. You are a very well spoken young man." He glared at the prosecutor. "Some would say a very brave man, too. There was a certain video on the news this morning. It suggested that you had some legitimate reason to evade the authorities. In light of that, and of your little speech here, I will grant bail, but I will also ask the prosecutor to add a charge of Misdemeanor Petty Theft to the count, as regards the matter of the phone. For this, I expect another $50,000 in bail." + +He banged his gavel again, and my lawyer gave my hand a squeeze. + +He looked down at me again and re-seated his glasses. He had dandruff, there on the shoulders of his robe. A little more rained down as his glasses touched his wiry, curly hair. + +"You can go now, young man. Stay out of trouble." + +# + +I turned to go and someone tackled me. It was Dad. He literally lifted me off my feet, hugging me so hard my ribs creaked. He hugged me the way I remembered him hugging me when I was a little boy, when he'd spin me around and around in hilarious, vomitous games of airplane that ended with him tossing me in the air and catching me and squeezing me like that, so hard it almost hurt. + +A set of softer hands pried me gently out of his arms. Mom. She held me at arm's length for a moment, searching my face for something, not saying anything, tears streaming down her face. She smiled and it turned into a sob and then she was holding me too, and Dad's arm encircled us both. + +When they let go, I managed to finally say something. "Darryl?" + +"His father met me somewhere else. He's in the hospital." + +"When can I see him?" + +"It's our next stop," Dad said. He was grim. "He doesn't --" He stopped. "They say he'll be OK," he said. His voice was choked. + +"How about Ange?" + +"Her mother took her home. She wanted to wait here for you, but..." + +I understood. I felt full of understanding now, for how all the families of all the people who'd been locked away must feel. The courtroom was full of tears and hugs, and even the bailiffs couldn't stop it. + +"Let's go see Darryl," I said. "And let me borrow your phone?" + +I called Ange on the way to the hospital where they were keeping Darryl -- San Francisco General, just down the street from us -- and arranged to see her after dinner. She talked in a hurried whisper. Her mom wasn't sure whether to punish her or not, but Ange didn't want to tempt fate. + +There were two state troopers in the corridor where Darryl was being held. They were holding off a legion of reporters who stood on tiptoe to see around them and get pictures. The flashes popped in our eyes like strobes, and I shook my head to clear it. My parents had brought me clean clothes and I'd changed in the back seat, but I still felt gross, even after scrubbing myself in the court-house bathrooms. + +Some of the reporters called my name. Oh yeah, that's right, I was famous now. The state troopers gave me a look, too -- either they'd recognized my face or my name when the reporters called it out. + +Darryl's father met us at the door of his hospital room, speaking in a whisper too low for the reporters to hear. He was in civvies, the jeans and sweater I normally thought of him wearing, but he had his service ribbons pinned to his breast. + +"He's sleeping," he said. "He woke up a little while ago and he started crying. He couldn't stop. They gave him something to help him sleep." + +He led us in, and there was Darryl, his hair clean and combed, sleeping with his mouth open. There was white stuff at the corners of his mouth. He had a semi-private room, and in the other bed there was an older Arab-looking guy, in his 40s. I realized it was the guy I'd been chained to on the way off of Treasure Island. We exchanged embarrassed waves. + +Then I turned back to Darryl. I took his hand. His nails had been chewed to the quick. He'd been a nail-biter when he was a kid, but he'd kicked the habit when we got to high school. I think Van talked him out of it, telling him how gross it was for him to have his fingers in his mouth all the time. + +I heard my parents and Darryl's dad take a step away, drawing the curtains around us. I put my face down next to his on the pillow. He had a straggly, patchy beard that reminded me of Zeb. + +"Hey, D," I said. "You made it. You're going to be OK." + +He snored a little. I almost said, "I love you," a phrase I'd only said to one non-family-member ever, a phrase that was weird to say to another guy. In the end, I just gave his hand another squeeze. Poor Darryl. + +1~epilogue Epilogue + +_1 /{ [This chapter is dedicated to Hudson Booksellers,~{ Hudson Booksellers http://www.hudsongroup.com/HudsonBooksellers_s.html }~ the booksellers that are in practically every airport in the USA. Most of the Hudson stands have just a few titles (though those are often surprisingly diverse), but the big ones, like the one in the AA terminal at Chicago's O'Hare, are as good as any neighborhood store. It takes something special to bring a personal touch to an airport, and Hudson's has saved my mind on more than one long Chicago layover.] }/ + +Barbara called me at the office on July 4th weekend. I wasn't the only one who'd come into work on the holiday weekend, but I was the only one whose excuse was that my day-release program wouldn't let me leave town. + +In the end, they convicted me of stealing Masha's phone. Can you believe that? The prosecution had done a deal with my lawyer to drop all charges related to "Electronic terrorism" and "inciting riots" in exchange for my pleading guilty to the misdemeanor petty theft charge. I got three months in a day-release program with a half-way house for juvenile offenders in the Mission. I slept at the halfway house, sharing a dorm with a bunch of actual criminals, gang kids and druggie kids, a couple of real nuts. During the day, I was "free" to go out and work at my "job." + +"Marcus, they're letting her go," she said. + +"Who?" + +"Johnstone, Carrie Johnstone," she said. "The closed military tribunal cleared her of any wrongdoing. The file is sealed. She's being returned to active duty. They're sending her to Iraq." + +Carrie Johnstone was Severe Haircut Woman's name. It came out in the preliminary hearings at the California Superior Court, but that was just about all that came out. She wouldn't say a word about who she took orders from, what she'd done, who had been imprisoned and why. She just sat, perfectly silent, day after day, in the courthouse. + +The Feds, meanwhile, had blustered and shouted about the Governor's "unilateral, illegal" shut-down of the Treasure Island facility, and the Mayor's eviction of fed cops from San Francisco. A lot of those cops had ended up in state prisons, along with the guards from Gitmo-by-the-Bay. + +Then, one day, there was no statement from the White House, nothing from the state capitol. And the next day, there was a dry, tense press-conference held jointly on the steps of the Governor's mansion, where the head of the DHS and the governor announced their "understanding." + +The DHS would hold a closed, military tribunal to investigate "possible errors in judgment" committed after the attack on the Bay Bridge. The tribunal would use every tool at its disposal to ensure that criminal acts were properly punished. In return, control over DHS operations in California would go through the State Senate, which would have the power to shut down, inspect, or re-prioritize all homeland security in the state. + +The roar of the reporters had been deafening and Barbara had gotten the first question in. "Mr Governor, with all due respect: we have incontrovertible video evidence that Marcus Yallow, a citizen of this state, native born, was subjected to a simulated execution by DHS officers, apparently acting on orders from the White House. Is the State really willing to abandon any pretense of justice for its citizens in the face of illegal, barbaric /{torture}/?" Her voice trembled, but didn't crack. + +The Governor spread his hands. "The military tribunals will accomplish justice. If Mr Yallow -- or any other person who has cause to fault the Department of Homeland Security -- wants further justice, he is, of course, entitled to sue for such damages as may be owing to him from the federal government." + +That's what I was doing. Over twenty thousand civil lawsuits were filed against the DHS in the week after the Governor's announcement. Mine was being handled by the ACLU, and they'd filed motions to get at the results of the closed military tribunals. So far, the courts were pretty sympathetic to this. + +But I hadn't expected this. + +"She got off totally Scot-free?" + +"The press release doesn't say much. 'After a thorough examination of the events in San Francisco and in the special anti-terror detention center on Treasure Island, it is the finding of this tribunal that Ms Johnstone's actions do not warrant further discipline.' There's that word, 'further' -- like they've already punished her." + +I snorted. I'd dreamed of Carrie Johnstone nearly every night since I was released from Gitmo-by-the-Bay. I'd seen her face looming over mine, that little snarly smile as she told the man to give me a "drink." + +"Marcus --" Barbara said, but I cut her off. + +"It's fine. It's fine. I'm going to do a video about this. Get it out over the weekend. Mondays are big days for viral video. Everyone'll be coming back from the holiday weekend, looking for something funny to forward around school or the office." + +I saw a shrink twice a week as part of my deal at the halfway house. Once I'd gotten over seeing that as some kind of punishment, it had been good. He'd helped me focus on doing constructive things when I was upset, instead of letting it eat me up. The videos helped. + +"I have to go," I said, swallowing hard to keep the emotion out of my voice. + +"Take care of yourself, Marcus," Barbara said. + +Ange hugged me from behind as I hung up the phone. "I just read about it online," she said. She read a million newsfeeds, pulling them with a headline reader that sucked up stories as fast as they ended up on the wire. She was our official blogger, and she was good at it, snipping out the interesting stories and throwing them online like a short order cook turning around breakfast orders. + +I turned around in her arms so that I was hugging her from in front. Truth be told, we hadn't gotten a lot of work done that day. I wasn't allowed to be out of the halfway house after dinner time, and she couldn't visit me there. We saw each other around the office, but there were usually a lot of other people around, which kind of put a crimp in our cuddling. Being alone in the office for a day was too much temptation. It was hot and sultry, too, which meant we were both in tank-tops and shorts, a lot of skin-to-skin contact as we worked next to each other. + +"I'm going to make a video," I said. "I want to release it today." + +"Good," she said. "Let's do it." + +Ange read the press-release. I did a little monologue, synched over that famous footage of me on the water-board, eyes wild in the harsh light of the camera, tears streaming down my face, hair matted and flecked with barf. + +"This is me. I am on a waterboard. I am being tortured in a simulated execution. The torture is supervised by a woman called Carrie Johnstone. She works for the government. You might remember her from this video." + +I cut in the video of Johnstone and Kurt Rooney. "That's Johnstone and Secretary of State Kurt Rooney, the president's chief strategist." + +/{"The nation does not love that city. As far as they're concerned, it is a Sodom and Gomorrah of fags and atheists who deserve to rot in hell. The only reason the country cares what they think in San Francisco is that they had the good fortune to have been blown to hell by some Islamic terrorists."}/ + +"He's talking about the city where I live. At last count, 4,215 of my neighbors were killed on the day he's talking about. But some of them may not have been killed. Some of them disappeared into the same prison where I was tortured. Some mothers and fathers, children and lovers, brothers and sisters will never see their loved ones again -- because they were secretly imprisoned in an illegal jail right here in the San Francisco Bay. They were shipped overseas. The records were meticulous, but Carrie Johnstone has the encryption keys." I cut back to Carrie Johnstone, the footage of her sitting at the board table with Rooney, laughing. + +I cut in the footage of Johnstone being arrested. "When they arrested her, I thought we'd get justice. All the people she broke and disappeared. But the president --" I cut to a still of him laughing and playing golf on one of his many holidays "-- and his Chief Strategist --" now a still of Rooney shaking hands with an infamous terrorist leader who used to be on "our side" "-- intervened. They sent her to a secret military tribunal and now that tribunal has cleared her. Somehow, they saw nothing wrong with all of this." + +I cut in a photomontage of the hundreds of shots of prisoners in their cells that Barbara had published on the Bay Guardian's site the day we were released. "We elected these people. We pay their salaries. They're supposed to be on our side. They're supposed to defend our freedoms. But these people --" a series of shots of Johnstone and the others who'd been sent to the tribunal "-- betrayed our trust. The election is four months away. That's a lot of time. Enough for you to go out and find five of your neighbors -- five people who've given up on voting because their choice is 'none of the above.' + +"Talk to your neighbors. Make them promise to vote. Make them promise to take the country back from the torturers and thugs. The people who laughed at my friends as they lay fresh in their graves at the bottom of the harbor. Make them promise to talk to their neighbors. + +"Most of us choose none of the above. It's not working. You have to choose -- choose freedom. + +"My name is Marcus Yallow. I was tortured by my country, but I still love it here. I'm seventeen years old. I want to grow up in a free country. I want to live in a free country." + +I faded out to the logo of the website. Ange had built it, with help from Jolu, who got us all the free hosting we could ever need on Pigspleen. + +The office was an interesting place. Technically we were called Coalition of Voters for a Free America, but everyone called us the Xnetters. The organization -- a charitable nonprofit -- had been co-founded by Barbara and some of her lawyer friends right after the liberation of Treasure Island. The funding was kicked off by some tech millionaires who couldn't believe that a bunch of hacker kids had kicked the DHS's ass. Sometimes, they'd ask us to go down the peninsula to Sand Hill Road, where all the venture capitalists were, and give a little presentation on Xnet technology. There were about a zillion startups who were trying to make a buck on the Xnet. + +Whatever -- I didn't have to have anything to do with it, and I got a desk and an office with a storefront, right there on Valencia Street, where we gave away ParanoidXbox CDs and held workshops on building better WiFi antennas. A surprising number of average people dropped in to make personal donations, both of hardware (you can run ParanoidLinux on just about anything, not just Xbox Universals) and cash money. They loved us. + +The big plan was to launch our own ARG in September, just in time for the election, and to really tie it in with signing up voters and getting them to the polls. Only 42 percent of Americans showed up at the polls for the last election -- nonvoters had a huge majority. I kept trying to get Darryl and Van to one of our planning sessions, but they kept on declining. They were spending a lot of time together, and Van insisted that it was totally nonromantic. Darryl wouldn't talk to me much at all, though he sent me long emails about just about everything that wasn't about Van or terrorism or prison. + +Ange squeezed my hand. "God, I hate that woman," she said. + +I nodded. "Just one more rotten thing this country's done to Iraq," I said. "If they sent her to my town, I'd probably become a terrorist." + +"You did become a terrorist when they sent her to your town." + +"So I did," I said. + +"Are you going to Ms Galvez's hearing on Monday?" + +"Totally." I'd introduced Ange to Ms Galvez a couple weeks before, when my old teacher invited me over for dinner. The teacher's union had gotten a hearing for her before the board of the Unified School District to argue for getting her old job back. They said that Fred Benson was coming out of (early) retirement to testify against her. I was looking forward to seeing her again. + +"Do you want to go get a burrito?" + +"Totally." + +"Let me get my hot-sauce," she said. + +I checked my email one more time -- my PirateParty email, which still got a dribble of messages from old Xnetters who hadn't found my Coalition of Voters address yet. + +The latest message was from a throwaway email address from one of the new Brazilian anonymizers. + +> Found her, thanks. You didn't tell me she was so h4wt. + +"Who's /{that}/ from?" + +I laughed. "Zeb," I said. "Remember Zeb? I gave him Masha's email address. I figured, if they're both underground, might as well introduce them to one another." + +"He thinks Masha is /{cute}/?" + +"Give the guy a break, he's clearly had his mind warped by circumstances." + +"And you?" + +"Me?" + +"Yeah -- was your mind warped by circumstances?" + +I held Ange out at arm's length and looked her up and down and up and down. I held her cheeks and stared through her thick-framed glasses into her big, mischievous tilted eyes. I ran my fingers through her hair. + +"Ange, I've never thought more clearly in my whole life." + +She kissed me then, and I kissed her back, and it was some time before we went out for that burrito. + +1~afterword_1 Afterword by Bruce Schneier + +I'm a security technologist. My job is making people secure. + +I think about security systems and how to break them. Then, how to make them more secure. Computer security systems. Surveillance systems. Airplane security systems and voting machines and RFID chips and everything else. + +Cory invited me into the last few pages of his book because he wanted me to tell you that security is fun. It's incredibly fun. It's cat and mouse, who can outsmart whom, hunter versus hunted fun. I think it's the most fun job you can possibly have. If you thought it was fun to read about Marcus outsmarting the gait-recognition cameras with rocks in his shoes, think of how much more fun it would be if you were the first person in the world to think of that. + +Working in security means knowing a lot about technology. It might mean knowing about computers and networks, or cameras and how they work, or the chemistry of bomb detection. But really, security is a mindset. It's a way of thinking. Marcus is a great example of that way of thinking. He's always looking for ways a security system fails. I'll bet he couldn't walk into a store without figuring out a way to shoplift. Not that he'd do it -- there's a difference between knowing how to defeat a security system and actually defeating it -- but he'd know he could. + +It's how security people think. We're constantly looking at security systems and how to get around them; we can't help it. + +This kind of thinking is important no matter what side of security you're on. If you've been hired to build a shoplift-proof store, you'd better know how to shoplift. If you're designing a camera system that detects individual gaits, you'd better plan for people putting rocks in their shoes. Because if you don't, you're not going to design anything good. + +So when you're wandering through your day, take a moment to look at the security systems around you. Look at the cameras in the stores you shop at. (Do they prevent crime, or just move it next door?) See how a restaurant operates. (If you pay after you eat, why don't more people just leave without paying?) Pay attention at airport security. (How could you get a weapon onto an airplane?) Watch what the teller does at a bank. (Bank security is designed to prevent tellers from stealing just as much as it is to prevent you from stealing.) Stare at an anthill. (Insects are all about security.) Read the Constitution, and notice all the ways it provides people with security against government. Look at traffic lights and door locks and all the security systems on television and in the movies. Figure out how they work, what threats they protect against and what threats they don't, how they fail, and how they can be exploited. + +Spend enough time doing this, and you'll find yourself thinking differently about the world. You'll start noticing that many of the security systems out there don't actually do what they claim to, and that much of our national security is a waste of money. You'll understand privacy as essential to security, not in opposition. You'll stop worrying about things other people worry about, and start worrying about things other people don't even think about. + +Sometimes you'll notice something about security that no one has ever thought about before. And maybe you'll figure out a new way to break a security system. + +It was only a few years ago that someone invented phishing. + +I'm frequently amazed how easy it is to break some pretty big-name security systems. There are a lot of reasons for this, but the big one is that it's impossible to prove that something is secure. All you can do is try to break it -- if you fail, you know that it's secure enough to keep /{you}/ out, but what about someone who's smarter than you? Anyone can design a security system so strong he himself can't break it. + +Think about that for a second, because it's not obvious. No one is qualified to analyze their own security designs, because the designer and the analyzer will be the same person, with the same limits. Someone else has to analyze the security, because it has to be secure against things the designers didn't think of. + +This means that all of us have to analyze the security that other people design. And surprisingly often, one of us breaks it. Marcus's exploits aren't far-fetched; that kind of thing happens all the time. Go onto the net and look up "bump key" or "Bic pen Kryptonite lock"; you'll find a couple of really interesting stories about seemingly strong security defeated by pretty basic technology. + +And when that happens, be sure to publish it on the Internet somewhere. Secrecy and security aren't the same, even though it may seem that way. Only bad security relies on secrecy; good security works even if all the details of it are public. + +And publishing vulnerabilities forces security designers to design better security, and makes us all better consumers of security. If you buy a Kryptonite bike lock and it can be defeated with a Bic pen, you're not getting very good security for your money. And, likewise, if a bunch of smart kids can defeat the DHS's antiterrorist technologies, then it's not going to do a very good job against real terrorists. + +Trading privacy for security is stupid enough; not getting any actual security in the bargain is even stupider. + +So close the book and go. The world is full of security systems. Hack one of them. + +Bruce Schneier +http://www.schneier.com + +1~afterword_2 Afterword by Andrew "bunnie" Huang, Xbox Hacker +  +Hackers are explorers, digital pioneers. It's in a hacker's nature to question conventions and be tempted by intricate problems. Any complex system is sport for a hacker; a side effect of this is the hacker's natural affinity for problems involving security. Society is a large and complex system, and is certainly not off limits to a little hacking. As a result, hackers are often stereotyped as iconoclasts and social misfits, people who defy social norms for the sake of defiance. When I hacked the Xbox in 2002 while at MIT, I wasn’t doing it to rebel or to cause harm; I was just following a natural impulse, the same impulse that leads to fixing a broken iPod or exploring the roofs and tunnels at MIT.  +  +Unfortunately, the combination of not complying with social norms and knowing “threatening” things like how to read the arphid on your credit card or how to pick locks causes some people to fear hackers. However, the motivations of a hacker are typically as simple as “I’m an engineer because I like to design things.” People often ask me, “Why did you hack the Xbox security system?” And my answer is simple: First, I own the things that I buy. If someone can tell me what I can and can’t run on my hardware, then I don’t own it. Second, because it’s there. It’s a system of sufficient complexity to make good sport. It was a great diversion from the late nights working on my PhD. +  +I was lucky. The fact that I was a graduate student at MIT when I hacked the Xbox legitimized the activity in the eyes of the right people. However, the right to hack shouldn’t only be extended to academics. I got my start on hacking when I was just a boy in elementary school, taking apart every electronic appliance I could get my hands on, much to my parents’ chagrin. My reading collection included books on model rocketry, artillery, nuclear weaponry and explosives manufacture -- books that I borrowed from my school library (I think the Cold War influenced the reading selection in public schools). I also played with my fair share of ad-hoc fireworks and roamed the open construction sites of houses being raised in my Midwestern neighborhood. While not the wisest of things to do, these were important experiences in my coming of age and I grew up to be a free thinker because of the social tolerance and trust of my community. +  +Current events have not been so kind to aspiring hackers. Little Brother shows how we can get from where we are today to a world where social tolerance for new and different thoughts dies altogether. A recent event highlights exactly how close we are to crossing the line into the world of Little Brother. I had the fortune of reading an early draft of Little Brother back in November 2006. Fast forward two months to the end of January 2007, when Boston police found suspected explosive devices and shut down the city for a day. These devices turned out to be nothing more than circuit boards with flashing LEDs, promoting a show for the Cartoon Network. The artists who placed this urban graffiti were taken in as suspected terrorists and ultimately charged with felony; the network producers had to shell out a $2 million settlement, and the head of the Cartoon Network resigned over the fallout.  + +Have the terrorists already won? Have we given in to fear, such that artists, hobbyists, hackers, iconoclasts, or perhaps an unassuming group of kids playing Harajuku Fun Madness, could be so trivially implicated as terrorists? + +There is a term for this dysfunction -- it is called an autoimmune disease, where an organism's defense system goes into overdrive so much that it fails to recognize itself and attacks its own cells. Ultimately, the organism self-destructs. Right now, America is on the verge of going into anaphylactic shock over its own freedoms, and we need to inoculate ourselves against this. Technology is no cure for this paranoia; in fact, it may enhance the paranoia: it turns us into prisoners of our own device. Coercing millions of people to strip off their outer garments and walk barefoot through metal detectors every day is no solution either. It only serves to remind the population every day that they have a reason to be afraid, while in practice providing only a flimsy barrier to a determined adversary. + +The truth is that we can't count on someone else to make us feel free, and M1k3y won’t come and save us the day our freedoms are lost to paranoia. That's because M1k3y is in you and in me--Little Brother is a reminder that no matter how unpredictable the future may be, we don't win freedom through security systems, cryptography, interrogations and spot searches. We win freedom by having the courage and the conviction to live every day freely and to act as a free society, no matter how great the threats are on the horizon. + +Be like M1k3y: step out the door and dare to be free. + +1~bibliogrphy Bibliography + +No writer creates from scratch -- we all engage in what Isaac Newton called "standing on the shoulders of giants." We borrow, plunder and remix the art and culture created by those around us and by our literary forebears. + +If you liked this book and want to learn more, there are plenty of sources to turn to, online and at your local library or bookstore. + +Hacking is a great subject. All science relies on telling other people what you've done so that they can verify it, learn from it, and improve on it, and hacking is all about that process, so there's plenty published on the subject. + +Start with Andrew "Bunnie" Huang's "Hacking the Xbox," (No Starch Press, 2003) a wonderful book that tells the story of how Bunnie, then a student at MIT, reverse-engineered the Xbox's anti-tampering mechanisms and opened the way for all the subsequent cool hacks for the platform. In telling the story, Bunnie has also created a kind of Bible for reverse engineering and hardware hacking. + +Bruce Schneier's "Secrets and Lies" (Wiley, 2000) and "Beyond Fear" (Copernicus, 2003) are the definitive lay-person's texts on understanding security and thinking critically about it, while his "Applied Cryptography" (Wiley, 1995) remains the authoritative source for understanding crypto. Bruce maintains an excellent blog and mailing list at schneier.com/blog. Crypto and security are the realm of the talented amateur, and the "cypherpunk" movement is full of kids, home-makers, parents, lawyers, and every other stripe of person, hammering away on security protocols and ciphers. + +There are several great magazines devoted to this subject, but the two best ones are 2600: The Hacker Quarterly, which is full of pseudonymous, boasting accounts of hacks accomplished, and O'Reilly's MAKE magazine, which features solid HOWTOs for making your own hardware projects at home. + +The online world overflows with material on this subject, of course. Ed Felten and Alex J Halderman's Freedom to Tinker (www.freedom-to-tinker.com) is a blog maintained by two fantastic Princeton engineering profs who write lucidly about security, wiretapping, anti-copying technology and crypto. + +Don't miss Natalie Jeremijenko's "Feral Robotics" at UC San Diego (xdesign.ucsd.edu/feralrobots/). Natalie and her students rewire toy robot dogs from Toys R Us and turn them into bad-ass toxic-waste detectors. They unleash them on public parks where big corporations have dumped their waste and demonstrate in media-friendly fashion how toxic the ground is. + +Like many of the hacks in this book, the tunneling-over-DNS stuff is real. Dan Kaminsky, a tunneling expert of the first water, published details in 2004 (www.doxpara.com/bo2004.ppt). + +The guru of "citizen journalism" is Dan Gillmor, who is presently running Center for Citizen Media at Harvard and UC Berkeley -- he also wrote a hell of a book on the subject, "We, the Media" (O'Reilly, 2004). + +If you want to learn more about hacking arphids, start with Annalee Newitz's Wired Magazine article "The RFID Hacking Underground" (www.wirednews.com/wired/archive/14.05/rfid.html). Adam Greenfield's "Everyware" (New Riders Press, 2006) is a chilling look at the dangers of a world of arphids. + +Neal Gershenfeld's Fab Lab at MIT (fab.cba.mit.edu) is hacking out the world's first real, cheap "3D printers" that can pump out any object you can dream of. This is documented in Gershenfeld's excellent book on the subject, "Fab" (Basic Books, 2005). + +Bruce Sterling's "Shaping Things" (MIT Press, 2005) shows how arphids and fabs could be used to force companies to build products that don't poison the world. + +Speaking of Bruce Sterling, he wrote the first great book on hackers and the law, "The Hacker Crackdown" (Bantam, 1993), which is also the first book published by a major publisher that was released on the Internet at the same time (copies abound; see stuff.mit.edu/hacker/hacker.html for one). It was reading this book that turned me on to the Electronic Frontier Foundation, where I was privileged to work for four years. + +The Electronic Frontier Foundation (www.eff.org) is a charitable membership organization with a student rate. They spend the money that private individuals give them to keep the Internet safe for personal liberty, free speech, due process, and the rest of the Bill of Rights. They're the Internet's most effective freedom fighters, and you can join the struggle just by signing up for their mailing list and writing to your elected officials when they're considering selling you out in the name of fighting terrorism, piracy, the mafia, or whatever bogeyman has caught their attention today. EFF also helps maintain TOR, The Onion Router, which is a real technology you can use /{right now}/ to get out of your government, school or library's censoring firewall (tor.eff.org). + +EFF has a huge, deep website with amazing information aimed at a general audience, as do the American Civil Liberties Union (aclu.org), Public Knowledge (publicknowledge.org), FreeCulture (freeculture.org), Creative Commons (creativecommons.org) -- all of which also are worthy of your support. FreeCulture is an international student movement that actively recruits kids to found their own local chapters at their high schools and universities. It's a great way to get involved and make a difference. + +A lot of websites chronicle the fight for cyberliberties, but few go at it with the verve of Slashdot, "News for Nerds, Stuff That Matters" (slashdot.org). + +And of course, you /{have to}/ visit Wikipedia, the collaborative, net-authored encyclopedia that anyone can edit, with more than 1,000,000 entries in English alone. Wikipedia covers hacking and counterculture in astonishing depth and with amazing, up-to-the-nanosecond currency. One caution: you can't just look at the entries in Wikipedia. It's really important to look at the "History" and "Discussion" links at the top of every Wikipedia page to see how the current version of the truth was arrived at, get an appreciation for the competing points-of-view there, and decide for yourself whom you trust. + +If you want to get at some /{real}/ forbidden knowledge, have a skim around Cryptome (cryptome.org), the world's most amazing archive of secret, suppressed and liberated information. Cryptome's brave publishers collect material that's been pried out of the state by Freedom of Information Act requests or leaked by whistle-blowers and publishes it. + +The best fictional account of the history of crypto is, hands-down, Neal Stephenson's Cryptonomicon (Avon, 2002). Stephenson tells the story of Alan Turing and the Nazi Enigma Machine, turning it into a gripping war-novel that you won't be able to put down. + +The Pirate Party mentioned in Little Brother is real and thriving in Sweden (www.piratpartiet.se), Denmark, the USA and France at the time of this writing (July, 2006). They're a little out-there, but a movement takes all kinds. + +Speaking of out-there, Abbie Hoffman and the Yippies did indeed try to levitate the Pentagon, throw money into the stock exchange, and work with a group called the Up Against the Wall Motherf_____ers. Abbie Hoffman's classic book on ripping off the system, "Steal This Book," is back in print (Four Walls Eight Windows, 2002) and it's also online as a collaborative wiki for people who want to try to update it (stealthiswiki.nine9pages.com). + +Hoffman's autobiography, "Soon to Be a Major Motion Picture" (also in print from Four Walls Eight Windows) is one of my favorite memoirs ever, even if it is highly fictionalized. Hoffman was an incredible storyteller and had great activist instincts. If you want to know how he really lived his life, though, try Larry Sloman's "Steal This Dream" (Doubleday, 1998). + +More counterculture fun: Jack Kerouac's "On the Road" can be had in practically any used bookstore for a buck or two. Allan Ginsberg's "HOWL" is online in many places, and you can hear him read it if you search for the MP3 at archive.org. For bonus points, track down the album "Tenderness Junction" by the Fugs, which includes the audio of Allan Ginsberg and Abbie Hoffman's levitation ceremony at the Pentagon. + +This book couldn't have been written if not for George Orwell's magnificent, world-changing "1984," the best novel ever published on how societies go wrong. I read this book when I was 12 and have read it 30 or 40 times since, and every time, I get something new out of it. Orwell was a master of storytelling and was clearly sick over the totalitarian state that emerged in the Soviet Union. 1984 holds up today as a genuinely frightening work of science fiction, and it is one of the novels that literally changed the world. Today, "Orwellian" is synonymous with a state of ubiquitous surveillance, doublethink, and torture. + +Many novelists have tackled parts of the story in Little Brother. Daniel Pinkwater's towering comic masterpiece, "Alan Mendelsohn: The Boy From Mars" (presently in print as part of the omnibus "5 Novels," Farrar, Straus and Giroux, 1997) is a book that every geek needs to read. If you've ever felt like an outcast for being too smart or weird, READ THIS BOOK. It changed my life. + +On a more contemporary front, there's Scott Westerfeld's "So Yesterday" (Razorbill, 2004), which follows the adventures of cool hunters and counterculture jammers. Scott and his wife Justine Larbalestier were my partial inspiration to write a book for young adults -- as was Kathe Koja. Thanks, guys. + +1~acknowledgements Acknowledgments + +This book owes a tremendous debt to many writers, friends, mentors, and heroes who made it possible. + +For the hackers and cypherpunks: Bunnie Huang, Seth Schoen, Ed Felten, Alex Halderman, Gweeds, Natalie Jeremijenko, Emmanuel Goldstein, Aaron Swartz + +For the heroes: Mitch Kapor, John Gilmore, John Perry Barlow, Larry Lessig, Shari Steele, Cindy Cohn, Fred von Lohmann, Jamie Boyle, George Orwell, Abbie Hoffman, Joe Trippi, Bruce Schneier, Ross Dowson, Harry Kopyto, Tim O'Reilly + +For the writers: Bruce Sterling, Kathe Koja, Scott Westerfeld, Justine Larbalestier, Pat York, Annalee Newitz, Dan Gillmor, Daniel Pinkwater, Kevin Pouslen, Wendy Grossman, Jay Lake, Ben Rosenbaum + +For the friends: Fiona Romeo, Quinn Norton, Danny O'Brien, Jon Gilbert, danah boyd, Zak Hanna, Emily Hurson, Grad Conn, John Henson, Amanda Foubister, Xeni Jardin, Mark Frauenfelder, David Pescovitz, John Battelle, Karl Levesque, Kate Miles, Neil and Tara-Lee Doctorow, Rael Dornfest, Ken Snider + +For the mentors: Judy Merril, Roz and Gord Doctorow, Harriet Wolff, Jim Kelly, Damon Knight, Scott Edelman + +Thank you all for giving me the tools to think and write about these ideas. + +1~cc_a_nc_sa Creative Commons + +!_ Creative Commons Legal Code + +!_ Attribution-NonCommercial-ShareAlike 3.0 Unported + +CREATIVE COMMONS CORPORATION IS NOT A LAW FIRM AND DOES NOT PROVIDE LEGAL SERVICES. DISTRIBUTION OF THIS LICENSE DOES NOT CREATE AN ATTORNEY-CLIENT RELATIONSHIP. CREATIVE COMMONS PROVIDES THIS INFORMATION ON AN "AS-IS" BASIS. CREATIVE COMMONS MAKES NO WARRANTIES REGARDING THE INFORMATION PROVIDED, AND DISCLAIMS LIABILITY FOR DAMAGES RESULTING FROM ITS USE. + +!_ License + +THE WORK (AS DEFINED BELOW) IS PROVIDED UNDER THE TERMS OF THIS CREATIVE COMMONS PUBLIC LICENSE ("CCPL" OR "LICENSE"). THE WORK IS PROTECTED BY COPYRIGHT AND/OR OTHER APPLICABLE LAW. ANY USE OF THE WORK OTHER THAN AS AUTHORIZED UNDER THIS LICENSE OR COPYRIGHT LAW IS PROHIBITED. + +BY EXERCISING ANY RIGHTS TO THE WORK PROVIDED HERE, YOU ACCEPT AND AGREE TO BE BOUND BY THE TERMS OF THIS LICENSE. TO THE EXTENT THIS LICENSE MAY BE CONSIDERED TO BE A CONTRACT, THE LICENSOR GRANTS YOU THE RIGHTS CONTAINED HERE IN CONSIDERATION OF YOUR ACCEPTANCE OF SUCH TERMS AND CONDITIONS. + +!_ 1. Definitions + +1.1. "Adaptation" means a work based upon the Work, or upon the Work and other pre-existing works, such as a translation, adaptation, derivative work, arrangement of music or other alterations of a literary or artistic work, or phonogram or performance and includes cinematographic adaptations or any other form in which the Work may be recast, transformed, or adapted including in any form recognizably derived from the original, except that a work that constitutes a Collection will not be considered an Adaptation for the purpose of this License. For the avoidance of doubt, where the Work is a musical work, performance or phonogram, the synchronization of the Work in timed-relation with a moving image ("synching") will be considered an Adaptation for the purpose of this License. + +1.2. "Collection" means a collection of literary or artistic works, such as encyclopedias and anthologies, or performances, phonograms or broadcasts, or other works or subject matter other than works listed in Section 1(g) below, which, by reason of the selection and arrangement of their contents, constitute intellectual creations, in which the Work is included in its entirety in unmodified form along with one or more other contributions, each constituting separate and independent works in themselves, which together are assembled into a collective whole. A work that constitutes a Collection will not be considered an Adaptation (as defined above) for the purposes of this License. + +1.3. "Distribute" means to make available to the public the original and copies of the Work or Adaptation, as appropriate, through sale or other transfer of ownership. + +1.4. "License Elements" means the following high-level license attributes as selected by Licensor and indicated in the title of this License: Attribution, Noncommercial, ShareAlike. + +1.5. "Licensor" means the individual, individuals, entity or entities that offer(s) the Work under the terms of this License. + +1.6. "Original Author" means, in the case of a literary or artistic work, the individual, individuals, entity or entities who created the Work or if no individual or entity can be identified, the publisher; and in addition (i) in the case of a performance the actors, singers, musicians, dancers, and other persons who act, sing, deliver, declaim, play in, interpret or otherwise perform literary or artistic works or expressions of folklore; (ii) in the case of a phonogram the producer being the person or legal entity who first fixes the sounds of a performance or other sounds; and, (iii) in the case of broadcasts, the organization that transmits the broadcast. + +1.7. "Work" means the literary and/or artistic work offered under the terms of this License including without limitation any production in the literary, scientific and artistic domain, whatever may be the mode or form of its expression including digital form, such as a book, pamphlet and other writing; a lecture, address, sermon or other work of the same nature; a dramatic or dramatico-musical work; a choreographic work or entertainment in dumb show; a musical composition with or without words; a cinematographic work to which are assimilated works expressed by a process analogous to cinematography; a work of drawing, painting, architecture, sculpture, engraving or lithography; a photographic work to which are assimilated works expressed by a process analogous to photography; a work of applied art; an illustration, map, plan, sketch or three-dimensional work relative to geography, topography, architecture or science; a performance; a broadcast; a phonogram; a compilation of data to the extent it is protected as a copyrightable work; or a work performed by a variety or circus performer to the extent it is not otherwise considered a literary or artistic work. + +1.8. "You" means an individual or entity exercising rights under this License who has not previously violated the terms of this License with respect to the Work, or who has received express permission from the Licensor to exercise rights under this License despite a previous violation. + +1.9. "Publicly Perform" means to perform public recitations of the Work and to communicate to the public those public recitations, by any means or process, including by wire or wireless means or public digital performances; to make available to the public Works in such a way that members of the public may access these Works from a place and at a place individually chosen by them; to perform the Work to the public by any means or process and the communication to the public of the performances of the Work, including by public digital performance; to broadcast and rebroadcast the Work by any means including signs, sounds or images. + +1.10. "Reproduce" means to make copies of the Work by any means including without limitation by sound or visual recordings and the right of fixation and reproducing fixations of the Work, including storage of a protected performance or phonogram in digital form or other electronic medium. + +!_ 2. Fair Dealing Rights. +Nothing in this License is intended to reduce, limit, or restrict any uses free from copyright or rights arising from limitations or exceptions that are provided for in connection with the copyright protection under copyright law or other applicable laws. + +!_ 3. License Grant. +Subject to the terms and conditions of this License, Licensor hereby grants You a worldwide, royalty-free, non-exclusive, perpetual (for the duration of the applicable copyright) license to exercise the rights in the Work as stated below: + +3.1. to Reproduce the Work, to incorporate the Work into one or more Collections, and to Reproduce the Work as incorporated in the Collections; + +3.2. to create and Reproduce Adaptations provided that any such Adaptation, including any translation in any medium, takes reasonable steps to clearly label, demarcate or otherwise identify that changes were made to the original Work. For example, a translation could be marked "The original work was translated from English to Spanish," or a modification could indicate "The original work has been modified."; + +3.3. to Distribute and Publicly Perform the Work including as incorporated in Collections; and, + +3.4. to Distribute and Publicly Perform Adaptations. + +The above rights may be exercised in all media and formats whether now known or hereafter devised. The above rights include the right to make such modifications as are technically necessary to exercise the rights in other media and formats. Subject to Section 8(f), all rights not expressly granted by Licensor are hereby reserved, including but not limited to the rights described in Section 4(e). + +!_ 4. Restrictions. +The license granted in Section 3 above is expressly made subject to and limited by the following restrictions: + +4.1. You may Distribute or Publicly Perform the Work only under the terms of this License. You must include a copy of, or the Uniform Resource Identifier (URI) for, this License with every copy of the Work You Distribute or Publicly Perform. You may not offer or impose any terms on the Work that restrict the terms of this License or the ability of the recipient of the Work to exercise the rights granted to that recipient under the terms of the License. You may not sublicense the Work. You must keep intact all notices that refer to this License and to the disclaimer of warranties with every copy of the Work You Distribute or Publicly Perform. When You Distribute or Publicly Perform the Work, You may not impose any effective technological measures on the Work that restrict the ability of a recipient of the Work from You to exercise the rights granted to that recipient under the terms of the License. This Section 4(a) applies to the Work as incorporated in a Collection, but this does not require the Collection apart from the Work itself to be made subject to the terms of this License. If You create a Collection, upon notice from any Licensor You must, to the extent practicable, remove from the Collection any credit as required by Section 4(d), as requested. If You create an Adaptation, upon notice from any Licensor You must, to the extent practicable, remove from the Adaptation any credit as required by Section 4(d), as requested. + +4.2. You may Distribute or Publicly Perform an Adaptation only under: (i) the terms of this License; (ii) a later version of this License with the same License Elements as this License; (iii) a Creative Commons jurisdiction license (either this or a later license version) that contains the same License Elements as this License (e.g., Attribution-NonCommercial-ShareAlike 3.0 US) ("Applicable License"). You must include a copy of, or the URI, for Applicable License with every copy of each Adaptation You Distribute or Publicly Perform. You may not offer or impose any terms on the Adaptation that restrict the terms of the Applicable License or the ability of the recipient of the Adaptation to exercise the rights granted to that recipient under the terms of the Applicable License. You must keep intact all notices that refer to the Applicable License and to the disclaimer of warranties with every copy of the Work as included in the Adaptation You Distribute or Publicly Perform. When You Distribute or Publicly Perform the Adaptation, You may not impose any effective technological measures on the Adaptation that restrict the ability of a recipient of the Adaptation from You to exercise the rights granted to that recipient under the terms of the Applicable License. This Section 4(b) applies to the Adaptation as incorporated in a Collection, but this does not require the Collection apart from the Adaptation itself to be made subject to the terms of the Applicable License. + +4.3. You may not exercise any of the rights granted to You in Section 3 above in any manner that is primarily intended for or directed toward commercial advantage or private monetary compensation. The exchange of the Work for other copyrighted works by means of digital file-sharing or otherwise shall not be considered to be intended for or directed toward commercial advantage or private monetary compensation, provided there is no payment of any monetary compensation in con-nection with the exchange of copyrighted works. + +4.4. If You Distribute, or Publicly Perform the Work or any Adaptations or Collections, You must, unless a request has been made pursuant to Section 4(a), keep intact all copyright notices for the Work and provide, reasonable to the medium or means You are utilizing: (i) the name of the Original Author (or pseudonym, if applicable) if supplied, and/or if the Original Author and/or Licensor designate another party or parties (e.g., a sponsor institute, publishing entity, journal) for attribution ("Attribution Parties") in Licensor's copyright notice, terms of service or by other reasonable means, the name of such party or parties; (ii) the title of the Work if supplied; (iii) to the extent reasonably practicable, the URI, if any, that Licensor specifies to be associated with the Work, unless such URI does not refer to the copyright notice or licensing information for the Work; and, (iv) consistent with Section 3(b), in the case of an Adaptation, a credit identifying the use of the Work in the Adaptation (e.g., "French translation of the Work by Original Author," or "Screenplay based on original Work by Original Author"). The credit required by this Section 4(d) may be implemented in any reasonable manner; provided, however, that in the case of a Adaptation or Collection, at a minimum such credit will appear, if a credit for all contributing authors of the Adaptation or Collection appears, then as part of these credits and in a manner at least as prominent as the credits for the other contributing authors. For the avoidance of doubt, You may only use the credit required by this Section for the purpose of attribution in the manner set out above and, by exercising Your rights under this License, You may not implicitly or explicitly assert or imply any connection with, sponsorship or endorsement by the Original Author, Licensor and/or Attribution Parties, as appropriate, of You or Your use of the Work, without the separate, express prior written permission of the Original Author, Licensor and/or Attribution Parties. + +4.5. For the avoidance of doubt: + +4.5.1. Non-waivable Compulsory License Schemes. In those jurisdictions in which the right to collect royalties through any statutory or compulsory licensing scheme cannot be waived, the Licensor reserves the exclusive right to collect such royalties for any exercise by You of the rights granted under this License; + +4.5.2. Waivable Compulsory License Schemes. In those jurisdictions in which the right to collect royalties through any statutory or compulsory licensing scheme can be waived, the Licensor reserves the exclusive right to collect such royalties for any exercise by You of the rights granted under this License if Your exercise of such rights is for a purpose or use which is otherwise than noncommercial as permitted under Section 4(c) and otherwise waives the right to collect royalties through any statutory or compulsory licensing scheme; and, + +4.5.3. Voluntary License Schemes. The Licensor reserves the right to collect royalties, whether individually or, in the event that the Licensor is a member of a collecting society that administers voluntary licensing schemes, via that society, from any exercise by You of the rights granted under this License that is for a purpose or use which is otherwise than noncommercial as permitted under Section 4(c). + +4.6. Except as otherwise agreed in writing by the Licensor or as may be otherwise permitted by applicable law, if You Reproduce, Distribute or Publicly Perform the Work either by itself or as part of any Adaptations or Collections, You must not distort, mutilate, modify or take other derogatory action in relation to the Work which would be prejudicial to the Original Author's honor or reputation. Licensor agrees that in those jurisdictions (e.g. Japan), in which any exercise of the right granted in Section 3(b) of this License (the right to make Adaptations) would be deemed to be a distortion, mutilation, modification or other derogatory action prejudicial to the Original Author's honor and reputation, the Licensor will waive or not assert, as appropriate, this Section, to the fullest extent permitted by the applicable national law, to enable You to reasonably exercise Your right under Section 3(b) of this License (right to make Adaptations) but not otherwise. + +!_ 5. Representations, Warranties and Disclaimer + +UNLESS OTHERWISE MUTUALLY AGREED TO BY THE PARTIES IN WRITING AND TO THE FULLEST EXTENT PERMITTED BY APPLICABLE LAW, LICENSOR OFFERS THE WORK AS-IS AND MAKES NO REPRESENTATIONS OR WARRANTIES OF ANY KIND CONCERNING THE WORK, EXPRESS, IMPLIED, STATUTORY OR OTHERWISE, INCLUDING, WITHOUT LIMITATION, WARRANTIES OF TITLE, MERCHANTABILITY, FITNESS FOR A PARTICULAR PURPOSE, NONINFRINGEMENT, OR THE ABSENCE OF LATENT OR OTHER DEFECTS, ACCURACY, OR THE PRESENCE OF ABSENCE OF ERRORS, WHETHER OR NOT DISCOVERABLE. SOME JURISDICTIONS DO NOT ALLOW THE EXCLUSION OF IMPLIED WARRANTIES, SO THIS EXCLUSION MAY NOT APPLY TO YOU. + +!_ 6. Limitation on Liability. + +EXCEPT TO THE EXTENT REQUIRED BY APPLICABLE LAW, IN NO EVENT WILL LICENSOR BE LIABLE TO YOU ON ANY LEGAL THEORY FOR ANY SPECIAL, INCIDENTAL, CONSEQUENTIAL, PUNITIVE OR EXEMPLARY DAMAGES ARISING OUT OF THIS LICENSE OR THE USE OF THE WORK, EVEN IF LICENSOR HAS BEEN ADVISED OF THE POSSIBILITY OF SUCH DAMAGES. + +!_ 7. Termination + +7.1. This License and the rights granted hereunder will terminate automatically upon any breach by You of the terms of this License. Individuals or entities who have received Adaptations or Collections from You under this License, however, will not have their licenses terminated provided such individuals or entities remain in full compliance with those licenses. Sections 1, 2, 5, 6, 7, and 8 will survive any termination of this License. + +7.2. Subject to the above terms and conditions, the license granted here is perpetual (for the duration of the applicable copyright in the Work). Notwithstanding the above, Licensor reserves the right to release the Work under different license terms or to stop distributing the Work at any time; provided, however that any such election will not serve to withdraw this License (or any other license that has been, or is required to be, granted under the terms of this License), and this License will continue in full force and effect unless terminated as stated above. + +!_ 8. Miscellaneous + +8.1. Each time You Distribute or Publicly Perform the Work or a Collection, the Licensor offers to the recipient a license to the Work on the same terms and conditions as the license granted to You under this License. + +8.2. Each time You Distribute or Publicly Perform an Adaptation, Licensor offers to the recipient a license to the original Work on the same terms and conditions as the license granted to You under this License. + +8.3. If any provision of this License is invalid or unenforceable under applicable law, it shall not affect the validity or enforceability of the remainder of the terms of this License, and without further action by the parties to this agreement, such provision shall be reformed to the minimum extent necessary to make such provision valid and enforceable. + +8.4. No term or provision of this License shall be deemed waived and no breach consented to unless such waiver or consent shall be in writing and signed by the party to be charged with such waiver or consent. + +8.5. This License constitutes the entire agreement between the parties with respect to the Work licensed here. There are no understandings, agreements or representations with respect to the Work not specified here. Licensor shall not be bound by any additional provisions that may appear in any communication from You. This License may not be modified without the mutual written agreement of the Licensor and You. + +8.6. The rights granted under, and the subject matter referenced, in this License were drafted utilizing the terminology of the Berne Convention for the Protection of Literary and Artistic Works (as amended on September 28, 1979), the Rome Convention of 1961, the WIPO Copyright Treaty of 1996, the WIPO Performances and Phonograms Treaty of 1996 and the Universal Copyright Convention (as revised on July 24, 1971). These rights and subject matter take effect in the relevant jurisdiction in which the License terms are sought to be enforced according to the corresponding provisions of the implementation of those treaty provisions in the applicable national law. If the standard suite of rights granted under applicable copyright law includes additional rights not granted under this License, such additional rights are deemed to be included in the License; this License is not intended to restrict the license of any rights under applicable law. + +!_ Creative Commons Notice + +Creative Commons is not a party to this License, and makes no warranty whatsoever in connection with the Work. Creative Commons will not be liable to You or any party on any legal theory for any damages whatsoever, including without limitation any general, special, incidental or consequential damages arising in connection to this license. Notwithstanding the foregoing two (2) sentences, if Creative Commons has expressly identified itself as the Licensor hereunder, it shall have all rights and obligations of Licensor. + +Except for the limited purpose of indicating to the public that the Work is licensed under the CCPL, Creative Commons does not authorize the use by either party of the trademark "Creative Commons" or any related trademark or logo of Creative Commons without the prior written consent of Creative Commons. Any permitted use will be in compliance with Creative Commons' then-current trademark usage guidelines, as may be published on its website or otherwise made available upon request from time to time. For the avoidance of doubt, this trademark restriction does not form part of this License. + +Creative Commons may be contacted at http://creativecommons.org/. + +% +% Creative Commons License +% +%
+% +% Little Brother +% +% +% by +% +% +% Cory Doctorow +% +% +% is licensed under a +% +% +% Creative Commons Attribution-Noncommercial-Share Alike 3.0 United States License +% . +% -- cgit v1.2.3 From 4c2de294b17644d0af99609d76de0f9c168612df Mon Sep 17 00:00:00 2001 From: Ralph Amissah Date: Fri, 5 Feb 2010 15:23:43 -0500 Subject: COPYRIGHT, details on sample documents --- COPYRIGHT | 32 ++++++++++++++++++++++++-------- 1 file changed, 24 insertions(+), 8 deletions(-) diff --git a/COPYRIGHT b/COPYRIGHT index 795e850..bcbbd4d 100644 --- a/COPYRIGHT +++ b/COPYRIGHT @@ -47,55 +47,71 @@ License: [...] The documents found in this package are marked up for SiSU which is licensed -under the GPL2 or later. +under the GPL3 or later. The content of the documents follows the rights granted by the author or -original publisher, which is contained within the rights field in each document +original publisher, which is contained within the rights field in each +document. For your convenience a summary is included below: Text: Free Culture - How Big Media Uses Technology and the Law to Lock Down Culture and Control Creativity + URL: Author: Lawrence Lessig + URL: Copyright: Lawrence Lessig, 2004 License: - URL: http://creativecommons.org/licenses/by-nc/1.0/ + URL: Text: The Wealth of Networks - How Social Production Transforms Markets and Freedom + URL: Author: Yochai Benkler + URL: Copyright: 2006 Yochai Benkler License: - URL: http://creativecommons.org/licenses/by-nc-sa/2.5/ + URL: Text: Two Bits - The Cultural Significance of Free Software + URL: Author: Christopher Kelty + URL: Copyright: Duke University Press, 2008 License: - URL: http://creativecommons.org/licenses/by-nc-sa/3.0/ + URL: Text: Free For All - How Linux and the Free Software Movement Undercut the High Tech Titans + URL: Author: Peter Wayner + URL: Copyright: Peter Wayner, 2000 License: - URL: http://creativecommons.org/licenses/by-nc/1.0/ + URL: Text: The Cathederal and the Bazaar + URL: Author: Eric Raymond + URL: Copyright: Eric S Raymond, 2000 License: Open Publication License, v 2.0 URL: Text: Little Brother + URL: Author: Cory Doctrow + URL: Copyright: Cory Doctrow License: - URL: http://creativecommons.org/licenses/by-nc-sa/3.0/ + URL: Text: Accelerando + URL: Author: Charles Stross + URL: Copyright: Charles Stross, 2005 License: - URL: http://creativecommons.org/licenses/by-nc-nd/2.0/ + URL: Note: The SiSU preparation (presentations) of Accelerando are done with the kind permission of the author Charles Stross Text: UN Contracts for International Sale of Goods Author: UN, UNCITRAL + URL: Copyright: License: -- cgit v1.2.3 From bb1ee499494053fd91964288d33e30664676f6e1 Mon Sep 17 00:00:00 2001 From: Ralph Amissah Date: Sat, 6 Feb 2010 08:32:35 -0500 Subject: _sisu/skin/yml rather than yaml --- .../samples/_sisu/skin/yaml/skin_countries.yaml | 482 -------------- .../samples/_sisu/skin/yaml/skin_country.yaml | 735 --------------------- .../samples/_sisu/skin/yaml/skin_lexAddress.yaml | 207 ------ .../samples/_sisu/skin/yml/skin_countries.yaml | 482 ++++++++++++++ .../samples/_sisu/skin/yml/skin_country.yaml | 735 +++++++++++++++++++++ .../samples/_sisu/skin/yml/skin_lexAddress.yaml | 207 ++++++ 6 files changed, 1424 insertions(+), 1424 deletions(-) delete mode 100644 data/v1/sisu_markup_samples/samples/_sisu/skin/yaml/skin_countries.yaml delete mode 100644 data/v1/sisu_markup_samples/samples/_sisu/skin/yaml/skin_country.yaml delete mode 100644 data/v1/sisu_markup_samples/samples/_sisu/skin/yaml/skin_lexAddress.yaml create mode 100644 data/v1/sisu_markup_samples/samples/_sisu/skin/yml/skin_countries.yaml create mode 100644 data/v1/sisu_markup_samples/samples/_sisu/skin/yml/skin_country.yaml create mode 100644 data/v1/sisu_markup_samples/samples/_sisu/skin/yml/skin_lexAddress.yaml diff --git a/data/v1/sisu_markup_samples/samples/_sisu/skin/yaml/skin_countries.yaml b/data/v1/sisu_markup_samples/samples/_sisu/skin/yaml/skin_countries.yaml deleted file mode 100644 index a68903e..0000000 --- a/data/v1/sisu_markup_samples/samples/_sisu/skin/yaml/skin_countries.yaml +++ /dev/null @@ -1,482 +0,0 @@ -# arch-tag: yaml country list -# Author: Ralph@Amissah.com -# License: Same as SiSU see http://www.jus.uio.no/sisu -id: AF - name: Afghanistan -id: AL - name: Albania -id: DZ - name: Algeria -id: AS - name: American Samoa -id: AD - name: Andorra -id: AO - name: Angola -id: AI - name: Anguilla -id: AQ - name: Antarctica -id: AG - name: Antigua and Barbuda -id: AR - name: Argentina -id: AM - name: Armenia -id: AW - name: Aruba -id: AU - name: Australia -id: AT - name: Austria -id: AZ - name: Azerbaijan -id: BS - name: Bahamas -id: BH - name: Bahrain -id: BD - name: Bangladesh -id: BB - name: Barbados -id: BY - name: Belarus -id: BE - name: Belgium -id: BZ - name: Belize -id: BJ - name: Benin -id: BM - name: Bermuda -id: BT - name: Bhutan -id: BO - name: Bolivia -id: BA - name: Bosnia and Herzegovina -id: BW - name: Botswana -id: BV - name: Bouvet Island -id: BR - name: Brazil -id: IO - name: British Indian Ocean Territory -id: BN - name: Brunei Darussalam -id: BG - name: Bulgaria -id: BF - name: Burkina Faso -id: BI - name: Burundi -id: KH - name: Cambodia -id: CM - name: Cameroon -id: CA - name: Canada -id: CV - name: Cape Verde -id: KY - name: Cayman Islands -id: CF - name: Central African Republic -id: TD - name: Chad -id: CL - name: Chile -id: CN - name: China -id: CX - name: Christmas Island -id: CC - name: Cocos (Keeling) Islands -id: CO - name: Colombia -id: KM - name: Comoros -id: CG - name: Congo -id: CK - name: Cook Islands -id: CR - name: Costa Rica -id: HR - name: Croatia (Hrvatska) -id: CU - name: Cuba -id: CY - name: Cyprus -id: CZ - name: Czech Republic -id: CS - name: Czechoslovakia -id: DK - name: Denmark -id: DJ - name: Djibouti -id: DM - name: Dominica -id: DO - name: Dominican Republic -id: TP - name: East Timor -id: EC - name: Ecuador -id: EG - name: Egypt -id: SV - name: El Salvador -id: GQ - name: Equatorial Guinea -id: ER - name: Eritrea -id: EE - name: Estonia -id: ET - name: Ethiopia -id: FK - name: Falkland Islands (Malvinas) -id: FO - name: Faroe Islands -id: FJ - name: Fiji -id: FI - name: Finland -id: FR - name: France -id: FX - name: France, Metroplitan -id: GF - name: French Guiana -id: PF - name: French Polynesia -id: TF - name: French Southern Territories -id: GA - name: Gabon -id: GM - name: Gambia -id: GE - name: Georgia -id: DE - name: Germany -id: GH - name: Ghana -id: GI - name: Gibraltar -id: GB - name: Great Britain (UK) -id: GR - name: Greece -id: GL - name: Greenland -id: GD - name: Grenada -id: GP - name: Guadeloupe -id: GU - name: Guam -id: GT - name: Guatemala -id: GN - name: Guinea -id: GW - name: Guinea-Bissau -id: GY - name: Guyana -id: HT - name: Haiti -id: HM - name: Heard and McDonald Islands -id: HN - name: Honduras -id: HK - name: Hong Kong -id: HU - name: Hungary -id: IS - name: Iceland -id: IN - name: India -id: ID - name: Indonesia -id: IR - name: Iran -id: IQ - name: Iraq -id: IE - name: Ireland -id: IL - name: Israel -id: IT - name: Italy -id: CI - name: Ivory Coast -id: JM - name: Jamaica -id: JP - name: Japan -id: JO - name: Jordan -id: KZ - name: Kazakhstan -id: KE - name: Kenya -id: KI - name: Kiribati -id: KP - name: Korea (North) -id: KR - name: Korea (South) -id: KW - name: Kuwait -id: KG - name: Kyrgyzstan -id: LA - name: Laos -id: LV - name: Latvia -id: LB - name: Lebanon -id: LS - name: Lesotho -id: LR - name: Liberia -id: LY - name: Libya -id: LI - name: Liechtenstein -id: LT - name: Lithuania -id: LU - name: Luxembourg -id: MO - name: Macau -id: ME - name: Macedonia -id: MG - name: Madagascar -id: MW - name: Malawi -id: MY - name: Malaysia -id: MV - name: Maldives -id: ML - name: Mali -id: MT - name: Malta -id: MB - name: Marshall Islands -id: MQ - name: Martinique -id: MR - name: Mauritania -id: MU - name: Mauritius -id: YT - name: Mayotte -id: MX - name: Mexico -id: FM - name: Micronesia -id: MD - name: Moldova -id: MC - name: Monaco -id: MN - name: Mongolia -id: MS - name: Montserrat -id: MA - name: Morocco -id: MZ - name: Mozambique -id: MM - name: Myanmar -id: NA - name: Namibia -id: NR - name: Nauru -id: NP - name: Nepal -id: NL - name: Netherlands -id: AN - name: Netherlands Antilles -id: NT - name: Neutral Zone -id: NC - name: New Caledonia -id: NZ - name: New Zealand (Aotearoa) -id: NI - name: Nicaragua -id: NE - name: Niger -id: NG - name: Nigeria -id: NU - name: Niue -id: NF - name: Norfolk Island -id: MP - name: Northern Mariana Islands -id: NO - name: Norway -id: OM - name: Oman -id: 00 - name: Other -id: PK - name: Pakistan -id: PW - name: Palau -id: PA - name: Panama -id: PG - name: Papua New Guinea -id: PY - name: Paraguay -id: PE - name: Peru -id: PH - name: Philippines -id: PN - name: Pitcairn -id: PL - name: Poland -id: PT - name: Portugal -id: PR - name: Puerto Rico -id: QA - name: Qatar -id: RE - name: Reunion -id: RO - name: Romania -id: RU - name: Russian Federation -id: RW - name: Rwanda -id: GS - name: S. Georgia and S. Sandwich Isls. -id: KN - name: Saint Kitts and Nevis -id: LC - name: Saint Lucia -id: VC - name: Saint Vincent and the Grenadines -id: WS - name: Samoa -id: SM - name: San Marino -id: ST - name: Sao Tome and Principe -id: SA - name: Saudi Arabia -id: SN - name: Senegal -id: SC - name: Seychelles -id: SL - name: Sierra Leone -id: SG - name: Singapore -id: SK - name: Slovak Republic -id: SI - name: Slovenia -id: SB - name: Solomon Islands -id: SO - name: Somalia -id: ZA - name: South Africa -id: ES - name: Spain -id: LK - name: Sri Lanka -id: SH - name: St. Helena -id: PM - name: St. Pierre and Miquelon -id: SD - name: Sudan -id: SR - name: Suriname -id: SJ - name: Svalbard and Jan Mayen Islands -id: SZ - name: Swaziland -id: SE - name: Sweden -id: CH - name: Switzerland -id: SY - name: Syria -id: TW - name: Taiwan -id: TJ - name: Tajikistan -id: TZ - name: Tanzania -id: TH - name: Thailand -id: TG - name: Togo -id: TK - name: Tokelau -id: TO - name: Tonga -id: TT - name: Trinidad and Tobago -id: TN - name: Tunisia -id: TR - name: Turkey -id: TM - name: Turkmenistan -id: TC - name: Turks and Caicos Islands -id: TV - name: Tuvalu -id: UM - name: US Minor Outlying Islands -id: SU - name: USSR (former) -id: UG - name: Uganda -id: UA - name: Ukraine -id: AE - name: United Arab Emirates -id: UK - name: United Kingdom -id: US - name: United States -id: UY - name: Uruguay -id: UZ - name: Uzbekistan -id: VU - name: Vanuatu -id: VA - name: Vatican City State (Holy See) -id: VE - name: Venezuela -id: VN - name: Viet Nam -id: VG - name: Virgin Islands (British) -id: VI - name: Virgin Islands (U.S.) -id: WF - name: Wallis and Futuna Islands -id: EH - name: Western Sahara - diff --git a/data/v1/sisu_markup_samples/samples/_sisu/skin/yaml/skin_country.yaml b/data/v1/sisu_markup_samples/samples/_sisu/skin/yaml/skin_country.yaml deleted file mode 100644 index ebaf8ac..0000000 --- a/data/v1/sisu_markup_samples/samples/_sisu/skin/yaml/skin_country.yaml +++ /dev/null @@ -1,735 +0,0 @@ -# arch-tag: yaml country list array -# Author: Ralph@Amissah.com -# License: Same as SiSU see http://www.jus.uio.no/sisu -- - - AF - - Afghanistan -- - - AL - - Albania -- - - DZ - - Algeria -- - - AS - - American Samoa -- - - AD - - Andorra -- - - AO - - Angola -- - - AI - - Anguilla -- - - AQ - - Antarctica -- - - AG - - Antigua and Barbuda -- - - AR - - Argentina -- - - AM - - Armenia -- - - AW - - Aruba -- - - AU - - Australia -- - - AT - - Austria -- - - AZ - - Azerbaijan -- - - BS - - Bahamas -- - - BH - - Bahrain -- - - BD - - Bangladesh -- - - BB - - Barbados -- - - BY - - Belarus -- - - BE - - Belgium -- - - BZ - - Belize -- - - BJ - - Benin -- - - BM - - Bermuda -- - - BT - - Bhutan -- - - BO - - Bolivia -- - - BA - - Bosnia and Herzegovina -- - - BW - - Botswana -- - - BV - - Bouvet Island -- - - BR - - Brazil -- - - IO - - British Indian Ocean Territory -- - - BN - - Brunei Darussalam -- - - BG - - Bulgaria -- - - BF - - Burkina Faso -- - - BI - - Burundi -- - - KH - - Cambodia -- - - CM - - Cameroon -- - - CA - - Canada -- - - CV - - Cape Verde -- - - KY - - Cayman Islands -- - - CF - - Central African Republic -- - - TD - - Chad -- - - CL - - Chile -- - - CN - - China -- - - CX - - Christmas Island -- - - CC - - Cocos (Keeling) Islands -- - - CO - - Colombia -- - - KM - - Comoros -- - - CG - - Congo -- - - CK - - Cook Islands -- - - CR - - Costa Rica -- - - HR - - Croatia (Hrvatska) -- - - CU - - Cuba -- - - CY - - Cyprus -- - - CZ - - Czech Republic -- - - CS - - Czechoslovakia (former) -- - - DK - - Denmark -- - - DJ - - Djibouti -- - - DM - - Dominica -- - - DO - - Dominican Republic -- - - TP - - East Timor -- - - EC - - Ecuador -- - - EG - - Egypt -- - - SV - - El Salvador -- - - GQ - - Equatorial Guinea -- - - ER - - Eritrea -- - - EE - - Estonia -- - - ET - - Ethiopia -- - - FK - - Falkland Islands (Malvinas) -- - - FO - - Faroe Islands -- - - FJ - - Fiji -- - - FI - - Finland -- - - FR - - France -- - - FX - - France, Metropolitan -- - - GF - - French Guiana -- - - PF - - French Polynesia -- - - TF - - French Southern Territories -- - - GA - - Gabon -- - - GM - - Gambia -- - - GE - - Georgia -- - - DE - - Germany -- - - GH - - Ghana -- - - GI - - Gibraltar -- - - GB - - Great Britain (UK) -- - - GR - - Greece -- - - GL - - Greenland -- - - GD - - Grenada -- - - GP - - Guadeloupe -- - - GU - - Guam -- - - GT - - Guatemala -- - - GN - - Guinea -- - - GW - - Guinea-Bissau -- - - GY - - Guyana -- - - HT - - Haiti -- - - HM - - Heard and McDonald Islands -- - - HN - - Honduras -- - - HK - - Hong Kong -- - - HU - - Hungary -- - - IS - - Iceland -- - - IN - - India -- - - ID - - Indonesia -- - - IR - - Iran -- - - IQ - - Iraq -- - - IE - - Ireland -- - - IL - - Israel -- - - IT - - Italy -- - - CI - - Ivory Coast -- - - JM - - Jamaica -- - - JP - - Japan -- - - JO - - Jordan -- - - KZ - - Kazakhstan -- - - KE - - Kenya -- - - KI - - Kiribati -- - - KP - - Korea (North) -- - - KR - - Korea (South) -- - - KW - - Kuwait -- - - KG - - Kyrgyzstan -- - - LA - - Laos -- - - LV - - Latvia -- - - LB - - Lebanon -- - - LS - - Lesotho -- - - LR - - Liberia -- - - LY - - Libya -- - - LI - - Liechtenstein -- - - LT - - Lithuania -- - - LU - - Luxembourg -- - - MO - - Macau -- - - ME - - Macedonia -- - - MG - - Madagascar -- - - MW - - Malawi -- - - MY - - Malaysia -- - - MV - - Maldives -- - - ML - - Mali -- - - MT - - Malta -- - - MB - - Marshall Islands -- - - MQ - - Martinique -- - - MR - - Mauritania -- - - MU - - Mauritius -- - - YT - - Mayotte -- - - MX - - Mexico -- - - FM - - Micronesia -- - - MD - - Moldova -- - - MC - - Monaco -- - - MN - - Mongolia -- - - MS - - Montserrat -- - - MA - - Morocco -- - - MZ - - Mozambique -- - - MM - - Myanmar -- - - NA - - Namibia -- - - NR - - Nauru -- - - NP - - Nepal -- - - NL - - Netherlands -- - - AN - - Netherlands Antilles -- - - NT - - Neutral Zone -- - - NC - - New Caledonia -- - - NZ - - New Zealand (Aotearoa) -- - - NI - - Nicaragua -- - - NE - - Niger -- - - NG - - Nigeria -- - - NU - - Niue -- - - NF - - Norfolk Island -- - - MP - - Northern Mariana Islands -- - - 'NO' - - Norway -- - - OM - - Oman -- - - '00' - - Other -- - - PK - - Pakistan -- - - PW - - Palau -- - - PA - - Panama -- - - PG - - Papua New Guinea -- - - PY - - Paraguay -- - - PE - - Peru -- - - PH - - Philippines -- - - PN - - Pitcairn -- - - PL - - Poland -- - - PT - - Portugal -- - - PR - - Puerto Rico -- - - QA - - Qatar -- - - RE - - Reunion -- - - RO - - Romania -- - - RU - - Russian Federation -- - - RW - - Rwanda -- - - GS - - S. Georgia and S. Sandwich Isls. -- - - KN - - Saint Kitts and Nevis -- - - LC - - Saint Lucia -- - - VC - - Saint Vincent and the Grenadines -- - - WS - - Samoa -- - - SM - - San Marino -- - - ST - - Sao Tome and Principe -- - - SA - - Saudi Arabia -- - - SN - - Senegal -- - - SC - - Seychelles -- - - SL - - Sierra Leone -- - - SG - - Singapore -- - - SK - - Slovak Republic -- - - SI - - Slovenia -- - - SB - - Solomon Islands -- - - SO - - Somalia -- - - ZA - - South Africa -- - - ES - - Spain -- - - LK - - Sri Lanka -- - - SH - - St. Helena -- - - PM - - St. Pierre and Miquelon -- - - SD - - Sudan -- - - SR - - Suriname -- - - SJ - - Svalbard and Jan Mayen Islands -- - - SZ - - Swaziland -- - - SE - - Sweden -- - - CH - - Switzerland -- - - SY - - Syria -- - - TW - - Taiwan -- - - TJ - - Tajikistan -- - - TZ - - Tanzania -- - - TH - - Thailand -- - - TG - - Togo -- - - TK - - Tokelau -- - - TO - - Tonga -- - - TT - - Trinidad and Tobago -- - - TN - - Tunisia -- - - TR - - Turkey -- - - TM - - Turkmenistan -- - - TC - - Turks and Caicos Islands -- - - TV - - Tuvalu -- - - UM - - US Minor Outlying Islands -- - - SU - - USSR (former) -- - - UG - - Uganda -- - - UA - - Ukraine -- - - AE - - United Arab Emirates -- - - UK - - United Kingdom -- - - US - - United States -- - - UY - - Uruguay -- - - UZ - - Uzbekistan -- - - VU - - Vanuatu -- - - VA - - Vatican City State (Holy See) -- - - VE - - Venezuela -- - - VN - - Viet Nam -- - - VG - - Virgin Islands (British) -- - - VI - - Virgin Islands (U.S.) -- - - WF - - Wallis and Futuna Islands -- - - EH - - Western Sahara -- - - YE - - Yemen -- - - YU - - Yugoslavia -- - - ZR - - Zaire -- - - ZM - - Zambia -- - - ZW - - Zimbabwe diff --git a/data/v1/sisu_markup_samples/samples/_sisu/skin/yaml/skin_lexAddress.yaml b/data/v1/sisu_markup_samples/samples/_sisu/skin/yaml/skin_lexAddress.yaml deleted file mode 100644 index 6e49b54..0000000 --- a/data/v1/sisu_markup_samples/samples/_sisu/skin/yaml/skin_lexAddress.yaml +++ /dev/null @@ -1,207 +0,0 @@ -# arch-tag: yaml addresses used on lexmercatoria -# Author: Ralph@Amissah.com -# License: Same as SiSU see http://www.jus.uio.no/sisu -address: - un: "United Nations\n - UN Headquarters\n - First Avenu at 46th Street\n - New York\, NY 10017\n - web: www.unsystem.org\n - web: www.un.org\n\n - UN Publications\n - tel: 1 800 253-9646\n - web: www.un.org/Pubs/sales.htm\n - e-mail publications@un.org\n\n" - uncitral: "UNCITRAL Secretariat\n - P.O. Box 500\n - Vienna International Centre\n - A-1400 Vienna\n - Austria\n\n - tel: (43-1)21345-4060 or 4061\n - fax: (43-1) 21345-5813\n - telex: 135612 unoa\n - web: www.uncitral.org\n - e-mail uncitral@uncitral.org\n\n - UN Publications\n - tel: 1 800 253-9646\n - web: www.un.org/Pubs/sales.htm\n - e-mail publications@un.org\n\n - web: www.unsystem.org\n - web: www.un.org\n\n - United Nations\n - UN Headquarters\n - First Avenu at 46th Street\n - New York, NY 10017\n - web: www.unsystem.org\n - web: www.un.org\n\n" - unece: "United Nations Economic Commission for Europe\n - Information Office\n - Palais des Nations\n - CH-1211 Geneva 10\n - Switzerland\n - tel: +41 22 971 44 44\n - fax: +41 22 917 05 05\n - web: www.unece.org\n - e-mail info.ece@unece.org\n\n - United Nations\n - UN Headquarters\n - First Avenu at 46th Street\n - New York, NY 10017\n - web: www.unsystem.org\n - web: www.un.org\n\n - UN Publications\n - tel: 1 800 253-9646\n - web: www.un.org/Pubs/sales.htm\n - e-mail publications@un.org\n\n" - unidroit: "UNIDROIT\n - (The International Institute for the Unification of Private Law)\n - 28 Via Panisperna,\n - 00184 Rome\nItaly\n\n - tel.: (39-06) 696 211\n - fax: (39-06) 699 41394\n - web: http://www.unidroit.org/\n - e-mail: unidroit.rome@unidroit.org" - icc: "International Chamber of Commerce (ICC),\n - The world business organization, - 38, Cours Albert 1er,\n - 75008 Paris - France.\n\n - tel: +33 1 49 53 28 28\n - fax: +33 1 49 53 28 59\n - e-mail: icc@iccwbo.org\n\n - ICC Publishing SA (Paris),\n - SA, 38 Cours Albert ler,\n - 75008 Paris,\n - France.\n\n - tel: +33 1 49 53 29 23\n - tel: +33 1 49 53 28 89\n - fax: +33 1 49 53 29 02\n - e-mail: pub@iccwbo.org\n\n - ICC Publishing, Inc. (New York)\n - 156, Fifth Avenue, Suite 417,\n - New York, N.Y. 10010,\n - United States.\n\n - tel: +1 212 206 1150\n - fax: +1 212 633 6025\n - e-mail: info@iccpub.net\n\n - ICC International Court of Arbitration,\n - 38, Cours Albert ler,\n - 75008 Paris,\n - France.\n\n - tel: +33 1 49 53 28 28\n - fax: +33 1 49 53 29 33\n - e-mail: arb@iccwbo.org" - hcpil: "Permanent Bureau of the Hague Conference on Private International Law\n - 6 Scheveningseweg\n - 2517 KT The Hague\n - Netherlands\n - tel.: (31/70) 363.33.03\n - fax: (31/70) 360.48.67\n - cable: CODIP \n - web: www.hcch.net" - moftec: "No. 2 Dong Chang''an Avenue,\n - Beijing,\nChina 100731\n\n - tel: (010) 6519 8114\n - fax: (010) 6519 8039\n - e-mail: moftec@moftec.gov.cn\n - web: www.moftec.gov.cn:7777/search.wct?ChannelID=8115\n - web: www.moftec.com" - china: "No. 2 Dong Chang''an Avenue,\n - Beijing,\nChina 100731\n\n - tel: (010) 6519 8114\n - fax: (010) 6519 8039\n - e-mail: moftec@moftec.gov.cn\n - web: www.moftec.gov.cn:7777/search.wct?ChannelID=8115\n - web: www.moftec.com" - eu_pil: "For more information, write to the Secretary of the Commission: Matthias E. STORME, Zuidbroek 49, B-9030 GENT (BELGIUM)\n\n - fax: +32-9-236 24 40\n - e-mail frw.storme.m@ufsia.ac.be or Matthias.Storme@rug.ac.be\n - web: www.ufsia.ac.be/~estorme/CECL.html" - wto: "World Trade Organization Centre\n - William Rappard,\n - Rue de Lausanne 154,\n - CH 1211 Geneva 21,\n - Switzerland\n\n - tel: (41-22) 739 51 11\n - fax: (41-22) 731 42 06\n - web: www.wto.org\n - e-mail: enquiries@wto.org" - wta: "World Trade Organization Centre\n - William Rappard,\n - Rue de Lausanne 154,\n - CH 1211 Geneva 21,\n - Switzerland\n\n - tel: (41-22) 739 51 11\n - fax: (41-22) 731 42 06\n - web: www.wto.org\n - e-mail: enquiries@wto.org" - icsid: "ICSID - International Centre for Settlement of Investment Disputes\n - 1818 H Street, N.W.,\n - Washington, D.C. 20433,\n - U.S.A.\n\n - tel: (1 202) 458-1534\n - fax: (1 202) 522-2615\n - web: www.worldbank.org/icsid/\n" - wipo: "World Intellectual Property Organisation\n - The WIPO headquarters is in Geneva, Switzerland, near the Place des Nations.\n - 34, chemin des Colombettes,\n - Geneva.\n\n - P.O. Box 18, CH-1211 Geneva 20\n - tel: 41-22 730 9111\n - fax: 41-22 733 5428\n\n - Mailing address:\nWIPO\n - P.O. Box 18, CH-1211\n - Geneva 20\n\n - web: www.wipo.org\n\n - WIPO has a Liaison Office at the United Nations in New York, U.S.A.\n - Address: 2,\n - United Nations Plaza,\n - Room 560,\n - New York, N.Y. 10017\n\n - tel: (1-212) 963-6813\n - fax: (1-212) 963 4801 \n\n - e-mail: WIPO.mail@wipo.int for matters of general interest\n - DEVCO.mail@wipo.int for development cooperation matters\n - PCT.mail@wipo.int for PCT (Patent Cooperation Treaty) matters\n - INTREG.mail@wipo.int for international trademark and design registration matters\n - ARBITER.mail@wipo.int for arbitration and mediation matters\n - PUBLICATIONS.mail@wipo.int for ordering publications\n - PERSONNEL.mail@wipo.int for personnel matters" - unctad: ~ - lcia: "The International Dispute Resolution Centre\n - LCIA,\n - 8 Breams Buildings,\n - Chancery Lane,\n - London EC4A 1HP\n - England\n\n - tel: (44) 0(207) 405 8008\n - fax: (44) 0(207) 405 8009\n - web: www.wto.org\n - e-mail: lcia@lcia-arbitration.com" - american.arbitration.association: ~ - milan.chamber.of.commerce: "The Chamber of National and International Arbitration of Milan\n - Milan Chamber of Commerce,\n - Palazzo Mezzanotte - Piazza Affari,\n - 6 - 20123 Milano,\n - Italy\n\n - tel: 39 2 8515.4536-4444-4515\n - fax: 39 2 8515.4384\n - web: www.mi.camcom.it/eng/arbitration.chamber/\n - e-mail: camera.arbitrale@mi.camcom.it" - afreximbank: "African Export-Import Bank\n - World Trade Center,\n - 1191 Corniche El-Nil,\n - Cairo 11221,\n - Egypt\n - web: www.afreximbank.com\n - tel: 202 580 1800\n - fax: 202 578 0276\n - e-mail: info@afreximbank.com\n\n" - amissah: "Ralph Amissah\n - 10 Cameron Court,\n - Princes Way,\n - London SW19 6QY,\n - England\n - web: www.amissah.com\n - tel: 44 20 8789 3452\n - e-mail: ralph@amissah.com\n\n" - diff --git a/data/v1/sisu_markup_samples/samples/_sisu/skin/yml/skin_countries.yaml b/data/v1/sisu_markup_samples/samples/_sisu/skin/yml/skin_countries.yaml new file mode 100644 index 0000000..a68903e --- /dev/null +++ b/data/v1/sisu_markup_samples/samples/_sisu/skin/yml/skin_countries.yaml @@ -0,0 +1,482 @@ +# arch-tag: yaml country list +# Author: Ralph@Amissah.com +# License: Same as SiSU see http://www.jus.uio.no/sisu +id: AF + name: Afghanistan +id: AL + name: Albania +id: DZ + name: Algeria +id: AS + name: American Samoa +id: AD + name: Andorra +id: AO + name: Angola +id: AI + name: Anguilla +id: AQ + name: Antarctica +id: AG + name: Antigua and Barbuda +id: AR + name: Argentina +id: AM + name: Armenia +id: AW + name: Aruba +id: AU + name: Australia +id: AT + name: Austria +id: AZ + name: Azerbaijan +id: BS + name: Bahamas +id: BH + name: Bahrain +id: BD + name: Bangladesh +id: BB + name: Barbados +id: BY + name: Belarus +id: BE + name: Belgium +id: BZ + name: Belize +id: BJ + name: Benin +id: BM + name: Bermuda +id: BT + name: Bhutan +id: BO + name: Bolivia +id: BA + name: Bosnia and Herzegovina +id: BW + name: Botswana +id: BV + name: Bouvet Island +id: BR + name: Brazil +id: IO + name: British Indian Ocean Territory +id: BN + name: Brunei Darussalam +id: BG + name: Bulgaria +id: BF + name: Burkina Faso +id: BI + name: Burundi +id: KH + name: Cambodia +id: CM + name: Cameroon +id: CA + name: Canada +id: CV + name: Cape Verde +id: KY + name: Cayman Islands +id: CF + name: Central African Republic +id: TD + name: Chad +id: CL + name: Chile +id: CN + name: China +id: CX + name: Christmas Island +id: CC + name: Cocos (Keeling) Islands +id: CO + name: Colombia +id: KM + name: Comoros +id: CG + name: Congo +id: CK + name: Cook Islands +id: CR + name: Costa Rica +id: HR + name: Croatia (Hrvatska) +id: CU + name: Cuba +id: CY + name: Cyprus +id: CZ + name: Czech Republic +id: CS + name: Czechoslovakia +id: DK + name: Denmark +id: DJ + name: Djibouti +id: DM + name: Dominica +id: DO + name: Dominican Republic +id: TP + name: East Timor +id: EC + name: Ecuador +id: EG + name: Egypt +id: SV + name: El Salvador +id: GQ + name: Equatorial Guinea +id: ER + name: Eritrea +id: EE + name: Estonia +id: ET + name: Ethiopia +id: FK + name: Falkland Islands (Malvinas) +id: FO + name: Faroe Islands +id: FJ + name: Fiji +id: FI + name: Finland +id: FR + name: France +id: FX + name: France, Metroplitan +id: GF + name: French Guiana +id: PF + name: French Polynesia +id: TF + name: French Southern Territories +id: GA + name: Gabon +id: GM + name: Gambia +id: GE + name: Georgia +id: DE + name: Germany +id: GH + name: Ghana +id: GI + name: Gibraltar +id: GB + name: Great Britain (UK) +id: GR + name: Greece +id: GL + name: Greenland +id: GD + name: Grenada +id: GP + name: Guadeloupe +id: GU + name: Guam +id: GT + name: Guatemala +id: GN + name: Guinea +id: GW + name: Guinea-Bissau +id: GY + name: Guyana +id: HT + name: Haiti +id: HM + name: Heard and McDonald Islands +id: HN + name: Honduras +id: HK + name: Hong Kong +id: HU + name: Hungary +id: IS + name: Iceland +id: IN + name: India +id: ID + name: Indonesia +id: IR + name: Iran +id: IQ + name: Iraq +id: IE + name: Ireland +id: IL + name: Israel +id: IT + name: Italy +id: CI + name: Ivory Coast +id: JM + name: Jamaica +id: JP + name: Japan +id: JO + name: Jordan +id: KZ + name: Kazakhstan +id: KE + name: Kenya +id: KI + name: Kiribati +id: KP + name: Korea (North) +id: KR + name: Korea (South) +id: KW + name: Kuwait +id: KG + name: Kyrgyzstan +id: LA + name: Laos +id: LV + name: Latvia +id: LB + name: Lebanon +id: LS + name: Lesotho +id: LR + name: Liberia +id: LY + name: Libya +id: LI + name: Liechtenstein +id: LT + name: Lithuania +id: LU + name: Luxembourg +id: MO + name: Macau +id: ME + name: Macedonia +id: MG + name: Madagascar +id: MW + name: Malawi +id: MY + name: Malaysia +id: MV + name: Maldives +id: ML + name: Mali +id: MT + name: Malta +id: MB + name: Marshall Islands +id: MQ + name: Martinique +id: MR + name: Mauritania +id: MU + name: Mauritius +id: YT + name: Mayotte +id: MX + name: Mexico +id: FM + name: Micronesia +id: MD + name: Moldova +id: MC + name: Monaco +id: MN + name: Mongolia +id: MS + name: Montserrat +id: MA + name: Morocco +id: MZ + name: Mozambique +id: MM + name: Myanmar +id: NA + name: Namibia +id: NR + name: Nauru +id: NP + name: Nepal +id: NL + name: Netherlands +id: AN + name: Netherlands Antilles +id: NT + name: Neutral Zone +id: NC + name: New Caledonia +id: NZ + name: New Zealand (Aotearoa) +id: NI + name: Nicaragua +id: NE + name: Niger +id: NG + name: Nigeria +id: NU + name: Niue +id: NF + name: Norfolk Island +id: MP + name: Northern Mariana Islands +id: NO + name: Norway +id: OM + name: Oman +id: 00 + name: Other +id: PK + name: Pakistan +id: PW + name: Palau +id: PA + name: Panama +id: PG + name: Papua New Guinea +id: PY + name: Paraguay +id: PE + name: Peru +id: PH + name: Philippines +id: PN + name: Pitcairn +id: PL + name: Poland +id: PT + name: Portugal +id: PR + name: Puerto Rico +id: QA + name: Qatar +id: RE + name: Reunion +id: RO + name: Romania +id: RU + name: Russian Federation +id: RW + name: Rwanda +id: GS + name: S. Georgia and S. Sandwich Isls. +id: KN + name: Saint Kitts and Nevis +id: LC + name: Saint Lucia +id: VC + name: Saint Vincent and the Grenadines +id: WS + name: Samoa +id: SM + name: San Marino +id: ST + name: Sao Tome and Principe +id: SA + name: Saudi Arabia +id: SN + name: Senegal +id: SC + name: Seychelles +id: SL + name: Sierra Leone +id: SG + name: Singapore +id: SK + name: Slovak Republic +id: SI + name: Slovenia +id: SB + name: Solomon Islands +id: SO + name: Somalia +id: ZA + name: South Africa +id: ES + name: Spain +id: LK + name: Sri Lanka +id: SH + name: St. Helena +id: PM + name: St. Pierre and Miquelon +id: SD + name: Sudan +id: SR + name: Suriname +id: SJ + name: Svalbard and Jan Mayen Islands +id: SZ + name: Swaziland +id: SE + name: Sweden +id: CH + name: Switzerland +id: SY + name: Syria +id: TW + name: Taiwan +id: TJ + name: Tajikistan +id: TZ + name: Tanzania +id: TH + name: Thailand +id: TG + name: Togo +id: TK + name: Tokelau +id: TO + name: Tonga +id: TT + name: Trinidad and Tobago +id: TN + name: Tunisia +id: TR + name: Turkey +id: TM + name: Turkmenistan +id: TC + name: Turks and Caicos Islands +id: TV + name: Tuvalu +id: UM + name: US Minor Outlying Islands +id: SU + name: USSR (former) +id: UG + name: Uganda +id: UA + name: Ukraine +id: AE + name: United Arab Emirates +id: UK + name: United Kingdom +id: US + name: United States +id: UY + name: Uruguay +id: UZ + name: Uzbekistan +id: VU + name: Vanuatu +id: VA + name: Vatican City State (Holy See) +id: VE + name: Venezuela +id: VN + name: Viet Nam +id: VG + name: Virgin Islands (British) +id: VI + name: Virgin Islands (U.S.) +id: WF + name: Wallis and Futuna Islands +id: EH + name: Western Sahara + diff --git a/data/v1/sisu_markup_samples/samples/_sisu/skin/yml/skin_country.yaml b/data/v1/sisu_markup_samples/samples/_sisu/skin/yml/skin_country.yaml new file mode 100644 index 0000000..ebaf8ac --- /dev/null +++ b/data/v1/sisu_markup_samples/samples/_sisu/skin/yml/skin_country.yaml @@ -0,0 +1,735 @@ +# arch-tag: yaml country list array +# Author: Ralph@Amissah.com +# License: Same as SiSU see http://www.jus.uio.no/sisu +- + - AF + - Afghanistan +- + - AL + - Albania +- + - DZ + - Algeria +- + - AS + - American Samoa +- + - AD + - Andorra +- + - AO + - Angola +- + - AI + - Anguilla +- + - AQ + - Antarctica +- + - AG + - Antigua and Barbuda +- + - AR + - Argentina +- + - AM + - Armenia +- + - AW + - Aruba +- + - AU + - Australia +- + - AT + - Austria +- + - AZ + - Azerbaijan +- + - BS + - Bahamas +- + - BH + - Bahrain +- + - BD + - Bangladesh +- + - BB + - Barbados +- + - BY + - Belarus +- + - BE + - Belgium +- + - BZ + - Belize +- + - BJ + - Benin +- + - BM + - Bermuda +- + - BT + - Bhutan +- + - BO + - Bolivia +- + - BA + - Bosnia and Herzegovina +- + - BW + - Botswana +- + - BV + - Bouvet Island +- + - BR + - Brazil +- + - IO + - British Indian Ocean Territory +- + - BN + - Brunei Darussalam +- + - BG + - Bulgaria +- + - BF + - Burkina Faso +- + - BI + - Burundi +- + - KH + - Cambodia +- + - CM + - Cameroon +- + - CA + - Canada +- + - CV + - Cape Verde +- + - KY + - Cayman Islands +- + - CF + - Central African Republic +- + - TD + - Chad +- + - CL + - Chile +- + - CN + - China +- + - CX + - Christmas Island +- + - CC + - Cocos (Keeling) Islands +- + - CO + - Colombia +- + - KM + - Comoros +- + - CG + - Congo +- + - CK + - Cook Islands +- + - CR + - Costa Rica +- + - HR + - Croatia (Hrvatska) +- + - CU + - Cuba +- + - CY + - Cyprus +- + - CZ + - Czech Republic +- + - CS + - Czechoslovakia (former) +- + - DK + - Denmark +- + - DJ + - Djibouti +- + - DM + - Dominica +- + - DO + - Dominican Republic +- + - TP + - East Timor +- + - EC + - Ecuador +- + - EG + - Egypt +- + - SV + - El Salvador +- + - GQ + - Equatorial Guinea +- + - ER + - Eritrea +- + - EE + - Estonia +- + - ET + - Ethiopia +- + - FK + - Falkland Islands (Malvinas) +- + - FO + - Faroe Islands +- + - FJ + - Fiji +- + - FI + - Finland +- + - FR + - France +- + - FX + - France, Metropolitan +- + - GF + - French Guiana +- + - PF + - French Polynesia +- + - TF + - French Southern Territories +- + - GA + - Gabon +- + - GM + - Gambia +- + - GE + - Georgia +- + - DE + - Germany +- + - GH + - Ghana +- + - GI + - Gibraltar +- + - GB + - Great Britain (UK) +- + - GR + - Greece +- + - GL + - Greenland +- + - GD + - Grenada +- + - GP + - Guadeloupe +- + - GU + - Guam +- + - GT + - Guatemala +- + - GN + - Guinea +- + - GW + - Guinea-Bissau +- + - GY + - Guyana +- + - HT + - Haiti +- + - HM + - Heard and McDonald Islands +- + - HN + - Honduras +- + - HK + - Hong Kong +- + - HU + - Hungary +- + - IS + - Iceland +- + - IN + - India +- + - ID + - Indonesia +- + - IR + - Iran +- + - IQ + - Iraq +- + - IE + - Ireland +- + - IL + - Israel +- + - IT + - Italy +- + - CI + - Ivory Coast +- + - JM + - Jamaica +- + - JP + - Japan +- + - JO + - Jordan +- + - KZ + - Kazakhstan +- + - KE + - Kenya +- + - KI + - Kiribati +- + - KP + - Korea (North) +- + - KR + - Korea (South) +- + - KW + - Kuwait +- + - KG + - Kyrgyzstan +- + - LA + - Laos +- + - LV + - Latvia +- + - LB + - Lebanon +- + - LS + - Lesotho +- + - LR + - Liberia +- + - LY + - Libya +- + - LI + - Liechtenstein +- + - LT + - Lithuania +- + - LU + - Luxembourg +- + - MO + - Macau +- + - ME + - Macedonia +- + - MG + - Madagascar +- + - MW + - Malawi +- + - MY + - Malaysia +- + - MV + - Maldives +- + - ML + - Mali +- + - MT + - Malta +- + - MB + - Marshall Islands +- + - MQ + - Martinique +- + - MR + - Mauritania +- + - MU + - Mauritius +- + - YT + - Mayotte +- + - MX + - Mexico +- + - FM + - Micronesia +- + - MD + - Moldova +- + - MC + - Monaco +- + - MN + - Mongolia +- + - MS + - Montserrat +- + - MA + - Morocco +- + - MZ + - Mozambique +- + - MM + - Myanmar +- + - NA + - Namibia +- + - NR + - Nauru +- + - NP + - Nepal +- + - NL + - Netherlands +- + - AN + - Netherlands Antilles +- + - NT + - Neutral Zone +- + - NC + - New Caledonia +- + - NZ + - New Zealand (Aotearoa) +- + - NI + - Nicaragua +- + - NE + - Niger +- + - NG + - Nigeria +- + - NU + - Niue +- + - NF + - Norfolk Island +- + - MP + - Northern Mariana Islands +- + - 'NO' + - Norway +- + - OM + - Oman +- + - '00' + - Other +- + - PK + - Pakistan +- + - PW + - Palau +- + - PA + - Panama +- + - PG + - Papua New Guinea +- + - PY + - Paraguay +- + - PE + - Peru +- + - PH + - Philippines +- + - PN + - Pitcairn +- + - PL + - Poland +- + - PT + - Portugal +- + - PR + - Puerto Rico +- + - QA + - Qatar +- + - RE + - Reunion +- + - RO + - Romania +- + - RU + - Russian Federation +- + - RW + - Rwanda +- + - GS + - S. Georgia and S. Sandwich Isls. +- + - KN + - Saint Kitts and Nevis +- + - LC + - Saint Lucia +- + - VC + - Saint Vincent and the Grenadines +- + - WS + - Samoa +- + - SM + - San Marino +- + - ST + - Sao Tome and Principe +- + - SA + - Saudi Arabia +- + - SN + - Senegal +- + - SC + - Seychelles +- + - SL + - Sierra Leone +- + - SG + - Singapore +- + - SK + - Slovak Republic +- + - SI + - Slovenia +- + - SB + - Solomon Islands +- + - SO + - Somalia +- + - ZA + - South Africa +- + - ES + - Spain +- + - LK + - Sri Lanka +- + - SH + - St. Helena +- + - PM + - St. Pierre and Miquelon +- + - SD + - Sudan +- + - SR + - Suriname +- + - SJ + - Svalbard and Jan Mayen Islands +- + - SZ + - Swaziland +- + - SE + - Sweden +- + - CH + - Switzerland +- + - SY + - Syria +- + - TW + - Taiwan +- + - TJ + - Tajikistan +- + - TZ + - Tanzania +- + - TH + - Thailand +- + - TG + - Togo +- + - TK + - Tokelau +- + - TO + - Tonga +- + - TT + - Trinidad and Tobago +- + - TN + - Tunisia +- + - TR + - Turkey +- + - TM + - Turkmenistan +- + - TC + - Turks and Caicos Islands +- + - TV + - Tuvalu +- + - UM + - US Minor Outlying Islands +- + - SU + - USSR (former) +- + - UG + - Uganda +- + - UA + - Ukraine +- + - AE + - United Arab Emirates +- + - UK + - United Kingdom +- + - US + - United States +- + - UY + - Uruguay +- + - UZ + - Uzbekistan +- + - VU + - Vanuatu +- + - VA + - Vatican City State (Holy See) +- + - VE + - Venezuela +- + - VN + - Viet Nam +- + - VG + - Virgin Islands (British) +- + - VI + - Virgin Islands (U.S.) +- + - WF + - Wallis and Futuna Islands +- + - EH + - Western Sahara +- + - YE + - Yemen +- + - YU + - Yugoslavia +- + - ZR + - Zaire +- + - ZM + - Zambia +- + - ZW + - Zimbabwe diff --git a/data/v1/sisu_markup_samples/samples/_sisu/skin/yml/skin_lexAddress.yaml b/data/v1/sisu_markup_samples/samples/_sisu/skin/yml/skin_lexAddress.yaml new file mode 100644 index 0000000..6e49b54 --- /dev/null +++ b/data/v1/sisu_markup_samples/samples/_sisu/skin/yml/skin_lexAddress.yaml @@ -0,0 +1,207 @@ +# arch-tag: yaml addresses used on lexmercatoria +# Author: Ralph@Amissah.com +# License: Same as SiSU see http://www.jus.uio.no/sisu +address: + un: "United Nations\n + UN Headquarters\n + First Avenu at 46th Street\n + New York\, NY 10017\n + web: www.unsystem.org\n + web: www.un.org\n\n + UN Publications\n + tel: 1 800 253-9646\n + web: www.un.org/Pubs/sales.htm\n + e-mail publications@un.org\n\n" + uncitral: "UNCITRAL Secretariat\n + P.O. Box 500\n + Vienna International Centre\n + A-1400 Vienna\n + Austria\n\n + tel: (43-1)21345-4060 or 4061\n + fax: (43-1) 21345-5813\n + telex: 135612 unoa\n + web: www.uncitral.org\n + e-mail uncitral@uncitral.org\n\n + UN Publications\n + tel: 1 800 253-9646\n + web: www.un.org/Pubs/sales.htm\n + e-mail publications@un.org\n\n + web: www.unsystem.org\n + web: www.un.org\n\n + United Nations\n + UN Headquarters\n + First Avenu at 46th Street\n + New York, NY 10017\n + web: www.unsystem.org\n + web: www.un.org\n\n" + unece: "United Nations Economic Commission for Europe\n + Information Office\n + Palais des Nations\n + CH-1211 Geneva 10\n + Switzerland\n + tel: +41 22 971 44 44\n + fax: +41 22 917 05 05\n + web: www.unece.org\n + e-mail info.ece@unece.org\n\n + United Nations\n + UN Headquarters\n + First Avenu at 46th Street\n + New York, NY 10017\n + web: www.unsystem.org\n + web: www.un.org\n\n + UN Publications\n + tel: 1 800 253-9646\n + web: www.un.org/Pubs/sales.htm\n + e-mail publications@un.org\n\n" + unidroit: "UNIDROIT\n + (The International Institute for the Unification of Private Law)\n + 28 Via Panisperna,\n + 00184 Rome\nItaly\n\n + tel.: (39-06) 696 211\n + fax: (39-06) 699 41394\n + web: http://www.unidroit.org/\n + e-mail: unidroit.rome@unidroit.org" + icc: "International Chamber of Commerce (ICC),\n + The world business organization, + 38, Cours Albert 1er,\n + 75008 Paris - France.\n\n + tel: +33 1 49 53 28 28\n + fax: +33 1 49 53 28 59\n + e-mail: icc@iccwbo.org\n\n + ICC Publishing SA (Paris),\n + SA, 38 Cours Albert ler,\n + 75008 Paris,\n + France.\n\n + tel: +33 1 49 53 29 23\n + tel: +33 1 49 53 28 89\n + fax: +33 1 49 53 29 02\n + e-mail: pub@iccwbo.org\n\n + ICC Publishing, Inc. (New York)\n + 156, Fifth Avenue, Suite 417,\n + New York, N.Y. 10010,\n + United States.\n\n + tel: +1 212 206 1150\n + fax: +1 212 633 6025\n + e-mail: info@iccpub.net\n\n + ICC International Court of Arbitration,\n + 38, Cours Albert ler,\n + 75008 Paris,\n + France.\n\n + tel: +33 1 49 53 28 28\n + fax: +33 1 49 53 29 33\n + e-mail: arb@iccwbo.org" + hcpil: "Permanent Bureau of the Hague Conference on Private International Law\n + 6 Scheveningseweg\n + 2517 KT The Hague\n + Netherlands\n + tel.: (31/70) 363.33.03\n + fax: (31/70) 360.48.67\n + cable: CODIP \n + web: www.hcch.net" + moftec: "No. 2 Dong Chang''an Avenue,\n + Beijing,\nChina 100731\n\n + tel: (010) 6519 8114\n + fax: (010) 6519 8039\n + e-mail: moftec@moftec.gov.cn\n + web: www.moftec.gov.cn:7777/search.wct?ChannelID=8115\n + web: www.moftec.com" + china: "No. 2 Dong Chang''an Avenue,\n + Beijing,\nChina 100731\n\n + tel: (010) 6519 8114\n + fax: (010) 6519 8039\n + e-mail: moftec@moftec.gov.cn\n + web: www.moftec.gov.cn:7777/search.wct?ChannelID=8115\n + web: www.moftec.com" + eu_pil: "For more information, write to the Secretary of the Commission: Matthias E. STORME, Zuidbroek 49, B-9030 GENT (BELGIUM)\n\n + fax: +32-9-236 24 40\n + e-mail frw.storme.m@ufsia.ac.be or Matthias.Storme@rug.ac.be\n + web: www.ufsia.ac.be/~estorme/CECL.html" + wto: "World Trade Organization Centre\n + William Rappard,\n + Rue de Lausanne 154,\n + CH 1211 Geneva 21,\n + Switzerland\n\n + tel: (41-22) 739 51 11\n + fax: (41-22) 731 42 06\n + web: www.wto.org\n + e-mail: enquiries@wto.org" + wta: "World Trade Organization Centre\n + William Rappard,\n + Rue de Lausanne 154,\n + CH 1211 Geneva 21,\n + Switzerland\n\n + tel: (41-22) 739 51 11\n + fax: (41-22) 731 42 06\n + web: www.wto.org\n + e-mail: enquiries@wto.org" + icsid: "ICSID - International Centre for Settlement of Investment Disputes\n + 1818 H Street, N.W.,\n + Washington, D.C. 20433,\n + U.S.A.\n\n + tel: (1 202) 458-1534\n + fax: (1 202) 522-2615\n + web: www.worldbank.org/icsid/\n" + wipo: "World Intellectual Property Organisation\n + The WIPO headquarters is in Geneva, Switzerland, near the Place des Nations.\n + 34, chemin des Colombettes,\n + Geneva.\n\n + P.O. Box 18, CH-1211 Geneva 20\n + tel: 41-22 730 9111\n + fax: 41-22 733 5428\n\n + Mailing address:\nWIPO\n + P.O. Box 18, CH-1211\n + Geneva 20\n\n + web: www.wipo.org\n\n + WIPO has a Liaison Office at the United Nations in New York, U.S.A.\n + Address: 2,\n + United Nations Plaza,\n + Room 560,\n + New York, N.Y. 10017\n\n + tel: (1-212) 963-6813\n + fax: (1-212) 963 4801 \n\n + e-mail: WIPO.mail@wipo.int for matters of general interest\n + DEVCO.mail@wipo.int for development cooperation matters\n + PCT.mail@wipo.int for PCT (Patent Cooperation Treaty) matters\n + INTREG.mail@wipo.int for international trademark and design registration matters\n + ARBITER.mail@wipo.int for arbitration and mediation matters\n + PUBLICATIONS.mail@wipo.int for ordering publications\n + PERSONNEL.mail@wipo.int for personnel matters" + unctad: ~ + lcia: "The International Dispute Resolution Centre\n + LCIA,\n + 8 Breams Buildings,\n + Chancery Lane,\n + London EC4A 1HP\n + England\n\n + tel: (44) 0(207) 405 8008\n + fax: (44) 0(207) 405 8009\n + web: www.wto.org\n + e-mail: lcia@lcia-arbitration.com" + american.arbitration.association: ~ + milan.chamber.of.commerce: "The Chamber of National and International Arbitration of Milan\n + Milan Chamber of Commerce,\n + Palazzo Mezzanotte - Piazza Affari,\n + 6 - 20123 Milano,\n + Italy\n\n + tel: 39 2 8515.4536-4444-4515\n + fax: 39 2 8515.4384\n + web: www.mi.camcom.it/eng/arbitration.chamber/\n + e-mail: camera.arbitrale@mi.camcom.it" + afreximbank: "African Export-Import Bank\n + World Trade Center,\n + 1191 Corniche El-Nil,\n + Cairo 11221,\n + Egypt\n + web: www.afreximbank.com\n + tel: 202 580 1800\n + fax: 202 578 0276\n + e-mail: info@afreximbank.com\n\n" + amissah: "Ralph Amissah\n + 10 Cameron Court,\n + Princes Way,\n + London SW19 6QY,\n + England\n + web: www.amissah.com\n + tel: 44 20 8789 3452\n + e-mail: ralph@amissah.com\n\n" + -- cgit v1.2.3 From a76e7e9d16ec26fcbb0c1a2e8dd3729b1b3f3256 Mon Sep 17 00:00:00 2001 From: Ralph Amissah Date: Sat, 6 Feb 2010 10:41:29 -0500 Subject: README updated; "Free as in Freedom" added --- data/v1/sisu_markup_samples/README | 99 + data/v1/sisu_markup_samples/samples/README | 32 - .../samples/_sisu/image/c_Copyleft.png | Bin 0 -> 668 bytes .../samples/_sisu/image/free_as_in_freedom.png | Bin 0 -> 31223 bytes .../_sisu/image/free_as_in_freedom_01_rms.png | Bin 0 -> 81111 bytes .../free_as_in_freedom_02_rms_snr_year_report.png | Bin 0 -> 65996 bytes .../free_as_in_freedom_03_rms_st_ignucius.png | Bin 0 -> 34409 bytes .../free_as_in_freedom_04_rms_pleasure_card.png | Bin 0 -> 17364 bytes .../samples/_sisu/image/levitating_gnu.png | Bin 0 -> 66279 bytes .../samples/_sisu/image/philosophical_gnu.png | Bin 0 -> 2695 bytes .../samples/_sisu/skin/doc/skin_rms.rb | 100 + ...lman_crusade_for_free_software.sam_williams.sst | 2486 ++++++++++++++++++++ 12 files changed, 2685 insertions(+), 32 deletions(-) create mode 100644 data/v1/sisu_markup_samples/README delete mode 100644 data/v1/sisu_markup_samples/samples/README create mode 100644 data/v1/sisu_markup_samples/samples/_sisu/image/c_Copyleft.png create mode 100644 data/v1/sisu_markup_samples/samples/_sisu/image/free_as_in_freedom.png create mode 100644 data/v1/sisu_markup_samples/samples/_sisu/image/free_as_in_freedom_01_rms.png create mode 100644 data/v1/sisu_markup_samples/samples/_sisu/image/free_as_in_freedom_02_rms_snr_year_report.png create mode 100644 data/v1/sisu_markup_samples/samples/_sisu/image/free_as_in_freedom_03_rms_st_ignucius.png create mode 100644 data/v1/sisu_markup_samples/samples/_sisu/image/free_as_in_freedom_04_rms_pleasure_card.png create mode 100644 data/v1/sisu_markup_samples/samples/_sisu/image/levitating_gnu.png create mode 100644 data/v1/sisu_markup_samples/samples/_sisu/image/philosophical_gnu.png create mode 100644 data/v1/sisu_markup_samples/samples/_sisu/skin/doc/skin_rms.rb create mode 100644 data/v1/sisu_markup_samples/samples/free_as_in_freedom.richard_stallman_crusade_for_free_software.sam_williams.sst diff --git a/data/v1/sisu_markup_samples/README b/data/v1/sisu_markup_samples/README new file mode 100644 index 0000000..90349f2 --- /dev/null +++ b/data/v1/sisu_markup_samples/README @@ -0,0 +1,99 @@ +Note on sisu markup 2006-11-27, Ralph Amissah + +Books prepared as sisu markup samples, output formats to be generated using +SiSU are contained in a separate package sisu_markup_samples + +sisu contains a few documents published under the GPL or that are Debian Free +Software Guideline license compatible: + + Text: Free as in Freedom - Richard Stallman's Crusade for Free Software + URL: + Author: Sam Williams + URL: <> + Copyright: Sam Williams 2002 + License: Permission is granted to copy, distribute and/or modify this + document under the terms of the GNU Free Document License, Version 1.1 or any + later version published by the Free Software Foundation; with the Invariant + Sections being no invariant sections, with the Front-Cover Texts being no + invariant sections, and with the Back-Cover Texts being no invariant sections + URL: + +sisu_markup_samples contains gpl content and additional material released under +various licenses mostly different Creative Commons licences that do not permit +inclusion in the Debian Project as they do not meet the DFSG for various +reasons, most commonly in that they require the original substantive text me +maintained and often that the works be used only non-commercially + + Free as in Freedom - Richard Stallman's Crusade for Free Software, Sam Williams, [as above] + + Text: Free Culture - How Big Media Uses Technology and the Law to Lock Down Culture and Control Creativity + URL: + Author: Lawrence Lessig + URL: + Copyright: Lawrence Lessig, 2004 + License: + URL: + + Text: The Wealth of Networks - How Social Production Transforms Markets and Freedom + URL: + Author: Yochai Benkler + URL: + Copyright: 2006 Yochai Benkler + License: + URL: + + Text: Two Bits - The Cultural Significance of Free Software + URL: + Author: Christopher Kelty + URL: + Copyright: Duke University Press, 2008 + License: + URL: + + Text: Free For All - How Linux and the Free Software Movement Undercut the High Tech Titans + URL: + Author: Peter Wayner + URL: + Copyright: Peter Wayner, 2000 + License: + URL: + + Text: The Cathederal and the Bazaar + URL: + Author: Eric Raymond + URL: + Copyright: Eric S Raymond, 2000 + License: Open Publication License, v 2.0 + URL: + + Text: Little Brother + URL: + Author: Cory Doctrow + URL: + Copyright: Cory Doctrow + License: + URL: + + Text: Accelerando + URL: + Author: Charles Stross + URL: + Copyright: Charles Stross, 2005 + License: + URL: + Note: The SiSU preparation (presentations) of Accelerando are done with the kind permission of the author Charles Stross + + Text: UN Contracts for International Sale of Goods + Author: UN, UNCITRAL + URL: + Copyright: + License: + +Most additional material contained in sisu_markup_samples were published under +various Creative Commons licenses, check the rights section of each document +for the copyright and license, or the COPYRIGHT file associated with the +package for a listing of material and their associated licenses. + +A few document more markup samples can be found at + + diff --git a/data/v1/sisu_markup_samples/samples/README b/data/v1/sisu_markup_samples/samples/README deleted file mode 100644 index f346a36..0000000 --- a/data/v1/sisu_markup_samples/samples/README +++ /dev/null @@ -1,32 +0,0 @@ -Note on sisu markup 2006-11-27, Ralph Amissah - -Contains the following books: - * "Free Culture", Lawrence Lessig - * "The Wealth of Networks", Yochai Benkler - * "Free For All", Peter Wayner - -The main sisu archive contains: - * "Free as in Freedom", Sam Williams (about Richard Stallman) - -These Documents provided as markup samples were published under various -Creative Commons licenses, check the rights section of each document for the -copyright and license. - --------- - -SiSU >= 0.38 ships with document markup samples prepared with a new notation -for document structure. - -This note is to point out that sisu-0.38 should be able to process both the new -and older markup, and a conversion options are in sisu to make conversion -between 0.36 and 0.38 markup versions fairly simple. For help the man pages, or -type 'sisu --help convert' - -SiSU markup sample Notes: -SiSU -SiSU markup for 0.16 and later: - 0.20.4 header 0~links - 0.22 may drop image dimensions (rmagick) - 0.23 utf-8 ß - 0.38 or later, may use alternative notation for headers, e.g. @title: (instead of 0~title) - 0.38 document structure alternative markup, experimental (rad) A,B,C,1,2,3 maps to 1,2,3,4,5,6 diff --git a/data/v1/sisu_markup_samples/samples/_sisu/image/c_Copyleft.png b/data/v1/sisu_markup_samples/samples/_sisu/image/c_Copyleft.png new file mode 100644 index 0000000..5b3865b Binary files /dev/null and b/data/v1/sisu_markup_samples/samples/_sisu/image/c_Copyleft.png differ diff --git a/data/v1/sisu_markup_samples/samples/_sisu/image/free_as_in_freedom.png b/data/v1/sisu_markup_samples/samples/_sisu/image/free_as_in_freedom.png new file mode 100644 index 0000000..ad4c05b Binary files /dev/null and b/data/v1/sisu_markup_samples/samples/_sisu/image/free_as_in_freedom.png differ diff --git a/data/v1/sisu_markup_samples/samples/_sisu/image/free_as_in_freedom_01_rms.png b/data/v1/sisu_markup_samples/samples/_sisu/image/free_as_in_freedom_01_rms.png new file mode 100644 index 0000000..3b4563b Binary files /dev/null and b/data/v1/sisu_markup_samples/samples/_sisu/image/free_as_in_freedom_01_rms.png differ diff --git a/data/v1/sisu_markup_samples/samples/_sisu/image/free_as_in_freedom_02_rms_snr_year_report.png b/data/v1/sisu_markup_samples/samples/_sisu/image/free_as_in_freedom_02_rms_snr_year_report.png new file mode 100644 index 0000000..5d5a57a Binary files /dev/null and b/data/v1/sisu_markup_samples/samples/_sisu/image/free_as_in_freedom_02_rms_snr_year_report.png differ diff --git a/data/v1/sisu_markup_samples/samples/_sisu/image/free_as_in_freedom_03_rms_st_ignucius.png b/data/v1/sisu_markup_samples/samples/_sisu/image/free_as_in_freedom_03_rms_st_ignucius.png new file mode 100644 index 0000000..d84bf56 Binary files /dev/null and b/data/v1/sisu_markup_samples/samples/_sisu/image/free_as_in_freedom_03_rms_st_ignucius.png differ diff --git a/data/v1/sisu_markup_samples/samples/_sisu/image/free_as_in_freedom_04_rms_pleasure_card.png b/data/v1/sisu_markup_samples/samples/_sisu/image/free_as_in_freedom_04_rms_pleasure_card.png new file mode 100644 index 0000000..2ab79e1 Binary files /dev/null and b/data/v1/sisu_markup_samples/samples/_sisu/image/free_as_in_freedom_04_rms_pleasure_card.png differ diff --git a/data/v1/sisu_markup_samples/samples/_sisu/image/levitating_gnu.png b/data/v1/sisu_markup_samples/samples/_sisu/image/levitating_gnu.png new file mode 100644 index 0000000..9a25319 Binary files /dev/null and b/data/v1/sisu_markup_samples/samples/_sisu/image/levitating_gnu.png differ diff --git a/data/v1/sisu_markup_samples/samples/_sisu/image/philosophical_gnu.png b/data/v1/sisu_markup_samples/samples/_sisu/image/philosophical_gnu.png new file mode 100644 index 0000000..ebd239e Binary files /dev/null and b/data/v1/sisu_markup_samples/samples/_sisu/image/philosophical_gnu.png differ diff --git a/data/v1/sisu_markup_samples/samples/_sisu/skin/doc/skin_rms.rb b/data/v1/sisu_markup_samples/samples/_sisu/skin/doc/skin_rms.rb new file mode 100644 index 0000000..95f936a --- /dev/null +++ b/data/v1/sisu_markup_samples/samples/_sisu/skin/doc/skin_rms.rb @@ -0,0 +1,100 @@ +=begin + * Name: SiSU - Simple information Structuring Universe - Structured information, Serialized Units + * Author: Ralph Amissah + * http://www.jus.uio.no/sisu + * http://www.jus.uio.no/sisu/SiSU/download + * Description: Document skin used for Free as in Freedom + * License: Same as SiSU see http://www.jus.uio.no/sisu + * Notes: Site default appearance variables set in defaults.rb + Generic site wide modifications set here scribe_skin.rb, and this file required by other "scribes" instead of defaults.rb +=end +module SiSU_Viz + require "#{SiSU_lib}/defaults" + class Skin + #% promo + def promo_promo + ['sisu_icon','sisu','sisu_search_libre','open_society','fsf','ruby'] + end + ##% home + #def home_index + #end + #def home_toc + #end + ##% path + #def path_root # the only parameter that cannot be changed here + # './sisu/' + #end + #def path_rel + # '../' + #end + #% url + def url_home + 'http://www.gnu.org' + end + def url_site # used in pdf header + 'http://www.gnu.org' + end + def url_txt # text to go with url usually stripped url + 'www.gnu.org' + end + def url_home_url + '../index.html' + end + #def url_root_http + #root server path info, used in document information + #end + #% color + def color_band1 + '"#cccccc"' + #'"#000070"' + end + #% txt + def txt_hp + 'Free as in Freedom' + end + def txt_home # this should be the name of the site eg. Lex Mercatoria or if you prefer to see a url the url in text form copy & ... + #"www.jus.uio.no/sisu/" + 'Free as in Freedom' + end + #% icon + def icon_home_button + 'free_as_in_freedom.png' + end + def icon_home_banner + icon_home_button + end + #% banner + def banner_home_button + %{
#{png_home}
\n} + end + def banner_home_and_index_buttons + %{
#{png_home}#{table_close}
 This text sub- 
 Table of Contents #{table_close}		 #{table_close}} + end + def banner_band + %{
#{png_home}#{table_close}} + end + def banner_home_guide + end + #% credits + def insert_levitating_gnu #used locally this skin only + %{
RMS/FSF - Levitating Gnu -->
} + end + def credits_splash + %{
#{insert_levitating_gnu}
} + end + end + class TeX + def header_center + "\\chead{\\href{#{@vz.url_site}/}{www.jus.uio.no/sisu/}}" + end + def home_url + "\\href{#{@vz.url_site}/}{www.gnu.org}" + end + def home + "\\href{#{@vz.url_site}/}{GNU - Free Software Foundation}" + end + def owner_chapter + "Document owner details" + end + end +end diff --git a/data/v1/sisu_markup_samples/samples/free_as_in_freedom.richard_stallman_crusade_for_free_software.sam_williams.sst b/data/v1/sisu_markup_samples/samples/free_as_in_freedom.richard_stallman_crusade_for_free_software.sam_williams.sst new file mode 100644 index 0000000..74b90a4 --- /dev/null +++ b/data/v1/sisu_markup_samples/samples/free_as_in_freedom.richard_stallman_crusade_for_free_software.sam_williams.sst @@ -0,0 +1,2486 @@ +% SiSU 0.38 + +@title: Free as in Freedom + +@subtitle: Richard Stallman's Crusade for Free Software + +@author: Williams, Sam + +@rights: Copyright (C) Sam Williams 2002, published under the GNU Free Documentation License. Permission is granted to copy, distribute and/or modify this document under the terms of the GNU Free Document License, Version 1.1 or any later version published by the Free Software Foundation; with the Invariant Sections being no invariant sections, with the Front-Cover Texts being no invariant sections, and with the Back-Cover Texts being no invariant sections. A copy of the license is included in Appendix C, GNU Free Documentation License. All images are to be included verbatim when the document is copied, distributed, or modified under the terms of the GFDL. + +@topic_register: SiSU:markup sample:book;copyright;GNU/Linux:GPL|copyleft|free software;free software;Software:Software Libré;GPL;Linux:GNU|Software Libré;book:biography + +@date: 2002 + +@language: US + +@notes: March 2002 + +% @catalogue: isbn=0596002874 + +@links: { Home and Source }http://faifzilla.org/ +{Free as in Freedom (on Richard Stallman), Sam Williams @ SiSU}http://www.jus.uio.no/sisu/free_as_in_freedom.richard_stallman_crusade_for_free_software.sam_williams +{@ Wikipedia}http://en.wikipedia.org/wiki/Free_as_in_Freedom:_Richard_Stallman%27s_Crusade_for_Free_Software +{@ Amazon.com}http://www.amazon.com/gp/product/0596002874 +{@ Barnes & Noble}http://search.barnesandnoble.com/booksearch/isbnInquiry.asp?isbn=0596002874 +{The Wealth of Networks, Yochai Benkler @ SiSU}http://www.jus.uio.no/sisu/the_wealth_of_networks.yochai_benkler +{Two Bits, Christopher Kelty @ SiSU}http://www.jus.uio.no/sisu/two_bits.christopher_kelty +{Free For All, Peter Wayner @ SiSU}http://www.jus.uio.no/sisu/free_for_all.peter_wayner +{Free Culture, Lawrence Lessig @ SiSU}http://www.jus.uio.no/sisu/free_culture.lawrence_lessig +{The Cathedral and the Bazaar, Eric S. Raymond @ SiSU }http://www.jus.uio.no/sisu/the_cathedral_and_the_bazaar.eric_s_raymond + +@skin: skin_rms + +@images: center + +@level: new=:A,:B,:C,1 + +% @promo: sisu_icon, sample_search, fsf, open_society, sisu + +:A~ Free as in Freedom + +:B~ Richard Stallman's Crusade for Free Software + +:C~ By Sam Williams + +1~preface Preface + +The work of Richard M. Stallman literally speaks for itself. From the documented source code to the published papers to the recorded speeches, few people have expressed as much willingness to lay their thoughts and their work on the line. + +Such openness-if one can pardon a momentary un-Stallman adjective-is refreshing. After all, we live in a society that treats information, especially personal information, as a valuable commodity. The question quickly arises. Why would anybody want to part with so much information and yet appear to demand nothing in return? + +As we shall see in later chapters, Stallman does not part with his words or his work altruistically. Every program, speech, and on-the-record bon mot comes with a price, albeit not the kind of price most people are used to paying. + +I bring this up not as a warning, but as an admission. As a person who has spent the last year digging up facts on Stallman's personal history, it's more than a little intimidating going up against the Stallman oeuvre. "Never pick a fight with a man who buys his ink by the barrel," goes the old Mark Twain adage. In the case of Stallman, never attempt the definitive biography of a man who trusts his every thought to the public record. + +For the readers who have decided to trust a few hours of their time to exploring this book, I can confidently state that there are facts and quotes in here that one won't find in any Slashdot story or Google search. Gaining access to these facts involves paying a price, however. In the case of the book version, you can pay for these facts the traditional manner, i.e., by purchasing the book. In the case of the electronic versions, you can pay for these facts in the free software manner. Thanks to the folks at O'Reilly & Associates, this book is being distributed under the GNU Free Documentation License, meaning you can help to improve the work or create a personalized version and release that version under the same license. + +If you are reading an electronic version and prefer to accept the latter payment option, that is, if you want to improve or expand this book for future readers, I welcome your input. Starting in June, 2002, I will be publishing a bare bones HTML version of the book on the web site, http://www.faifzilla.org. My aim is to update it regularly and expand the Free as in Freedom story as events warrant. If you choose to take the latter course, please review Appendix C of this book. It provides a copy of your rights under the GNU Free Documentation License. + +For those who just plan to sit back and read, online or elsewhere, I consider your attention an equally valuable form of payment. Don't be surprised, though, if you, too, find yourself looking for other ways to reward the good will that made this work possible. + +One final note: this is a work of journalism, but it is also a work of technical documentation. In the process of writing and editing this book, the editors and I have weighed the comments and factual input of various participants in the story, including Richard Stallman himself. We realize there are many technical details in this story that may benefit from additional or refined information. As this book is released under the GFDL, we are accepting patches just like we would with any free software program. Accepted changes will be posted electronically and will eventually be incorporated into future printed versions of this work. If you would like to contribute to the further improvement of this book, you can reach me at sam@inow.com +={patches, inserting into source code} + +% patches index ref added + +2~ Comments and Questions + +Please address comments and questions concerning this book to the publisher: + +poem{ + + O'Reilly & Associates, Inc. + 1005 Gravenstein Highway North + Sebastopol, CA 95472 + (800) 998-9938 (in the United States or Canada) + (707) 829-0515 (international/local) + (707) 829-0104 (fax) + +}poem + +There is a web page for this book, which lists errata, examples, or any additional information. The site also includes a link to a forum where you can discuss the book with the author and other readers. You can access this site at: + +_1 http://www.oreilly.com/catalog/freedom/ + +To comment or ask technical questions about this book, send email to: + +_1 bookquestions@oreilly.com + +For more information about books, conferences, Resource Centers, and the O'Reilly Network, see the O'Reilly web site at: + +_1 http://www.oreilly.com + +2~ Acknowledgments + +Special thanks to Henning Gutmann for sticking by this book. Special thanks to Aaron Oas for suggesting the idea to Tracy in the first place. Thanks to Laurie Petrycki, Jeffrey Holcomb, and all the others at O'Reilly & Associates. Thanks to Tim O'Reilly for backing this book. Thanks to all the first-draft reviewers: Bruce Perens, Eric Raymond, Eric Allman, Jon Orwant, Julie and Gerald Jay Sussman, Hal Abelson, and Guy Steele. I hope you enjoy this typo-free version. Thanks to Alice Lippman for the interviews, cookies, and photographs. Thanks to my family, Steve, Jane, Tish, and Dave. And finally, last but not least: thanks to Richard Stallman for having the guts and endurance to "show us the code." + +Sam Williams + +1~ Chapter 1 - For Want of a Printer +={Stallman, Richard M.:AI Lab, as a programmer+47} + +group{ + +I fear the Greeks. Even when they bring gifts. + ---Virgil + The Aeneid + +}group + +The new printer was jammed, again. + +Richard M. Stallman, a staff software programmer at the Massachusetts Institute of Technology's Artificial Intelligence Laboratory (AI Lab), discovered the malfunction the hard way. An hour after sending off a 50-page file to the office laser printer, Stallman, 27, broke off a productive work session to retrieve his documents. Upon arrival, he found only four pages in the printer's tray. To make matters even more frustrating, the four pages belonged to another user, meaning that Stallman's print job and the unfinished portion of somebody else's print job were still trapped somewhere within the electrical plumbing of the lab's computer network. +={AI Lab (Artificial Intelligence Laboratory);MIT Massachusetts Institute of Technology} + +Waiting for machines is an occupational hazard when you're a software programmer, so Stallman took his frustration with a grain of salt. Still, the difference between waiting for a machine and waiting on a machine is a sizable one. It wasn't the first time he'd been forced to stand over the printer, watching pages print out one by one. As a person who spent the bulk of his days and nights improving the efficiency of machines and the software programs that controlled them, Stallman felt a natural urge to open up the machine, look at the guts, and seek out the root of the problem. + +Unfortunately, Stallman's skills as a computer programmer did not extend to the mechanical-engineering realm. As freshly printed documents poured out of the machine, Stallman had a chance to reflect on other ways to circumvent the printing jam problem. + +How long ago had it been that the staff members at the AI Lab had welcomed the new printer with open arms? Stallman wondered. The machine had been a donation from the Xerox Corporation. A cutting edge prototype, it was a modified version of the popular Xerox photocopier. Only instead of making copies, it relied on software data piped in over a computer network to turn that data into professional-looking documents. Created by engineers at the world-famous Xerox Palo Alto Research Facility, it was, quite simply, an early taste of the desktop-printing revolution that would seize the rest of the computing industry by the end of the decade. +={Xerox Corporation+10:Palo Alto Research Center} + +Driven by an instinctual urge to play with the best new equipment, programmers at the AI Lab promptly integrated the new machine into the lab's sophisticated computing infrastructure. The results had been immediately pleasing. Unlike the lab's old laser printer, the new Xerox machine was fast. Pages came flying out at a rate of one per second, turning a 20-minute print job into a 2-minute print job. The new machine was also more precise. Circles came out looking like circles, not ovals. Straight lines came out looking like straight lines, not low-amplitude sine waves. + +It was, for all intents and purposes, a gift too good to refuse. + +It wasn't until a few weeks after its arrival that the machine's flaws began to surface. Chief among the drawbacks was the machine's inherent susceptibility to paper jams. Engineering-minded programmers quickly understood the reason behind the flaw. As a photocopier, the machine generally required the direct oversight of a human operator. Figuring that these human operators would always be on hand to fix a paper jam, if it occurred, Xerox engineers had devoted their time and energies to eliminating other pesky problems. In engineering terms, user diligence was built into the system. + +In modifying the machine for printer use, Xerox engineers had changed the user-machine relationship in a subtle but profound way. Instead of making the machine subservient to an individual human operator, they made it subservient to an entire networked population of human operators. Instead of standing directly over the machine, a human user on one end of the network sent his print command through an extended bucket-brigade of machines, expecting the desired content to arrive at the targeted destination and in proper form. It wasn't until he finally went to check up on the final output that he realized how little of the desired content had made it through. + +Stallman himself had been of the first to identify the problem and the first to suggest a remedy. Years before, when the lab was still using its old printer, Stallman had solved a similar problem by opening up the software program that regulated the printer on the lab's PDP-11 machine. Stallman couldn't eliminate paper jams, but he could insert a software command that ordered the PDP-11 to check the printer periodically and report back to the PDP-10, the lab's central computer. To ensure that one user's negligence didn't bog down an entire line of print jobs, Stallman also inserted a software command that instructed the PDP-10 to notify every user with a waiting print job that the printer was jammed. The notice was simple, something along the lines of "The printer is jammed, please fix it," and because it went out to the people with the most pressing need to fix the problem, chances were higher that the problem got fixed in due time. +={PDP-10 computer;PDP-11 computer} + +% extra ref to pdp-10 & pdp-11 computer + +As fixes go, Stallman's was oblique but elegant. It didn't fix the mechanical side of the problem, but it did the next best thing by closing the information loop between user and machine. Thanks to a few additional lines of software code, AI Lab employees could eliminate the 10 or 15 minutes wasted each week in running back and forth to check on the printer. In programming terms, Stallman's fix took advantage of the amplified intelligence of the overall network. + +"If you got that message, you couldn't assume somebody else would fix it," says Stallman, recalling the logic. "You had to go to the printer. A minute or two after the printer got in trouble, the two or three people who got messages arrive to fix the machine. Of those two or three people, one of them, at least, would usually know how to fix the problem." + +Such clever fixes were a trademark of the AI Lab and its indigenous population of programmers. Indeed, the best programmers at the AI Lab disdained the term programmer, preferring the more slangy occupational title of hacker instead. The job title covered a host of activities-everything from creative mirth making to the improvement of existing software and computer systems. Implicit within the title, however, was the old-fashioned notion of Yankee ingenuity. To be a hacker, one had to accept the philosophy that writing a software program was only the beginning. Improving a program was the true test of a hacker's skills.~{ For more on the term "hacker," see **Appendix B. }~ + +Such a philosophy was a major reason why companies like Xerox made it a policy to donate their machines and software programs to places where hackers typically congregated. If hackers improved the software, companies could borrow back the improvements, incorporating them into update versions for the commercial marketplace. In corporate terms, hackers were a leveragable community asset, an auxiliary research-and-development division available at minimal cost. +={hackers:philosophy of donating software+7;software:companies donating;source code:Xerox Corporation publishing+32} + +It was because of this give-and-take philosophy that when Stallman spotted the print-jam defect in the Xerox laser printer, he didn't panic. He simply looked for a way to update the old fix or " hack" for the new system. In the course of looking up the Xerox laser-printer software, however, Stallman made a troubling discovery. The printer didn't have any software, at least nothing Stallman or a fellow programmer could read. Until then, most companies had made it a form of courtesy to publish source-code files-readable text files that documented the individual software commands that told a machine what to do. Xerox, in this instance, had provided software files in precompiled, or binary, form. Programmers were free to open the files up if they wanted to, but unless they were an expert in deciphering an endless stream of ones and zeroes, the resulting text was pure gibberish. +={Xerox Corporation:source code, publishing+31;text file source code, publishing} + +Although Stallman knew plenty about computers, he was not an expert in translating binary files. As a hacker, however, he had other resources at his disposal. The notion of information sharing was so central to the hacker culture that Stallman knew it was only a matter of time before some hacker in some university lab or corporate computer room proffered a version of the laser-printer source code with the desired source-code files. +={binary files} + +After the first few printer jams, Stallman comforted himself with the memory of a similar situation years before. The lab had needed a cross-network program to help the PDP-11 work more efficiently with the PDP-10. The lab's hackers were more than up to the task, but Stallman, a Harvard alumnus, recalled a similar program written by programmers at the Harvard computer-science department. The Harvard computer lab used the same model computer, the PDP-10, albeit with a different operating system. The Harvard computer lab also had a policy requiring that all programs installed on the PDP-10 had to come with published source-code files. +={Harvard University:computer labs+2} + +Taking advantage of his access to the Harvard computer lab, Stallman dropped in, made a copy of the cross-network source code, and brought it back to the AI Lab. He then rewrote the source code to make it more suitable for the AI Lab's operating system. With no muss and little fuss, the AI Lab shored up a major gap in its software infrastructure. Stallman even added a few features not found in the original Harvard program, making the program even more useful. "We wound up using it for several years," Stallman says. + +From the perspective of a 1970s-era programmer, the transaction was the software equivalent of a neighbor stopping by to borrow a power tool or a cup of sugar from a neighbor. The only difference was that in borrowing a copy of the software for the AI Lab, Stallman had done nothing to deprive Harvard hackers the use of their original program. If anything, Harvard hackers gained in the process, because Stallman had introduced his own additional features to the program, features that hackers at Harvard were perfectly free to borrow in return. Although nobody at Harvard ever came over to borrow the program back, Stallman does recall a programmer at the private engineering firm, Bolt, Beranek & Newman, borrowing the program and adding a few additional features, which Stallman eventually reintegrated into the AI Lab's own source-code archive. +={AI Lab (Artificial Intelligence Laboratory):borrowing source code for;Bolt, Beranek & Newman engineering firm} + +"A program would develop the way a city develops," says Stallman, recalling the software infrastructure of the AI Lab. "Parts would get replaced and rebuilt. New things would get added on. But you could always look at a certain part and say, `Hmm, by the style, I see this part was written back in the early 60s and this part was written in the mid-1970s.'" + +Through this simple system of intellectual accretion, hackers at the AI Lab and other places built up robust creations. On the west coast, computer scientists at UC Berkeley, working in cooperation with a few low-level engineers at AT&T, had built up an entire operating system using this system. Dubbed Unix, a play on an older, more academically respectable operating system called Multics, the software system was available to any programmer willing to pay for the cost of copying the program onto a new magnetic tape and shipping it. Not every programmer participating in this culture described himself as a hacker, but most shared the sentiments of Richard M. Stallman. If a program or software fix was good enough to solve your problems, it was good enough to solve somebody else's problems. Why not share it out of a simple desire for good karma? +={AT&T;Multics operating system;UC Berkeley:building Unix;Unix operating system} + +The fact that Xerox had been unwilling to share its source-code files seemed a minor annoyance at first. In tracking down a copy of the source-code files, Stallman says he didn't even bother contacting Xerox. "They had already given us the laser printer," Stallman says. "Why should I bug them for more?" + +When the desired files failed to surface, however, Stallman began to grow suspicious. The year before, Stallman had experienced a blow up with a doctoral student at Carnegie Mellon University. The student, Brian Reid, was the author of a useful text-formatting program dubbed Scribe. One of the first programs that gave a user the power to define fonts and type styles when sending a document over a computer network, the program was an early harbinger of HTML, the lingua franca of the World Wide Web. In 1979, Reid made the decision to sell Scribe to a Pittsburgh-area software company called Unilogic. His graduate-student career ending, Reid says he simply was looking for a way to unload the program on a set of developers that would take pains to keep it from slipping into the public domain. To sweeten the deal, Reid also agreed to insert a set of time-dependent functions- "time bombs" in software-programmer parlance-that deactivated freely copied versions of the program after a 90-day expiration date. To avoid deactivation, users paid the software company, which then issued a code that defused the internal time-bomb feature. +={Carnegie Mellon University+17;Unilogic software company+1;time bombs, in software;Scribe text-formatting program+1} + +% "time bombs" should be in quotes, but that messes up sorting 0.69.1 + +For Reid, the deal was a win-win. Scribe didn't fall into the public domain, and Unilogic recouped on its investment. For Stallman, it was a betrayal of the programmer ethos, pure and simple. Instead of honoring the notion of share-and-share alike, Reid had inserted a way for companies to compel programmers to pay for information access. + +As the weeks passed and his attempts to track down Xerox laser-printer source code hit a brick wall, Stallman began to sense a similar money-for-code scenario at work. Before Stallman could do or say anything about it, however, good news finally trickled in via the programmer grapevine. Word had it that a scientist at the computer-science department at Carnegie Mellon University had just departed a job at the Xerox Palo Alto Research Center. Not only had the scientist worked on the laser printer in question, but according to rumor, he was still working on it as part of his research duties at Carnegie Mellon. +={Xerox Corporation:Palo Alto Research Center} + +Casting aside his initial suspicion, Stallman made a firm resolution to seek out the person in question during his next visit to the Carnegie Mellon campus. + +He didn't have to wait long. Carnegie Mellon also had a lab specializing in artificial-intelligence research, and within a few months, Stallman had a business-related reason to visit the Carnegie Mellon campus. During that visit, he made sure to stop by the computer-science department. Department employees directed him to the office of the faculty member leading the Xerox project. When Stallman reached the office, he found the professor working there. + +In true engineer-to-engineer fashion, the conversation was cordial but blunt. After briefly introducing himself as a visitor from MIT, Stallman requested a copy of the laser-printer source code so that he could port it to the PDP-11. To his surprise, the professor refused to grant his request. + +"He told me that he had promised not to give me a copy," Stallman says. + +Memory is a funny thing. Twenty years after the fact, Stallman's mental history tape is notoriously blank in places. Not only does he not remember the motivating reason for the trip or even the time of year during which he took it, he also has no recollection of the professor or doctoral student on the other end of the conversation. According to Reid, the person most likely to have fielded Stallman's request is Robert Sproull, a former Xerox PARC researcher and current director of Sun Laboratories, a research division of the computer-technology conglomerate Sun Microsystems. During the 1970s, Sproull had been the primary developer of the laser-printer software in question while at Xerox PARC. Around 1980, Sproull took a faculty research position at Carnegie Mellon where he continued his laser-printer work amid other projects. +={Sproull, Robert (Xerox PARC researcher);Sun Laboratories} + +% xerox parc spelt incorrectly in book's original index + +"The code that Stallman was asking for was leading-edge state-of-the-art code that Sproull had written in the year or so before going to Carnegie Mellon," recalls Reid. "I suspect that Sproull had been at Carnegie Mellon less than a month before this request came in." + +When asked directly about the request, however, Sproull draws a blank. "I can't make a factual comment," writes Sproull via email. "I have absolutely no recollection of the incident." + +With both participants in the brief conversation struggling to recall key details-including whether the conversation even took place-it's hard to gauge the bluntness of Sproull's refusal, at least as recalled by Stallman. In talking to audiences, Stallman has made repeated reference to the incident, noting that Sproull's unwillingness to hand over the source code stemmed from a nondisclosure agreement, a contractual agreement between Sproull and the Xerox Corporation giving Sproull, or any other signatory, access the software source code in exchange for a promise of secrecy. Now a standard item of business in the software industry, the nondisclosure agreement, or NDA, was a novel development at the time, a reflection of both the commercial value of the laser printer to Xerox and the information needed to run it. "Xerox was at the time trying to make a commercial product out of the laser printer," recalls Reid. "They would have been insane to give away the source code." +={NDAs (nondisclosure agreements): for source code+13;nondisclosure agreements (NDAs):for source code+13} + +For Stallman, however, the NDA was something else entirely. It was a refusal on the part of Xerox and Sproull, or whomever the person was that turned down his source-code request that day, to participate in a system that, until then, had encouraged software programmers to regard programs as communal resources. Like a peasant whose centuries-old irrigation ditch had grown suddenly dry, Stallman had followed the ditch to its source only to find a brand-spanking-new hydroelectric dam bearing the Xerox logo. + +For Stallman, the realization that Xerox had compelled a fellow programmer to participate in this newfangled system of compelled secrecy took a while to sink in. At first, all he could focus on was the personal nature of the refusal. As a person who felt awkward and out of sync in most face-to-face encounters, Stallman's attempt to drop in on a fellow programmer unannounced had been intended as a demonstration of neighborliness. Now that the request had been refused, it felt like a major blunder. "I was so angry I couldn't think of a way to express it. So I just turned away and walked out without another word," Stallman recalls. "I might have slammed the door. Who knows? All I remember is wanting to get out of there." + +Twenty years after the fact, the anger still lingers, so much so that Stallman has elevated the event into a major turning point. Within the next few months, a series of events would befall both Stallman and the AI Lab hacker community that would make 30 seconds worth of tension in a remote Carnegie Mellon office seem trivial by comparison. Nevertheless, when it comes time to sort out the events that would transform Stallman from a lone hacker, instinctively suspicious of centralized authority, to a crusading activist applying traditional notions of liberty, equality, and fraternity to the world of software development, Stallman singles out the Carnegie Mellon encounter for special attention. + +"It encouraged me to think about something that I'd already been thinking about," says Stallman. "I already had an idea that software should be shared, but I wasn't sure how to think about that. My thoughts weren't clear and organized to the point where I could express them in a concise fashion to the rest of the world." + +Although previous events had raised Stallman's ire, he says it wasn't until his Carnegie Mellon encounter that he realized the events were beginning to intrude on a culture he had long considered sacrosanct. As an elite programmer at one of the world's elite institutions, Stallman had been perfectly willing to ignore the compromises and bargains of his fellow programmers just so long as they didn't interfere with his own work. Until the arrival of the Xerox laser printer, Stallman had been content to look down on the machines and programs other computer users grimly tolerated. On the rare occasion that such a program breached the AI Lab's walls-when the lab replaced its venerable Incompatible Time Sharing operating system with a commercial variant, the TOPS 20, for example-Stallman and his hacker colleagues had been free to rewrite, reshape, and rename the software according to personal taste. + +Now that the laser printer had insinuated itself within the AI Lab's network, however, something had changed. The machine worked fine, barring the occasional paper jam, but the ability to modify according to personal taste had disappeared. From the viewpoint of the entire software industry, the printer was a wake-up call. Software had become such a valuable asset that companies no longer felt the need to publicize source code, especially when publication meant giving potential competitors a chance to duplicate something cheaply. From Stallman's viewpoint, the printer was a Trojan Horse. After a decade of failure, privately owned software-future hackers would use the term " proprietary" software-had gained a foothold inside the AI Lab through the sneakiest of methods. It had come disguised as a gift. +={proprietary software} + +That Xerox had offered some programmers access to additional gifts in exchange for secrecy was also galling, but Stallman takes pains to note that, if presented with such a quid pro quo bargain at a younger age, he just might have taken the Xerox Corporation up on its offer. The awkwardness of the Carnegie Mellon encounter, however, had a firming effect on Stallman's own moral lassitude. Not only did it give him the necessary anger to view all future entreaties with suspicion, it also forced him to ask the uncomfortable question: what if a fellow hacker dropped into Stallman's office someday and it suddenly became Stallman's job to refuse the hacker's request for source code? + +"It was my first encounter with a nondisclosure agreement, and it immediately taught me that nondisclosure agreements have victims," says Stallman, firmly. "In this case I was the victim. [My lab and I] were victims." + +It was a lesson Stallman would carry with him through the tumultuous years of the 1980s, a decade during which many of his MIT colleagues would depart the AI Lab and sign nondisclosure agreements of their own. Because most nondisclosure aggreements (NDAs) had expiration dates, few hackers who did sign them saw little need for personal introspection. Sooner or later, they reasoned, the software would become public knowledge. In the meantime, promising to keep the software secret during its earliest development stages was all a part of the compromise deal that allowed hackers to work on the best projects. For Stallman, however, it was the first step down a slippery slope. + +"When somebody invited me to betray all my colleagues in that way, I remembered how angry I was when somebody else had done that to me and my whole lab," Stallman says. "So I said, `Thank you very much for offering me this nice software package, but I can't accept it on the conditions that you're asking for, so I'm going to do without it.'" + +As Stallman would quickly learn, refusing such requests involved more than personal sacrifice. It involved segregating himself from fellow hackers who, though sharing a similar distaste for secrecy, tended to express that distaste in a more morally flexible fashion. It wasn't long before Stallman, increasingly an outcast even within the AI Lab, began billing himself as "the last true hacker," isolating himself further and further from a marketplace dominated by proprietary software. Refusing another's request for source code, Stallman decided, was not only a betrayal of the scientific mission that had nurtured software development since the end of World War II, it was a violation of the Golden Rule, the baseline moral dictate to do unto others as you would have them do unto you. + +Hence the importance of the laser printer and the encounter that resulted from it. Without it, Stallman says, his life might have followed a more ordinary path, one balancing the riches of a commercial programmer with the ultimate frustration of a life spent writing invisible software code. There would have been no sense of clarity, no urgency to address a problem others weren't addressing. Most importantly, there would have been no righteous anger, an emotion that, as we soon shall see, has propelled Stallman's career as surely as any political ideology or ethical belief. + +"From that day forward, I decided this was something I could never participate in," says Stallman, alluding to the practice of trading personal liberty for the sake of convenience-Stallman's description of the NDA bargain-as well as the overall culture that encouraged such ethically suspect deal-making in the first place. "I decided never to make other people victims just like I had been a victim." + +1~ Chapter 2 - 2001: A Hacker's Odyssey + +The New York University computer-science department sits inside Warren Weaver Hall, a fortress-like building located two blocks east of Washington Square Park. Industrial-strength air-conditioning vents create a surrounding moat of hot air, discouraging loiterers and solicitors alike. Visitors who breach the moat encounter another formidable barrier, a security check-in counter immediately inside the building's single entryway. +={Warren Weaver Hall+2;New York University computer science department+44} + +Beyond the security checkpoint, the atmosphere relaxes somewhat. Still, numerous signs scattered throughout the first floor preach the dangers of unsecured doors and propped-open fire exits. Taken as a whole, the signs offer a reminder: even in the relatively tranquil confines of pre-September 11, 2001, New York, one can never be too careful or too suspicious. + +The signs offer an interesting thematic counterpoint to the growing number of visitors gathering in the hall's interior atrium. A few look like NYU students. Most look like shaggy-aired concert-goers milling outside a music hall in anticipation of the main act. For one brief morning, the masses have taken over Warren Weaver Hall, leaving the nearby security attendant with nothing better to do but watch Ricki Lake on TV and shrug her shoulders toward the nearby auditorium whenever visitors ask about "the speech." + +Once inside the auditorium, a visitor finds the person who has forced this temporary shutdown of building security procedures. The person is Richard M. Stallman, founder of the GNU Project, original president of the Free Software Foundation, winner of the 1990 MacArthur Fellowship, winner of the Association of Computing Machinery's Grace Murray Hopper Award (also in 1990), corecipient of the Takeda Foundation's 2001 Takeda Award, and former AI Lab hacker. As announced over a host of hacker-related web sites, including the GNU Project's own http://www.gnu.org site, Stallman is in Manhattan, his former hometown, to deliver a much anticipated speech in rebuttal to the Microsoft Corporation's recent campaign against the GNU General Public License. +={Free Software Foundation (FSF)+1;FSF (Free Software Foundation);GNU General Public License+1;GNU Project:web site for;GPL+1;MacArthur Fellowship Program;Microsoft Corporation+8} + +% extended range for Microsoft + +The subject of Stallman's speech is the history and future of the free software movement. The location is significant. Less than a month before, Microsoft senior vice president Craig Mundie appeared at the nearby NYU Stern School of Business, delivering a speech blasting the General Public License, or GPL, a legal device originally conceived by Stallman 16 years before. Built to counteract the growing wave of software secrecy overtaking the computer industry-a wave first noticed by Stallman during his 1980 troubles with the Xerox laser printer-the GPL has evolved into a central tool of the free software community. In simplest terms, the GPL locks software programs into a form of communal ownership-what today's legal scholars now call the "digital commons"-through the legal weight of copyright. Once locked, programs remain unremovable. Derivative versions must carry the same copyright protection-even derivative versions that bear only a small snippet of the original source code. For this reason, some within the software industry have taken to calling the GPL a "viral" license, because it spreads itself to every software program it touches.~{ Actually, the GPL's powers are not quite that potent. According to section 10 of the GNU General Public License, Version 2 (1991), the viral nature of the license depends heavily on the Free Software Foundation's willingness to view a program as a derivative work, not to mention the existing license the GPL would replace.
If you wish to incorporate parts of the Program into other free programs whose distribution conditions are different, write to the author to ask for permission. For software that is copyrighted by the Free Software Foundation, write to the Free Software Foundation; we sometimes make exceptions for this. Our decision will be guided by the two goals of preserving the free status of all derivatives of our free software and of promoting the sharing and reuse of software generally.
"To compare something to a virus is very harsh," says Stallman. "A spider plant is a more accurate comparison; it goes to another place if you actively take a cutting."
For more information on the GNU General Public License, visit http://www.gnu.org/copyleft/gpl.html }~ +={Mundie, Craig+2;NYU Stern School of Business;Stern School of Business (NYU)} + +In an information economy increasingly dependent on software and increasingly beholden to software standards, the GPL has become the proverbial "big stick." Even companies that once laughed it off as software socialism have come around to recognize the benefits. Linux, the Unix-like kernel developed by Finnish college student Linus Torvalds in 1991, is licensed under the GPL, as are many of the world's most popular programming tools: GNU Emacs, the GNU Debugger, the GNU C Compiler, etc. Together, these tools form the components of a free software operating system developed, nurtured, and owned by the worldwide hacker community. Instead of viewing this community as a threat, high-tech companies like IBM, Hewlett Packard, and Sun Microsystems have come to rely upon it, selling software applications and services built to ride atop the ever-growing free software infrastructure. +={C Compiler (GNU);GNU Debugger (GDB);GDB (GNU Debugger);Debugger;Emacs text editor;GNU Emacs;GNU C Compiler (GCC)+9;GCC (GNU C Compiler);Hewlett Packard:free software community and;IBM:free software community and;Linux;Torvalds, Linus;Sun Microsystems: free software community and} + +They've also come to rely upon it as a strategic weapon in the hacker community's perennial war against Microsoft, the Redmond, Washington-based company that, for better or worse, has dominated the PC-software marketplace since the late 1980s. As owner of the popular Windows operating system, Microsoft stands to lose the most in an industry-wide shift to the GPL license. Almost every line of source code in the Windows colossus is protected by copyrights reaffirming the private nature of the underlying source code or, at the very least, reaffirming Microsoft's legal ability to treat it as such. From the Microsoft viewpoint, incorporating programs protected by the "viral" GPL into the Windows colossus would be the software equivalent of Superman downing a bottle of Kryptonite pills. Rival companies could suddenly copy, modify, and sell improved versions of Windows, rendering the company's indomitable position as the No. 1 provider of consumer-oriented software instantly vulnerable. Hence the company's growing concern over the GPL's rate of adoption. Hence the recent Mundie speech blasting the GPL and the "open source" approach to software development and sales. And hence Stallman's decision to deliver a public rebuttal to that speech on the same campus here today. +={Windows (Microsoft):source code and;open source:software development, approach to;Redmond (Washington)} + +20 years is a long time in the software industry. Consider this: in 1980, when Richard Stallman was cursing the AI Lab's Xerox laser printer, Microsoft, the company modern hackers view as the most powerful force in the worldwide software industry, was still a privately held startup. IBM, the company hackers used to regard as the most powerful force in the worldwide software industry, had yet to to introduce its first personal computer, thereby igniting the current low-cost PC market. Many of the technologies we now take for granted-the World Wide Web, satellite television, 32-bit video-game consoles-didn't even exist. The same goes for many of the companies that now fill the upper echelons of the corporate establishment, companies like AOL, Sun Microsystems, Amazon.com, Compaq, and Dell. The list goes on and on. +={Amazon.com;AOL (America OnLine);Compaq computers;Dell computers;PCs (personal computers);personal computers (PCs)} + +The fact that the high-technology marketplace has come so far in such little time is fuel for both sides of the GPL debate. GPL-proponents point to the short lifespan of most computer hardware platforms. Facing the risk of buying an obsolete product, consumers tend to flock to companies with the best long-term survival. As a result, the software marketplace has become a winner-take-all arena.~{ See Shubha Ghosh, "Revealing the Microsoft Windows Source Code," Gigalaw.com (January, 2000).
http://www.gigalaw.com/articles/ghosh-2000-01-p1.html }~ The current, privately owned software environment, GPL-proponents say, leads to monopoly abuse and stagnation. Strong companies suck all the oxygen out of the marketplace for rival competitors and innovative startups. + +GPL-opponents argue just the opposite. Selling software is just as risky, if not more risky, than buying software, they say. Without the legal guarantees provided by private software licenses, not to mention the economic prospects of a privately owned "killer app" (i.e., a breakthrough technology that launches an entirely new market),~{ Killer apps don't have to be proprietary. Witness, of course, the legendary Mosaic browser, a program whose copyright permits noncommercial derivatives with certain restrictions. Still, I think the reader gets the point: the software marketplace is like the lottery. The bigger the potential payoff, the more people want to participate. For a good summary of the killer-app phenomenon, see Philip Ben-David, "Whatever Happened to the `Killer App'?" e-Commerce News (December 7, 2000).
http://www.ecommercetimes.com/perl/story/5893.html }~ companies lose the incentive to participate. Once again, the market stagnates and innovation declines. As Mundie himself noted in his May 3 address on the same campus, the GPL's "viral" nature "poses a threat" to any company that relies on the uniqueness of its software as a competitive asset. Added Mundie: +={Mundie, Craig+2} + +_1 It also fundamentally undermines the independent commercial software sector because it effectively makes it impossible to distribute software on a basis where recipients pay for the product rather than just the cost of distribution.~{ See Craig Mundie, "The Commercial Software Model," senior vice president, Microsoft Corp. Excerpted from an online transcript of Mundie's May 3, 2001, speech to the New York University Stern School of Business.
http://www.microsoft.com/presspass/exec/craig/05-03sharedsource.asp }~ + +The mutual success of GNU/Linux, the amalgamated operating system built around the GPL-protected Linux kernel, and Windows over the last 10 years reveals the wisdom of both perspectives. Nevertheless, the battle for momentum is an important one in the software industry. Even powerful vendors such as Microsoft rely on the support of third-party software developers whose tools, programs, and computer games make an underlying software platform such as Windows more attractive to the mainstream consumer. Citing the rapid evolution of the technology marketplace over the last 20 years, not to mention his own company's admirable track record during that period, Mundie advised listeners to not get too carried away by the free software movement's recent momentum: +={GNU Project:Linux and, mutual success of;Linux:GNU Project and;third-party software developers supporting Microsoft} + +_1 Two decades of experience have shown that an economic model that protects intellectual property and a business model that recoups research and development costs can create impressive economic benefits and distribute them very broadly. ^5^ + +Such admonitions serve as the backdrop for Stallman's speech today. Less than a month after their utterance, Stallman stands with his back to one of the chalk boards at the front of the room, edgy to begin. + +If the last two decades have brought dramatic changes to the software marketplace, they have brought even more dramatic changes to Stallman himself. Gone is the skinny, clean-shaven hacker who once spent his entire days communing with his beloved PDP-10. In his place stands a heavy-set middle-aged man with long hair and rabbinical beard, a man who now spends the bulk of his time writing and answering email, haranguing fellow programmers, and giving speeches like the one today. Dressed in an aqua-colored T-shirt and brown polyester pants, Stallman looks like a desert hermit who just stepped out of a Salvation Army dressing room. + +The crowd is filled with visitors who share Stallman's fashion and grooming tastes. Many come bearing laptop computers and cellular modems, all the better to record and transmit Stallman's words to a waiting Internet audience. The gender ratio is roughly 15 males to 1 female, and 1 of the 7 or 8 females in the room comes in bearing a stuffed penguin, the official Linux mascot, while another carries a stuffed teddy bear. + +{free_as_in_freedom_01_rms.png 381x321 "Richard Stallman, circa 2000. 'I decided I would develop a free software operating system or die trying ... of old age of course.' Photo courtesy of http://www.stallman.org " }http://en.wikipedia.org/wiki/Richard_stallman + +Agitated, Stallman leaves his post at the front of the room and takes a seat in a front-row chair, tapping a few commands into an already-opened laptop. For the next 10 minutes Stallman is oblivious to the growing number of students, professors, and fans circulating in front of him at the foot of the auditorium stage. + +Before the speech can begin, the baroque rituals of academic formality must be observed. Stallman's appearance merits not one but two introductions. Mike Uretsky, codirector of the Stern School's Center for Advanced Technology, provides the first. +={Uretsky, Mike+5} + +"The role of a university is to foster debate and to have interesting discussions," Uretsky says. "This particular presentation, this seminar falls right into that mold. I find the discussion of open source particularly interesting." + +Before Uretsky can get another sentence out, Stallman is on his feet waving him down like a stranded motorist. + +"I do free software," Stallman says to rising laughter. "Open source is a different movement." + +The laughter gives way to applause. The room is stocked with Stallman partisans, people who know of his reputation for verbal exactitude, not to mention his much publicized 1998 falling out with the open source software proponents. Most have come to anticipate such outbursts the same way radio fans once waited for Jack Benny's trademark, "Now cut that out!" phrase during each radio program. + +Uretsky hastily finishes his introduction and cedes the stage to Edmond Schonberg, a professor in the NYU computer-science department. As a computer programmer and GNU Project contributor, Schonberg knows which linguistic land mines to avoid. He deftly summarizes Stallman's career from the perspective of a modern-day programmer. +={Schonberg, Ed.+2} + +"Richard is the perfect example of somebody who, by acting locally, started thinking globally [about] problems concerning the unavailability of source code," says Schonberg. "He has developed a coherent philosophy that has forced all of us to reexamine our ideas of how software is produced, of what intellectual property means, and of what the software community actually represents." + +Schonberg welcomes Stallman to more applause. Stallman takes a moment to shut off his laptop, rises out of his chair, and takes the stage. + +At first, Stallman's address seems more Catskills comedy routine than political speech. "I'd like to thank Microsoft for providing me the opportunity to be on this platform," Stallman wisecracks. "For the past few weeks, I have felt like an author whose book was fortuitously banned somewhere." + +For the uninitiated, Stallman dives into a quick free software warm-up analogy. He likens a software program to a cooking recipe. Both provide useful step-by-step instructions on how to complete a desired task and can be easily modified if a user has special desires or circumstances. "You don't have to follow a recipe exactly," Stallman notes. "You can leave out some ingredients. Add some mushrooms, 'cause you like mushrooms. Put in less salt because your doctor said you should cut down on salt-whatever." + +Most importantly, Stallman says, software programs and recipes are both easy to share. In giving a recipe to a dinner guest, a cook loses little more than time and the cost of the paper the recipe was written on. Software programs require even less, usually a few mouse-clicks and a modicum of electricity. In both instances, however, the person giving the information gains two things: increased friendship and the ability to borrow interesting recipes in return. + +"Imagine what it would be like if recipes were packaged inside black boxes," Stallman says, shifting gears. "You couldn't see what ingredients they're using, let alone change them, and imagine if you made a copy for a friend. They would call you a pirate and try to put you in prison for years. That world would create tremendous outrage from all the people who are used to sharing recipes. But that is exactly what the world of proprietary software is like. A world in which common decency towards other people is prohibited or prevented." + +With this introductory analogy out of the way, Stallman launches into a retelling of the Xerox laser-printer episode. Like the recipe analogy, the laser-printer story is a useful rhetorical device. With its parable-like structure, it dramatizes just how quickly things can change in the software world. Drawing listeners back to an era before Amazon.com one-click shopping, Microsoft Windows, and Oracle databases, it asks the listener to examine the notion of software ownership free of its current corporate logos. + +Stallman delivers the story with all the polish and practice of a local district attorney conducting a closing argument. When he gets to the part about the Carnegie Mellon professor refusing to lend him a copy of the printer source code, Stallman pauses. + +"He had betrayed us," Stallman says. "But he didn't just do it to us. Chances are he did it to you." + +On the word "you," Stallman points his index finger accusingly at an unsuspecting member of the audience. The targeted audience member's eyebrows flinch slightly, but Stallman's own eyes have moved on. Slowly and deliberately, Stallman picks out a second listener to nervous titters from the crowd. "And I think, mostly likely, he did it to you, too," he says, pointing at an audience member three rows behind the first. + +By the time Stallman has a third audience member picked out, the titters have given away to general laughter. The gesture seems a bit staged, because it is. Still, when it comes time to wrap up the Xerox laser-printer story, Stallman does so with a showman's flourish. "He probably did it to most of the people here in this room-except a few, maybe, who weren't born yet in 1980," Stallman says, drawing more laughs. "[That's] because he had promised to refuse to cooperate with just about the entire population of the planet Earth." + +Stallman lets the comment sink in for a half-beat. "He had signed a nondisclosure agreement," Stallman adds. + +Richard Matthew Stallman's rise from frustrated academic to political leader over the last 20 years speaks to many things. It speaks to Stallman's stubborn nature and prodigious will. It speaks to the clearly articulated vision and values of the free software movement Stallman helped build. It speaks to the high-quality software programs Stallman has built, programs that have cemented Stallman's reputation as a programming legend. It speaks to the growing momentum of the GPL, a legal innovation that many Stallman observers see as his most momentous accomplishment. + +Most importantly, it speaks to the changing nature of political power in a world increasingly beholden to computer technology and the software programs that power that technology. + +Maybe that's why, even at a time when most high-technology stars are on the wane, Stallman's star has grown. Since launching the GNU Project in 1984,~{ The acronym GNU stands for "GNU's not Unix." In another portion of the May 29, 2001, NYU speech, Stallman summed up the acronym's origin:
_1 We hackers always look for a funny or naughty name for a program, because naming a program is half the fun of writing the program. We also had a tradition of recursive acronyms, to say that the program that you're writing is similar to some existing program . . . I looked for a recursive acronym for Something Is Not UNIX. And I tried all 26 letters and discovered that none of them was a word. I decided to make it a contraction. That way I could have a three-letter acronym, for Something's Not UNIX. And I tried letters, and I came across the word "GNU." That was it.
_1 Although a fan of puns, Stallman recommends that software users pronounce the "g" at the beginning of the acronym (i.e., "gah-new"). Not only does this avoid confusion with the word "gnu," the name of the African antelope, Connochaetes gnou, it also avoids confusion with the adjective "new." "We've been working on it for 17 years now, so it is not exactly new any more," Stallman says.
Source: author notes and online transcript of "Free Software: Freedom and Cooperation," Richard Stallman's May 29, 2001, speech at New York University.
http://www.gnu.org/events/rms-nyu-2001-transcript.txt }~ Stallman has been at turns ignored, satirized, vilified, and attacked-both from within and without the free software movement. Through it all, the GNU Project has managed to meet its milestones, albeit with a few notorious delays, and stay relevant in a software marketplace several orders of magnitude more complex than the one it entered 18 years ago. So too has the free software ideology, an ideology meticulously groomed by Stallman himself. + +To understand the reasons behind this currency, it helps to examine Richard Stallman both in his own words and in the words of the people who have collaborated and battled with him along the way. The Richard Stallman character sketch is not a complicated one. If any person exemplifies the old adage "what you see is what you get," it's Stallman. + +"I think if you want to understand Richard Stallman the human being, you really need to see all of the parts as a consistent whole," advises Eben Moglen, legal counsel to the Free Software Foundation and professor of law at Columbia University Law School. "All those personal eccentricities that lots of people see as obstacles to getting to know Stallman really are Stallman: Richard's strong sense of personal frustration, his enormous sense of principled ethical commitment, his inability to compromise, especially on issues he considers fundamental. These are all the very reasons Richard did what he did when he did." +={Columbia University;Moglen, Eben+2} + +Explaining how a journey that started with a laser printer would eventually lead to a sparring match with the world's richest corporation is no easy task. It requires a thoughtful examination of the forces that have made software ownership so important in today's society. It also requires a thoughtful examination of a man who, like many political leaders before him, understands the malleability of human memory. It requires an ability to interpret the myths and politically laden code words that have built up around Stallman over time. Finally, it requires an understanding of Stallman's genius as a programmer and his failures and successes in translating that genius to other pursuits. + +When it comes to offering his own summary of the journey, Stallman acknowledges the fusion of personality and principle observed by Moglen. "Stubbornness is my strong suit," he says. "Most people who attempt to do anything of any great difficulty eventually get discouraged and give up. I never gave up." + +He also credits blind chance. Had it not been for that run-in over the Xerox laser printer, had it not been for the personal and political conflicts that closed out his career as an MIT employee, had it not been for a half dozen other timely factors, Stallman finds it very easy to picture his life following a different career path. That being said, Stallman gives thanks to the forces and circumstances that put him in the position to make a difference. + +"I had just the right skills," says Stallman, summing up his decision for launching the GNU Project to the audience. "Nobody was there but me, so I felt like, `I'm elected. I have to work on this. If not me , who?'" + +1~ Chapter 3 - A Portrait of the Hacker as a Young Man +={Stallman, Richard M.:childhood+61} + +Richard Stallman's mother, Alice Lippman, still remembers the moment she realized her son had a special gift. +={Lippman, Alice+60} + +"I think it was when he was eight," Lippman recalls. + +The year was 1961, and Lippman, a recently divorced single mother, was wiling away a weekend afternoon within the family's tiny one-bedroom apartment on Manhattan's Upper West Side. Leafing through a copy of Scientific American, Lippman came upon her favorite section, the Martin Gardner-authored column titled "Mathematical Games." A substitute art teacher, Lippman always enjoyed Gardner's column for the brain-teasers it provided. With her son already ensconced in a book on the nearby sofa, Lippman decided to take a crack at solving the week's feature puzzle. + +"I wasn't the best person when it came to solving the puzzles," she admits. "But as an artist, I found they really helped me work through conceptual barriers." + +Lippman says her attempt to solve the puzzle met an immediate brick wall. About to throw the magazine down in disgust, Lippman was surprised by a gentle tug on her shirt sleeve. + +"It was Richard," she recalls, "He wanted to know if I needed any help." + +Looking back and forth, between the puzzle and her son, Lippman says she initially regarded the offer with skepticism. "I asked Richard if he'd read the magazine," she says. "He told me that, yes, he had and what's more he'd already solved the puzzle. The next thing I know, he starts explaining to me how to solve it." + +Hearing the logic of her son's approach, Lippman's skepticism quickly gave way to incredulity. "I mean, I always knew he was a bright boy," she says, "but this was the first time I'd seen anything that suggested how advanced he really was." + +Thirty years after the fact, Lippman punctuates the memory with a laugh. "To tell you the truth, I don't think I ever figured out how to solve that puzzle," she says. "All I remember is being amazed he knew the answer." + +Seated at the dining-room table of her second Manhattan apartment-the same spacious three-bedroom complex she and her son moved to following her 1967 marriage to Maurice Lippman, now deceased-Alice Lippman exudes a Jewish mother's mixture of pride and bemusement when recalling her son's early years. The nearby dining-room credenza offers an eight-by-ten photo of Stallman glowering in full beard and doctoral robes. The image dwarfs accompanying photos of Lippman's nieces and nephews, but before a visitor can make too much of it, Lippman makes sure to balance its prominent placement with an ironic wisecrack. +={Lippman, Maurice} + +"Richard insisted I have it after he received his honorary doctorate at the University of Glasgow," says Lippman. "He said to me, `Guess what, mom? It's the first graduation I ever attended.'"~{ See Michael Gross, "Richard Stallman: High School Misfit, Symbol of Free Software, MacArthur-certified Genius" (1999). This interview is one of the most candid Stallman interviews on the record. I recommend it highly.
http://www.mgross.com/interviews/stallman1.html }~ +={University of Glasgow} + +Such comments reflect the sense of humor that comes with raising a child prodigy. Make no mistake, for every story Lippman hears and reads about her son's stubbornness and unusual behavior, she can deliver at least a dozen in return. + +"He used to be so conservative," she says, throwing up her hands in mock exasperation. "We used to have the worst arguments right here at this table. I was part of the first group of public city school teachers that struck to form a union, and Richard was very angry with me. He saw unions as corrupt. He was also very opposed to social security. He thought people could make much more money investing it on their own. Who knew that within 10 years he would become so idealistic? All I remember is his stepsister coming to me and saying, `What is he going to be when he grows up? A fascist?'" + +As a single parent for nearly a decade-she and Richard's father, Daniel Stallman, were married in 1948, divorced in 1958, and split custody of their son afterwards-Lippman can attest to her son's aversion to authority. She can also attest to her son's lust for knowledge. It was during the times when the two forces intertwined, Lippman says, that she and her son experienced their biggest battles. +={Stallman, Daniel} + +"It was like he never wanted to eat," says Lippman, recalling the behavior pattern that set in around age eight and didn't let up until her son's high-school graduation in 1970. "I'd call him for dinner, and he'd never hear me. I'd have to call him 9 or 10 times just to get his attention. He was totally immersed." + +Stallman, for his part, remembers things in a similar fashion, albeit with a political twist. + +"I enjoyed reading," he says. "If I wanted to read, and my mother told me to go to the kitchen and eat or go to sleep, I wasn't going to listen. I saw no reason why I couldn't read. No reason why she should be able to tell me what to do, period. Essentially, what I had read about, ideas such as democracy and individual freedom, I applied to myself. I didn't see any reason to exclude children from these principles." + +The belief in individual freedom over arbitrary authority extended to school as well. Two years ahead of his classmates by age 11, Stallman endured all the usual frustrations of a gifted public-school student. It wasn't long after the puzzle incident that his mother attended the first in what would become a long string of parent-teacher conferences. + +"He absolutely refused to write papers," says Lippman, recalling an early controversy. "I think the last paper he wrote before his senior year in high school was an essay on the history of the number system in the west for a fourth-grade teacher." + +Gifted in anything that required analytical thinking, Stallman gravitated toward math and science at the expense of his other studies. What some teachers saw as single-mindedness, however, Lippman saw as impatience. Math and science offered simply too much opportunity to learn, especially in comparison to subjects and pursuits for which her son seemed less naturally inclined. Around age 10 or 11, when the boys in Stallman's class began playing a regular game of touch football, she remembers her son coming home in a rage. "He wanted to play so badly, but he just didn't have the coordination skills," Lippman recalls. "It made him so angry." + +The anger eventually drove her son to focus on math and science all the more. Even in the realm of science, however, her son's impatience could be problematic. Poring through calculus textbooks by age seven, Stallman saw little need to dumb down his discourse for adults. Sometime, during his middle-school years, Lippman hired a student from nearby Columbia University to play big brother to her son. The student left the family's apartment after the first session and never came back. "I think what Richard was talking about went over his head," Lippman speculates. + +Another favorite maternal anecdote dates back to the early 1960s, shortly after the puzzle incident. Around age seven, two years after the divorce and relocation from Queens, Richard took up the hobby of launching model rockets in nearby Riverside Drive Park. What started as aimless fun soon took on an earnest edge as her son began recording the data from each launch. Like the interest in mathematical games, the pursuit drew little attention until one day, just before a major NASA launch, Lippman checked in on her son to see if he wanted to watch. + +"He was fuming," Lippman says. "All he could say to me was, `But I'm not published yet.' Apparently he had something that he really wanted to show NASA." + +Such anecdotes offer early evidence of the intensity that would become Stallman's chief trademark throughout life. When other kids came to the table, Stallman stayed in his room and read. When other kids played Johnny Unitas, Stallman played Werner von Braun. "I was weird," Stallman says, summing up his early years succinctly in a 1999 interview. "After a certain age, the only friends I had were teachers." ^7^ + +Although it meant courting more run-ins at school, Lippman decided to indulge her son's passion. By age 12, Richard was attending science camps during the summer and private school during the school year. When a teacher recommended her son enroll in the Columbia Science Honors Program, a post-Sputnik program designed for gifted middle- and high-school students in New York City, Stallman added to his extracurriculars and was soon commuting uptown to the Columbia University campus on Saturdays. +={Columbia University;Science Honors Program (Columbia)+2} + +% extra reference to Columbia University + +Dan Chess, a fellow classmate in the Columbia Science Honors Program, recalls Richard Stallman seeming a bit weird even among the students who shared a similar lust for math and science. "We were all geeks and nerds, but he was unusually poorly adjusted," recalls Chess, now a mathematics professor at Hunter College. "He was also smart as shit. I've known a lot of smart people, but I think he was the smartest person I've ever known." +={Chess, Dan;Hunter College} + +Seth Breidbart, a fellow Columbia Science Honors Program alumnus, offers bolstering testimony. A computer programmer who has kept in touch with Stallman thanks to a shared passion for science fiction and science-fiction conventions, he recalls the 15-year-old, buzz-cut-wearing Stallman as "scary," especially to a fellow 15-year-old. +={Breidbart, Seth+1} + +"It's hard to describe," Breidbart says. "It wasn't like he was unapproachable. He was just very intense. [He was] very knowledgeable but also very hardheaded in some ways." + +Such descriptions give rise to speculation: are judgment-laden adjectives like "intense" and "hardheaded" simply a way to describe traits that today might be categorized under juvenile behavioral disorder? A December, 2001, /{Wired}/ magazine article titled "The Geek Syndrome" paints the portrait of several scientifically gifted children diagnosed with high-functioning autism or Asperger Syndrome. In many ways, the parental recollections recorded in the Wired article are eerily similar to the ones offered by Lippman. Even Stallman has indulged in psychiatric revisionism from time to time. During a 2000 profile for the /{Toronto Star}/, Stallman described himself to an interviewer as "borderline autistic,"~{ See Judy Steed, /{Toronto Star}/, BUSINESS, (October 9, 2000): C03.
His vision of free software and social cooperation stands in stark contrast to the isolated nature of his private life. A Glenn Gould-like eccentric, the Canadian pianist was similarly brilliant, articulate, and lonely. Stallman considers himself afflicted, to some degree, by autism: a condition that, he says, makes it difficult for him to interact with people. }~ a description that goes a long way toward explaining a lifelong tendency toward social and emotional isolation and the equally lifelong effort to overcome it. +={Asperger Syndrome+1;autism+5;Geek Syndrome, The (Silberman)+1;Wired magazine;Toronto Star;Silberman, Steve+1;Stallman, Richard M.:behavioral disorders+1} + +Such speculation benefits from the fast and loose nature of most so-called "behavioral disorders" nowadays, of course. As Steve Silberman, author of "The Geek Syndrome," notes, American psychiatrists have only recently come to accept Asperger Syndrome as a valid umbrella term covering a wide set of behavioral traits. The traits range from poor motor skills and poor socialization to high intelligence and an almost obsessive affinity for numbers, computers, and ordered systems.~{ See Steve Silberman, "The Geek Syndrome," Wired (December, 2001).
http://www.wired.com/wired/archive/9.12/aspergers_pr.html }~ Reflecting on the broad nature of this umbrella, Stallman says its possible that, if born 40 years later, he might have merited just such a diagnosis. Then again, so would many of his computer-world colleagues. +={Stallman, Richard M.:childhood, behavioral disorders} + +"It's possible I could have had something like that," he says. "On the other hand, one of the aspects of that syndrome is difficulty following rhythms. I can dance. In fact, I love following the most complicated rhythms. It's not clear cut enough to know." + +Chess, for one, rejects such attempts at back-diagnosis. "I never thought of him [as] having that sort of thing," he says. "He was just very unsocialized, but then, we all were." +={Chess, Dan} + +Lippman, on the other hand, entertains the possibility. She recalls a few stories from her son's infancy, however, that provide fodder for speculation. A prominent symptom of autism is an oversensitivity to noises and colors, and Lippman recalls two anecdotes that stand out in this regard. "When Richard was an infant, we'd take him to the beach," she says. "He would start screaming two or three blocks before we reached the surf. It wasn't until the third time that we figured out what was going on: the sound of the surf was hurting his ears." She also recalls a similar screaming reaction in relation to color: "My mother had bright red hair, and every time she'd stoop down to pick him up, he'd let out a wail." + +In recent years, Lippman says she has taken to reading books about autism and believes that such episodes were more than coincidental. "I do feel that Richard had some of the qualities of an autistic child," she says. "I regret that so little was known about autism back then." + +Over time, however, Lippman says her son learned to adjust. By age seven, she says, her son had become fond of standing at the front window of subway trains, mapping out and memorizing the labyrinthian system of railroad tracks underneath the city. It was a hobby that relied on an ability to accommodate the loud noises that accompanied each train ride. "Only the initial noise seemed to bother him," says Lippman. "It was as if he got shocked by the sound but his nerves learned how to make the adjustment." + +For the most part, Lippman recalls her son exhibiting the excitement, energy, and social skills of any normal boy. It wasn't until after a series of traumatic events battered the Stallman household, she says, that her son became introverted and emotionally distant. + +The first traumatic event was the divorce of Alice and Daniel Stallman, Richard's father. Although Lippman says both she and her ex-husband tried to prepare their son for the blow, she says the blow was devastating nonetheless. "He sort of didn't pay attention when we first told him what was happening," Lippman recalls. "But the reality smacked him in the face when he and I moved into a new apartment. The first thing he said was, `Where's Dad's furniture?'" +={divorce of Alice and Daniel Stallman;Stallman, Daniel} + +For the next decade, Stallman would spend his weekdays at his mother's apartment in Manhattan and his weekends at his father's home in Queens. The shuttling back and forth gave him a chance to study a pair of contrasting parenting styles that, to this day, leaves Stallman firmly opposed to the idea of raising children himself. Speaking about his father, a World War II vet who passed away in early 2001, Stallman balances respect with anger. On one hand, there is the man whose moral commitment led him to learn French just so he could be more helpful to Allies when they'd finally come. On the other hand, there was the parent who always knew how to craft a put-down for cruel effect.~{ Regrettably, I did not get a chance to interview Daniel Stallman for this book. During the early research for this book, Stallman informed me that his father suffered from Alzheimer's. When I resumed research in late 2001, I learned, sadly, that Daniel Stallman had died earlier in the year. }~ + +"My father had a horrible temper," Stallman says. "He never screamed, but he always found a way to criticize you in a cold, designed-to-crush way." + +As for life in his mother's apartment, Stallman is less equivocal. "That was war," he says. "I used to say in my misery, `I want to go home,' meaning to the nonexistent place that I'll never have." + +For the first few years after the divorce, Stallman found the tranquility that eluded him in the home of his paternal grandparents. Then, around age 10 his grandparents passed away in short succession. For Stallman, the loss was devastating. "I used to go and visit and feel I was in a loving, gentle environment," Stallman recalls. "It was the only place I ever found one, until I went away to college." + +Lippman lists the death of Richard's paternal grandparents as the second traumatic event. "It really upset him," she says. He was very close to both his grandparents. Before they died, he was very outgoing, almost a leader-of-the-pack type with the other kids. After they died, he became much more emotionally withdrawn." + +From Stallman's perspective, the emotional withdrawal was merely an attempt to deal with the agony of adolescence. Labeling his teenage years a "pure horror," Stallman says he often felt like a deaf person amid a crowd of chattering music listeners. + +"I often had the feeling that I couldn't understand what other people were saying," says Stallman, recalling the emotional bubble that insulated him from the rest of the adolescent and adult world. "I could understand the words, but something was going on underneath the conversations that I didn't understand. I couldn't understand why people were interested in the things other people said." + +For all the agony it produced, adolescence would have a encouraging effect on Stallman's sense of individuality. At a time when most of his classmates were growing their hair out, Stallman preferred to keep his short. At a time when the whole teenage world was listening to rock and roll, Stallman preferred classical music. A devoted fan of science fiction, Mad magazine, and late-night TV, Stallman cultivated a distinctly off-the-wall personality that fed off the incomprehension of parents and peers alike. + +"Oh, the puns," says Lippman, still exasperated by the memory of her son's teenage personality. "There wasn't a thing you could say at the dinner table that he couldn't throw back at you as a pun." + +Outside the home, Stallman saved the jokes for the adults who tended to indulge his gifted nature. One of the first was a summer-camp counselor who handed Stallman a print-out manual for the IBM 7094 computer during his 12th year. To a preteenager fascinated with numbers and science, the gift was a godsend.~{ Stallman, an atheist, would probably quibble with this description. Suffice it to say, it was something Stallman welcomed. See previous note 1: "As soon as I heard about computers, I wanted to see one and play with one." }~ By the end of summer, Stallman was writing out paper programs according to the 7094's internal specifications, anxiously anticipating getting a chance to try them out on a real machine. +={IBM 7094 computer+1} + +With the first personal computer still a decade away, Stallman would be forced to wait a few years before getting access to his first computer. His first chance finally came during his junior year of high school. Hired on at the IBM New York Scientific Center, a now-defunct research facility in downtown Manhattan, Stallman spent the summer after high-school graduation writing his first program, a pre-processor for the 7094 written in the programming language PL/I. "I first wrote it in PL/I, then started over in assembler language when the PL/I program was too big to fit in the computer," he recalls. +={assembler language;IBM:New York Scientific Center;IBM New York Scientific Center;PL/I programming language;Stallman, Richard M.:childhood, first computer program} + +After that job at the IBM Scientific Center, Stallman had held a laboratory-assistant position in the biology department at Rockefeller University. Although he was already moving toward a career in math or physics, Stallman's analytical mind impressed the lab director enough that a few years after Stallman departed for college, Lippman received an unexpected phone call. "It was the professor at Rockefeller," Lippman says. "He wanted to know how Richard was doing. He was surprised to learn that he was working in computers. He'd always thought Richard had a great future ahead of him as a biologist." +={Rockefeller University} + +Stallman's analytical skills impressed faculty members at Columbia as well, even when Stallman himself became a target of their ire. "Typically once or twice an hour [Stallman] would catch some mistake in the lecture," says Breidbart. "And he was not shy about letting the professors know it immediately. It got him a lot of respect but not much popularity." + +Hearing Breidbart's anecdote retold elicits a wry smile from Stallman. "I may have been a bit of a jerk sometimes," he admits. "But I found kindred spirits among the teachers, because they, too, liked to learn. Kids, for the most part, didn't. At least not in the same way." +={Breidbart, Seth} + +Hanging out with the advanced kids on Saturday nevertheless encouraged Stallman to think more about the merits of increased socialization. With college fast approaching, Stallman, like many in his Columbia Science Honors Program, had narrowed his list of desired schools down to two choices: Harvard and MIT. Hearing of her son's desire to move on to the Ivy League, Lippman became concerned. As a 15-year-old high-school junior, Stallman was still having run-ins with teachers and administrators. Only the year before, he had pulled straight A's in American History, Chemistry, French, and Algebra, but a glaring F in English reflected the ongoing boycott of writing assignments. Such miscues might draw a knowing chuckle at MIT, but at Harvard, they were a red flag. +={Harvard University+7;MIT Massachusetts Institute of Technology} + +During her son's junior year, Lippman says she scheduled an appointment with a therapist. The therapist expressed instant concern over Stallman's unwillingness to write papers and his run-ins with teachers. Her son certainly had the intellectual wherewithal to succeed at Harvard, but did he have the patience to sit through college classes that required a term paper? The therapist suggested a trial run. If Stallman could make it through a full year in New York City public schools, including an English class that required term papers, he could probably make it at Harvard. Following the completion of his junior year, Stallman promptly enrolled in summer school at Louis D. Brandeis High School, a public school located on 84th Street, and began making up the mandatory art classes he had shunned earlier in his high-school career. +={Louis D. Brandeis High School+3} + +By fall, Stallman was back within the mainstream population of New York City high-school students. It wasn't easy sitting through classes that seemed remedial in comparison with his Saturday studies at Columbia, but Lippman recalls proudly her son's ability to toe the line. + +"He was forced to kowtow to a certain degree, but he did it," Lippman says. "I only got called in once, which was a bit of a miracle. It was the calculus teacher complaining that Richard was interrupting his lesson. I asked how he was interrupting. He said Richard was always accusing the teacher of using a false proof. I said, `Well, is he right?' The teacher said, `Yeah, but I can't tell that to the class. They wouldn't understand.'" + +By the end of his first semester at Brandeis, things were falling into place. A 96 in English wiped away much of the stigma of the 60 earned 2 years before. For good measure, Stallman backed it up with top marks in American History, Advanced Placement Calculus, and Microbiology. The crowning touch was a perfect 100 in Physics. Though still a social outcast, Stallman finished his 11 months at Brandeis as the fourth-ranked student in a class of 789. + +{free_as_in_freedom_02_rms_snr_year_report.png 381x286 "Stallman's senior-year transcript at Louis D. Brandeis H.S., November, 1969. Note turnaround in English class performance. 'He was forced to kowtow to a certain degree,' says his mother, 'but he did it.'" }http://en.wikipedia.org/wiki/Richard_stallman + +Outside the classroom, Stallman pursued his studies with even more diligence, rushing off to fulfill his laboratory-assistant duties at Rockefeller University during the week and dodging the Vietnam protesters on his way to Saturday school at Columbia. It was there, while the rest of the Science Honors Program students sat around discussing their college choices, that Stallman finally took a moment to participate in the preclass bull session. + +Recalls Breidbart, "Most of the students were going to Harvard and MIT, of course, but you had a few going to other Ivy League schools. As the conversation circled the room, it became apparent that Richard hadn't said anything yet. I don't know who it was, but somebody got up the courage to ask him what he planned to do." +={Breidbart, Seth+2} + +Thirty years later, Breidbart remembers the moment clearly. As soon as Stallman broke the news that he, too, would be attending Harvard University in the fall, an awkward silence filled the room. Almost as if on cue, the corners of Stallman's mouth slowly turned upward into a self-satisfied smile. + +Says Breidbart, "It was his silent way of saying, `That's right. You haven't got rid of me yet.'" + +1~ Chapter 4 - Impeach God + +Although their relationship was fraught with tension, Richard Stallman would inherit one noteworthy trait from his mother: a passion for progressive politics. + +It was an inherited trait that would take several decades to emerge, however. For the first few years of his life, Stallman lived in what he now admits was a "political vacuum."~{ See Michael Gross, "Richard Stallman: High School Misfit, Symbol of Free Software, MacArthur-certified Genius" (1999). }~ Like most Americans during the Eisenhower age, the Stallman family spent the 50s trying to recapture the normalcy lost during the wartime years of the 1940s. + +"Richard's father and I were Democrats but happy enough to leave it at that," says Lippman, recalling the family's years in Queens. "We didn't get involved much in local or national politics." +={Lippman, Alice:political identity of+11} + +That all began to change, however, in the late 1950s when Alice divorced Daniel Stallman. The move back to Manhattan represented more than a change of address; it represented a new, independent identity and a jarring loss of tranquility. +={Stallman, Daniel} + +"I think my first taste of political activism came when I went to the Queens public library and discovered there was only a single book on divorce in the whole library," recalls Lippman. "It was very controlled by the Catholic church, at least in Elmhurst, where we lived. I think that was the first inkling I had of the forces that quietly control our lives." +={Elmhurst (New York);Queens public library} + +Returning to her childhood neighborhood, Manhattan's Upper West Side, Lippman was shocked by the changes that had taken place since her departure to Hunter College a decade and a half before. The skyrocketing demand for postwar housing had turned the neighborhood into a political battleground. On one side stood the pro-development city-hall politicians and businessmen hoping to rebuild many of the neighborhood's blocks to accommodate the growing number of white-collar workers moving into the city. On the other side stood the poor Irish and Puerto Rican tenants who had found an affordable haven in the neighborhood. +={Hunter College} + +At first, Lippman didn't know which side to choose. As a new resident, she felt the need for new housing. As a single mother with minimal income, however, she shared the poorer tenants' concern over the growing number of development projects catering mainly to wealthy residents. Indignant, Lippman began looking for ways to combat the political machine that was attempting to turn her neighborhood into a clone of the Upper East Side. + +Lippman says her first visit to the local Democratic party headquarters came in 1958. Looking for a day-care center to take care of her son while she worked, she had been appalled by the conditions encountered at one of the city-owned centers that catered to low-income residents. "All I remember is the stench of rotten milk, the dark hallways, the paucity of supplies. I had been a teacher in private nursery schools. The contrast was so great. We took one look at that room and left. That stirred me up." +={Democratic party+3} + +The visit to the party headquarters proved disappointing, however. Describing it as "the proverbial smoke-filled room," Lippman says she became aware for the first time that corruption within the party might actually be the reason behind the city's thinly disguised hostility toward poor residents. Instead of going back to the headquarters, Lippman decided to join up with one of the many clubs aimed at reforming the Democratic party and ousting the last vestiges of the Tammany Hall machine. Dubbed the Woodrow Wilson/FDR Reform Democratic Club, Lippman and her club began showing up at planning and city-council meetings, demanding a greater say. +={Woodrow Wilson/FDR Reform Democratic Club;Tammany Hall+1} + +"Our primary goal was to fight Tammany Hall, Carmine DeSapio and his henchman,"~{ Carmine DeSapio holds the dubious distinction of being the first Italian-American boss of Tammany Hall, the New York City political machine. For more information on DeSapio and the politics of post-war New York, see John Davenport, "Skinning the Tiger: Carmine DeSapio and the End of the Tammany Era," New York Affairs (1975): 3:1. }~ says Lippman. "I was the representative to the city council and was very much involved in creating a viable urban-renewal plan that went beyond simply adding more luxury housing to the neighborhood." +={DeSapio, Carmine} + +Such involvement would blossom into greater political activity during the 1960s. By 1965, Lippman had become an "outspoken" supporter for political candidates like William Fitts Ryan, a Democratic elected to Congress with the help of reform clubs and one of the first U.S. representatives to speak out against the Vietnam War. +={Vietnam War+10;Ryan, William Fitts} + +It wasn't long before Lippman, too, was an outspoken opponent of U.S. involvement in Indochina. "I was against the Vietnam war from the time Kennedy sent troops," she says. "I had read the stories by reporters and journalists sent to cover the early stages of the conflict. I really believed their forecast that it would become a quagmire." +={Indochina} + +Such opposition permeated the Stallman-Lippman household. In 1967, Lippman remarried. Her new husband, Maurice Lippman, a major in the Air National Guard, resigned his commission to demonstrate his opposition to the war. Lippman's stepson, Andrew Lippman, was at MIT and temporarily eligible for a student deferment. Still, the threat of induction should that deferment disappear, as it eventually did, made the risk of U.S. escalation all the more immediate. Finally, there was Richard who, though younger, faced the prospect of choosing between Vietnam or Canada when the war lasted into the 1970s. +={Lippman, Andrew;Lippman, Maurice;MIT Massachusetts Institute of Technology} + +"Vietnam was a major issue in our household," says Lippman. "We talked about it constantly: what would we do if the war continued, what steps Richard or his stepbrother would take if they got drafted. We were all opposed to the war and the draft. We really thought it was immoral." + +For Stallman, the Vietnam War elicited a complex mixture of emotions: confusion, horror, and, ultimately, a profound sense of political impotence. As a kid who could barely cope in the mild authoritarian universe of private school, Stallman experienced a shiver whenever the thought of Army boot camp presented itself. +={draft (Vietnam War)+6} + +"I was devastated by the fear, but I couldn't imagine what to do and didn't have the guts to go demonstrate," recalls Stallman, whose March 18th birthday earned him a dreaded low number in the draft lottery when the federal government finally eliminated college deferments in 1971. "I couldn't envision moving to Canada or Sweden. The idea of getting up by myself and moving somewhere. How could I do that? I didn't know how to live by myself. I wasn't the kind of person who felt confident in approaching things like that." + +Stallman says he was both impressed and shamed by the family members who did speak out. Recalling a bumper sticker on his father's car likening the My Lai massacre to similar Nazi atrocities in World War II, he says he was "excited" by his father's gesture of outrage. "I admired him for doing it," Stallman says. "But I didn't imagine that I could do anything. I was afraid that the juggernaut of the draft was going to destroy me." + +Although descriptions of his own unwillingness to speak out carry a tinge of nostalgic regret, Stallman says he was ultimately turned off by the tone and direction of the anti-war movement. Like other members of the Science Honors Program, he saw the weekend demonstrations at Columbia as little more than a distracting spectacle.~{ Chess, another Columbia Science Honors Program alum, describes the protests as "background noise." "We were all political," he says, "but the SHP was imporant. We would never have skipped it for a demonstration." }~ Ultimately, Stallman says, the irrational forces driving the anti-war movement became indistinguishable from the irrational forces driving the rest of youth culture. Instead of worshiping the Beatles, girls in Stallman's age group were suddenly worshiping firebrands like Abbie Hoffman and Jerry Rubin. To a kid already struggling to comprehend his teenage peers, escapist slogans like "make love not war" had a taunting quality. Not only was it a reminder that Stallman, the short-haired outsider who hated rock 'n' roll, detested drugs, and didn't participate in campus demonstrations, wasn't getting it politically; he wasn't "getting it" sexually either. +={Beatles;Hoffman, Abbie;Rubin, Jerry;Science Honors Program (Columbia)} + +% science honors program, columbia added + +"I didn't like the counter culture much," Stallman admits. "I didn't like the music. I didn't like the drugs. I was scared of the drugs. I especially didn't like the anti-intellectualism, and I didn't like the prejudice against technology. After all, I loved a computer. And I didn't like the mindless anti-Americanism that I often encountered. There were people whose thinking was so simplistic that if they disapproved of the conduct of the U.S. in the Vietnam War, they had to support the North Vietnamese. They couldn't imagine a more complicated position, I guess." + +Such comments alleviate feelings of timidity. They also underline a trait that would become the key to Stallman's own political maturation. For Stallman, political confidence was directly proportionate to personal confidence. By 1970, Stallman had become confident in few things outside the realm of math and science. Nevertheless, confidence in math gave him enough of a foundation to examine the anti-war movement in purely logical terms. In the process of doing so, Stallman had found the logic wanting. Although opposed to the war in Vietnam, Stallman saw no reason to disavow war as a means for defending liberty or correcting injustice. Rather than widen the breach between himself and his peers, however, Stallman elected to keep the analysis to himself. + +In 1970, Stallman left behind the nightly dinnertime conversations about politics and the Vietnam War as he departed for Harvard. Looking back, Stallman describes the transition from his mother's Manhattan apartment to life in a Cambridge dorm as an "escape." Peers who watched Stallman make the transition, however, saw little to suggest a liberating experience. +={Harvard University+22} + +"He seemed pretty miserable for the first while at Harvard," recalls Dan Chess, a classmate in the Science Honors Program who also matriculated at Harvard. "You could tell that human interaction was really difficult for him, and there was no way of avoiding it at Harvard. Harvard was an intensely social kind of place." +={Chess, Dan;Science Honors Program (Columbia)+1} + +To ease the transition, Stallman fell back on his strengths: math and science. Like most members of the Science Honors Program, Stallman breezed through the qualifying exam for Math 55, the legendary "boot camp" class for freshman mathematics "concentrators" at Harvard. Within the class, members of the Science Honors Program formed a durable unit. "We were the math mafia," says Chess with a laugh. "Harvard was nothing, at least compared with the SHP." +={Math 55 (Harvard University)+9} + +To earn the right to boast, however, Stallman, Chess, and the other SHP alumni had to get through Math 55. Promising four years worth of math in two semesters, the course favored only the truly devout. "It was an amazing class," says David Harbater, a former "math mafia" member and now a professor of mathematics at the University of Pennsylvania. "It's probably safe to say there has never been a class for beginning college students that was that intense and that advanced. The phrase I say to people just to get it across is that, among other things, by the second semester we were discussing the differential geometry of Banach manifolds. That's usually when their eyes bug out, because most people don't start talking about Banach manifolds until their second year of graduate school." +={Harbater, David+2;University of Pennsylvania} + +Starting with 75 students, the class quickly melted down to 20 by the end of the second semester. Of that 20, says Harbater, "only 10 really knew what they were doing." Of that 10, 8 would go on to become future mathematics professors, 1 would go on to teach physics. + +"The other one," emphasizes Harbater, "was Richard Stallman." + +Seth Breidbart, a fellow Math 55 classmate, remembers Stallman distinguishing himself from his peers even then. +={Breidbart, Seth+14} + +"He was a stickler in some very strange ways," says Breidbart. There is a standard technique in math which everybody does wrong. It's an abuse of notation where you have to define a function for something and what you do is you define a function and then you prove that it's well defined. Except the first time he did and presented it, he defined a relation and proved that it's a function. It's the exact same proof, but he used the correct terminology, which no one else did. That's just the way he was." + +It was in Math 55 that Richard Stallman began to cultivate a reputation for brilliance. Breidbart agrees, but Chess, whose competitive streak refused to yield, says the realization that Stallman might be the best mathematician in the class didn't set in until the next year. "It was during a class on Real Analysis, which I took with Richard the next year," says Chess, now a math professor at Hunter College. "I actually remember in a proof about complex valued measures that Richard came up with an idea that was basically a metaphor from the calculus of variations. It was the first time I ever saw somebody solve a problem in a brilliantly original way." +={Hunter College} + +Chess makes no bones about it: watching Stallman's solution unfold on the chalkboard was a devastating blow. As a kid who'd always taken pride in being the smartest mathematician the room, it was like catching a glimpse of his own mortality. Years later, as Chess slowly came to accept the professional rank of a good-but-not-great mathematician, he had Stallman's sophomore-year proof to look back on as a taunting early indicator. + +"That's the thing about mathematics," says Chess. "You don't have to be a first-rank mathematician to recognize first-rate mathematical talent. I could tell I was up there, but I could also tell I wasn't at the first rank. If Richard had chosen to be a mathematician, he would have been a first-rank mathematician." + +For Stallman, success in the classroom was balanced by the same lack of success in the social arena. Even as other members of the math mafia gathered to take on the Math 55 problem sets, Stallman preferred to work alone. The same went for living arrangements. On the housing application for Harvard, Stallman clearly spelled out his preferences. "I said I preferred an invisible, inaudible, intangible roommate," he says. In a rare stroke of bureaucratic foresight, Harvard's housing office accepted the request, giving Stallman a one-room single for his freshman year. + +Breidbart, the only math-mafia member to share a dorm with Stallman that freshman year, says Stallman slowly but surely learned how to interact with other students. He recalls how other dorm mates, impressed by Stallman's logical acumen, began welcoming his input whenever an intellectual debate broke out in the dining club or dorm commons. + +"We had the usual bull sessions about solving the world's problems or what would be the result of something," recalls Breidbart. "Say somebody discovers an immortality serum. What do you do? What are the political results? If you give it to everybody, the world gets overcrowded and everybody dies. If you limit it, if you say everyone who's alive now can have it but their children can't, then you end up with an underclass of people without it. Richard was just better able than most to see the unforeseen circumstances of any decision." + +Stallman remembers the discussions vividly. "I was always in favor of immortality," he says. "I was shocked that most people regarded immortality as a bad thing. How else would we be able to see what the world is like 200 years from now?" + +Although a first-rank mathematician and first-rate debater, Stallman shied away from clear-cut competitive events that might have sealed his brilliant reputation. Near the end of freshman year at Harvard, Breidbart recalls how Stallman conspicuously ducked the Putnam exam, a prestigious test open to math students throughout the U.S. and Canada. In addition to giving students a chance to measure their knowledge in relation to their peers, the Putnam served as a chief recruiting tool for academic math departments. According to campus legend, the top scorer automatically qualified for a graduate fellowship at any school of his choice, including Harvard. +={Putnam exam+1} + +Like Math 55, the Putnam was a brutal test of merit. A six-hour exam in two parts, it seemed explicitly designed to separate the wheat from the chaff. Breidbart, a veteran of both the Science Honors Program and Math 55, describes it as easily the most difficult test he ever took. "Just to give you an idea of how difficult it was," says Breidbart, "the top score was a 120, and my score the first year was in the 30s. That score was still good enough to place me 101st in the country." + +Surprised that Stallman, the best student in the class, had passed on the test, Breidbart says he and a fellow classmate cornered him in the dining common and demanded an explanation. "He said he was afraid of not doing well," Breidbart recalls. + +Breidbart and the friend quickly wrote down a few problems from memory and gave them to Stallman. "He solved all of them," Breidbart says, "leading me to conclude that by not doing well, he either meant coming in second or getting something wrong." + +Stallman remembers the episode a bit differently. "I remember that they did bring me the questions and it's possible that I solved one of them, but I'm pretty sure I didn't solve them all," he says. Nevertheless, Stallman agrees with Breidbart's recollection that fear was the primary reason for not taking the test. Despite a demonstrated willingness to point out the intellectual weaknesses of his peers and professors in the classroom, Stallman hated the notion of head-to-head competition. + +"It's the same reason I never liked chess," says Stallman. "Whenever I'd play, I would become so consumed by the fear of making a single mistake that I would start making stupid mistakes very early in the game. The fear became a self-fulfilling prophecy." + +Whether such fears ultimately prompted Stallman to shy away from a mathematical career is a moot issue. By the end of his freshman year at Harvard, Stallman had other interests pulling him away from the field. Computer programming, a latent fascination throughout Stallman's high-school years, was becoming a full-fledged passion. Where other math students sought occasional refuge in art and history classes, Stallman sought it in the computer-science laboratory. + +For Stallman, the first taste of real computer programming at the IBM New York Scientific Center had triggered a desire to learn more. "Toward the end of my first year at Harvard school, I started to have enough courage to go visit computer labs and see what they had. I'd ask them if they had extra copies of any manuals that I could read." + +Taking the manuals home, Stallman would examine machine specifications, compare them with other machines he already knew, and concoct a trial program, which he would then bring back to the lab along with the borrowed manual. Although some labs balked at the notion of a strange kid coming off the street and working on the lab machinery, most recognized competence when they saw it and let Stallman run the programs he had created. + +One day, near the end of freshman year, Stallman heard about a special laboratory near MIT. The laboratory was located on the ninth floor an off-campus building in Tech Square, the newly built facility dedicated to advanced research. According to the rumors, the lab itself was dedicated to the cutting-edge science of artificial intelligence and boasted the cutting-edge machines and software programs to match. +={artificial intelligence;MIT Massachusetts Institute of Technology:first visit to+2} + +Intrigued, Stallman decided to pay a visit. + +The trip was short, about 2 miles on foot, 10 minutes by train, but as Stallman would soon find out, MIT and Harvard can feel like opposite poles of the same planet. With its maze-like tangle of interconnected office buildings, the Institute's campus offered an aesthetic yin to Harvard's spacious colonial-village yang. The same could be said for the student body, a geeky collection of ex-high school misfits known more for its predilection for pranks than its politically powerful alumni. + +The yin-yang relationship extended to the AI Lab as well. Unlike Harvard computer labs, there was no grad-student gatekeeper, no clipboard waiting list for terminal access, no explicit atmosphere of "look but don't touch." Instead, Stallman found only a collection of open terminals and robotic arms, presumably the artifacts of some A.I. experiment. +={AI Lab (Artificial Intelligence Laboratory)+40} + +Although the rumors said anybody could sit down at the terminals, Stallman decided to stick with the original plan. When he encountered a lab employee, he asked if the lab had any spare manuals it could loan to an inquisitive student. "They had some, but a lot of things weren't documented," Stallman recalls. "They were hackers after all." + +Stallman left with something even better than a manual: a job. Although he doesn't remember what the first project was, he does remember coming back to the AI Lab the next week, grabbing an open terminal and writing software code. + +Looking back, Stallman sees nothing unusual in the AI Lab's willingness to accept an unproven outsider at first glance. "That's the way it was back then," he says. "That's the way it still is now. I'll hire somebody when I meet him if I see he's good. Why wait? Stuffy people who insist on putting bureaucracy into everything really miss the point. If a person is good, he shouldn't have to go through a long, detailed hiring process; he should be sitting at a computer writing code." + +To get a taste of "bureaucratic and stuffy," Stallman need only visit the computer labs at Harvard. There, access to the terminals was doled out according to academic rank. As an undergrad, Stallman usually had to sign up or wait until midnight, about the time most professors and grad students finished their daily work assignments. The waiting wasn't difficult, but it was frustrating. Waiting for a public terminal, knowing all the while that a half dozen equally usable machines were sitting idle inside professors' locked offices, seemed the height of illogic. Although Stallman paid the occasional visit to the Harvard computer labs, he preferred the more egalitarian policies of the AI Lab. "It was a breath of fresh air," he says. "At the AI Lab, people seemed more concerned about work than status." +={Harvard University:computer labs} + +Stallman quickly learned that the AI Lab's first-come, first-served policy owed much to the efforts of a vigilant few. Many were holdovers from the days of Project MAC, the Department of Defense-funded research program that had given birth to the first time-share operating systems. A few were already legends in the computing world. There was Richard Greenblatt, the lab's in-house Lisp expert and author of MacHack, the computer chess program that had once humbled A.I. critic Hubert Dreyfus. There was Gerald Sussman, original author of the robotic block-stacking program HACKER. And there was Bill Gosper, the in-house math whiz already in the midst of an 18-month hacking bender triggered by the philosophical implications of the computer game LIFE.~{ See Steven Levy, Hackers (Penguin USA [paperback], 1984): 144.
Levy devotes about five pages to describing Gosper's fascination with LIFE, a math-based software game first created by British mathematician John Conway. I heartily recommend this book as a supplement, perhaps even a prerequisite, to this one. }~ +={Dreyfus, Hubert;Gosper, Bill;Greenblat, Richard;LIFE mathematical game;LISP programming language;MacHack;Project MAC;Sussman, Gerald+2} + +Members of the tight-knit group called themselves "hackers." Over time, they extended the "hacker" description to Stallman as well. In the process of doing so, they inculcated Stallman in the ethical traditions of the "hacker ethic ." To be a hacker meant more than just writing programs, Stallman learned. It meant writing the best possible programs. It meant sitting at a terminal for 36 hours straight if that's what it took to write the best possible programs. Most importantly, it meant having access to the best possible machines and the most useful information at all times. Hackers spoke openly about changing the world through software, and Stallman learned the instinctual hacker disdain for any obstacle that prevented a hacker from fulfilling this noble cause. Chief among these obstacles were poor software, academic bureaucracy, and selfish behavior. +={ethics of hacking;hackers+7:ethics of} + +Stallman also learned the lore, stories of how hackers, when presented with an obstacle, had circumvented it in creative ways. Stallman learned about "lock hacking," the art of breaking into professors' offices to "liberate" sequestered terminals. Unlike their pampered Harvard counterparts, MIT faculty members knew better than to treat the AI Lab's terminal as private property. If a faculty member made the mistake of locking away a terminal for the night, hackers were quick to correct the error. Hackers were equally quick to send a message if the mistake repeated itself. "I was actually shown a cart with a heavy cylinder of metal on it that had been used to break down the door of one professor's office,"~{ Gerald Sussman, an MIT faculty member and hacker whose work at the AI Lab predates Stallman's, disputes this memory. According to Sussman, the hackers never broke any doors to retrieve terminals. }~ Stallman says. +={AI Lab (Artificial Intelligence Laboratory):lock hacking at+31} + +Such methods, while lacking in subtlety, served a purpose. Although professors and administrators outnumbered hackers two-to-one inside the AI Lab, the hacker ethic prevailed. Indeed, by the time of Stallman's arrival at the AI Lab, hackers and the AI Lab administration had coevolved into something of a symbiotic relationship. In exchange for fixing the machines and keeping the software up and running, hackers earned the right to work on favorite pet projects. Often, the pet projects revolved around improving the machines and software programs even further. Like teenage hot-rodders, most hackers viewed tinkering with machines as its own form of entertainment. + +Nowhere was this tinkering impulse better reflected than in the operating system that powered the lab's central PDP-6 mini-computer. Dubbed ITS, short for the Incompatible Time Sharing system, the operating system incorporated the hacking ethic into its very design. Hackers had built it as a protest to Project MAC's original operating system, the Compatible Time Sharing System, CTSS, and named it accordingly. At the time, hackers felt the CTSS design too restrictive, limiting programmers' power to modify and improve the program's own internal architecture if needed. According to one legend passed down by hackers, the decision to build ITS had political overtones as well. Unlike CTSS, which had been designed for the IBM 7094, ITS was built specifically for the PDP-6. In letting hackers write the systems themselves, AI Lab administrators guaranteed that only hackers would feel comfortable using the PDP-6. In the feudal world of academic research, the gambit worked. Although the PDP-6 was co-owned in conjunction with other departments, A.I. researchers soon had it to themselves.~{ I apologize for the whirlwind summary of ITS' genesis, an operating system many hackers still regard as the epitome of the hacker ethos. For more information on the program's political significance, see Simson Garfinkel, Architects of the Information Society: Thirty-Five Years of the Laboratory for Computer Science at MIT (MIT Press, 1999). }~ +={Compatible Time Sharing System (CTSS);CTSS (Compatible Time Sharing System);IBM 7094 computer;Incompatible Timesharing System (ITS)+5;PDP-6 computer+1;Project MAC:Incompatible Time Sharing system and} + +ITS boasted features most commercial operating systems wouldn't offer for years, features such as multitasking, debugging, and full-screen editing capability. Using it and the PDP-6 as a foundation, the Lab had been able to declare independence from Project MAC shortly before Stallman's arrival. ^17^ + +As an apprentice hacker, Stallman quickly became enamored with ITS. Although forbidding to most newcomers, the program contained many built-in features that provided a lesson in software development to hacker apprentices such as himself. + +"ITS had a very elegant internal mechanism for one program to examine another," says Stallman, recalling the program. "You could examine all sorts of status about another program in a very clean, well-specified way." + +Using this feature, Stallman was able to watch how programs written by hackers processed instructions as they ran. Another favorite feature would allow the monitoring program to freeze the monitored program's job between instructions. In other operating systems, such a command would have resulted in half-computed gibberish or an automatic systems crash. In ITS, it provided yet another way to monitor the step-by-step performance. + +"If you said, `Stop the job,' it would always be stopped in user mode. It would be stopped between two user-mode instructions, and everything about the job would be consistent for that point," Stallman says. "If you said, `Resume the job,' it would continue properly. Not only that, but if you were to change the status of the job and then change it back, everything would be consistent. There was no hidden status anywhere." + +By the end of 1970, hacking at the AI Lab had become a regular part of Stallman's weekly schedule. From Monday to Thursday, Stallman devoted his waking hours to his Harvard classes. As soon as Friday afternoon arrived, however, he was on the T, heading down to MIT for the weekend. Stallman usually timed his arrival to coincide with the ritual food run. Joining five or six other hackers in their nightly quest for Chinese food, he would jump inside a beat-up car and head across the Harvard Bridge into nearby Boston. For the next two hours, he and his hacker colleagues would discuss everything from ITS to the internal logic of the Chinese language and pictograph system. Following dinner, the group would return to MIT and hack code until dawn. + +For the geeky outcast who rarely associated with his high-school peers, it was a heady experience, suddenly hanging out with people who shared the same predilection for computers, science fiction, and Chinese food. "I remember many sunrises seen from a car coming back from Chinatown," Stallman would recall nostalgically, 15 years after the fact in a speech at the Swedish Royal Technical Institute. "It was actually a very beautiful thing to see a sunrise, 'cause that's such a calm time of day. It's a wonderful time of day to get ready to go to bed. It's so nice to walk home with the light just brightening and the birds starting to chirp; you can get a real feeling of gentle satisfaction, of tranquility about the work that you have done that night."~{ See Richard Stallman, "RMS lecture at KTH (Sweden)," (October 30, 1986).
http://www.gnu.org/philosophy/stallman-kth.html }~ +={Swedish Royal Technical Institute} + +The more Stallman hung out with the hackers, the more he adopted the hacker worldview. Already committed to the notion of personal liberty, Stallman began to infuse his actions with a sense of communal responsibility. When others violated the communal code, Stallman was quick to speak out. Within a year of his first visit, Stallman was the one breaking into locked offices, trying to recover the sequestered terminals that belonged to the lab community as a whole. In true hacker fashion, Stallman also sought to make his own personal contribution to the art of lock hacking. One of the most artful door-opening tricks, commonly attributed to Greenblatt, involved bending a stiff wire into a cane and attaching a loop of tape to the long end. Sliding the wire under the door, a hacker could twist and rotate the wire so that the long end touched the door knob. Provided the adhesive on the tape held, a hacker could open the doorknob with a few sharp twists. +={Greenblat, Richard:lock-hacking and} + +When Stallman tried the trick, he found it good but wanting in a few places. Getting the tape to stick wasn't always easy, and twisting the wire in a way that turned the doorknob was similarly difficult. Stallman remembered that the hallway ceiling possessed tiles that could be slid away. Some hackers, in fact, had used the false ceiling as a way to get around locked doors, an approach that generally covered the perpetrator in fiberglass but got the job done. + +Stallman considered an alternative approach. What if, instead of slipping a wire under the door, a hacker slid away one of the panels and stood over the door jamb? + +Stallman took it upon himself to try it out. Instead of using a wire, Stallman draped out a long U-shaped loop of magnetic tape, fastening a loop of adhesive tape at the base of the U. Standing over the door jamb, he dangled the tape until it looped under the doorknob. Lifting the tape until the adhesive fastened, he then pulled on the left end of the tape, twisting the doorknob counter-clockwise. Sure enough, the door opened. Stallman had added a new twist to the art of lock hacking. + +"Sometimes you had to kick the door after you turned the door knob," says Stallman, recalling the lingering bugginess of the new method. "It took a little bit of balance to pull it off." + +Such activities reflected a growing willingness on Stallman's part to speak and act out in defense of political beliefs. The AI Lab's spirit of direct action had proved inspirational enough for Stallman to break out of the timid impotence of his teenage years. Breaking into an office to free a terminal wasn't the same as taking part in a protest march, but it was effective in ways that most protests weren't. It solved the problem at hand. + +By the time of his last years at Harvard, Stallman was beginning to apply the whimsical and irreverent lessons of the AI Lab back at school. + +"Did he tell you about the snake?" his mother asks at one point during an interview. "He and his dorm mates put a snake up for student election. Apparently it got a considerable number of votes." + +Stallman verifies the snake candidacy with a few caveats. The snake was a candidate for election within Currier House, Stallman's dorm, not the campus-wide student council. Stallman does remember the snake attracting a fairly significant number of votes, thanks in large part to the fact that both the snake and its owner both shared the same last name. "People may have voted for it, because they thought they were voting for the owner," Stallman says. "Campaign posters said that the snake was `slithering for' the office. We also said it was an `at large' candidate, since it had climbed into the wall through the ventilating unit a few weeks before and nobody knew where it was." + +Running a snake for dorm council was just one of several election-related pranks. In a later election, Stallman and his dorm mates nominated the house master's son. "His platform was mandatory retirement at age seven," Stallman recalls. Such pranks paled in comparison to the fake-candidate pranks on the MIT campus, however. One of the most successful fake-candidate pranks was a cat named Woodstock, which actually managed to outdraw most of the human candidates in a campus-wide election. "They never announced how many votes Woodstock got, and they treated those votes as spoiled ballots," Stallman recalls. "But the large number of spoiled ballots in that election suggested that Woodstock had actually won. A couple of years later, Woodstock was suspiciously run over by a car. Nobody knows if the driver was working for the MIT administration." Stallman says he had nothing to do with Woodstock's candidacy, "but I admired it."~{ In an email shortly after this book went into its final edit cycle, Stallman says he drew political inspiration from the Harvard campus as well. "In my first year of Harvard, in a Chinese History class, I read the story of the first revolt against the Chin dynasty," he says. "The story is not reliable history, but it was very moving." }~ + +At the AI Lab, Stallman's political activities had a sharper-edged tone. During the 1970s, hackers faced the constant challenge of faculty members and administrators pulling an end-run around ITS and its hacker-friendly design. One of the first attempts came in the mid-1970s, as more and more faculty members began calling for a file security system to protect research data. Most other computer labs had installed such systems during late 1960s, but the AI Lab, through the insistence of Stallman and other hackers, remained a security-free zone. +={Incompatible Timesharing System (ITS)+1} + +For Stallman, the opposition to security was both ethical and practical. On the ethical side, Stallman pointed out that the entire art of hacking relied on intellectual openness and trust. On the practical side, he pointed to the internal structure of ITS being built to foster this spirit of openness, and any attempt to reverse that design required a major overhaul. +={security (computer), opposition to} + +"The hackers who wrote the Incompatible Timesharing System decided that file protection was usually used by a self-styled system manager to get power over everyone else," Stallman would later explain. "They didn't want anyone to be able to get power over them that way, so they didn't implement that kind of a feature. The result was, that whenever something in the system was broken, you could always fix it."~{ See Richard Stallman (1986). }~ + +Through such vigilance, hackers managed to keep the AI Lab's machines security-free. Over at the nearby MIT Laboratory for Computer Sciences, however, security-minded faculty members won the day. The LCS installed its first password-based system in 1977. Once again, Stallman took it upon himself to correct what he saw as ethical laxity. Gaining access to the software code that controlled the password system, Stallman implanted a software command that sent out a message to any LCS user who attempted to choose a unique password. If a user entered "starfish," for example, the message came back something like: +={password-based systems, hacking into+5} + +_1 I see you chose the password "starfish." I suggest that you switch to the password "carriage return." It's much easier to type, and also it stands up to the principle that there should be no passwords.~{ See Steven Levy, Hackers (Penguin USA [paperback], 1984): 417. I have modified this quote, which Levy also uses as an excerpt, to illustrate more directly how the program might reveal the false security of the system. Levy uses the placeholder "[such and such]." }~ + +Users who did enter "carriage return"-that is, users who simply pressed the Enter or Return button, entering a blank string instead of a unique password-left their accounts accessible to the world at large. As scary as that might have been for some users, it reinforced the hacker notion that Institute computers, and even Institute computer files, belonged to the public, not private individuals. Stallman, speaking in an interview for the 1984 book Hackers, proudly noted that one-fifth of the LCS staff accepted this argument and employed the blank-string password.~{ See Steven Levy, Hackers (Penguin USA [paperback], 1984): 417. }~ +={Hackers (Levy)} + +Stallman's null-string crusade would prove ultimately futile. By the early 1980s, even the AI Lab's machines were sporting password-based security systems. Even so, it represents a major milestone in terms of Stallman's personal and political maturation. To the objective observer familiar with Stallman's later career, it offers a convenient inflection point between the timid teenager afraid to speak out even on issues of life-threatening importance and the adult activist who would soon turn needling and cajoling into a full-time occupation. + +In voicing his opposition to computer security, Stallman drew on many of the forces that had shaped his early life: hunger for knowledge, distaste for authority, and frustration over hidden procedures and rules that rendered some people clueless outcasts. He would also draw on the ethical concepts that would shape his adult life: communal responsibility, trust, and the hacker spirit of direct action. Expressed in software-computing terms, the null string represents the 1.0 version of the Richard Stallman political worldview-incomplete in a few places but, for the most part, fully mature. +={computer security, opposition to} + +Looking back, Stallman hesitates to impart too much significance to an event so early in his hacking career. "In that early stage there were a lot of people who shared my feelings," he says. "The large number of people who adopted the null string as their password was a sign that many people agreed that it was the proper thing to do. I was simply inclined to be an activist about it." + +Stallman does credit the AI Lab for awakening that activist spirit, however. As a teenager, Stallman had observed political events with little idea as to how a single individual could do or say anything of importance. As a young adult, Stallman was speaking out on matters in which he felt supremely confident, matters such as software design, communal responsibility, and individual freedom. "I joined this community which had a way of life which involved respecting each other's freedom," he says. "It didn't take me long to figure out that that was a good thing. It took me longer to come to the conclusion that this was a moral issue." + +Hacking at the AI Lab wasn't the only activity helping to boost Stallman's esteem. During the middle of his sophomore year at Harvard, Stallman had joined up with a dance troupe that specialized in folk dances . What began as a simple attempt to meet women and expand his social horizons soon expanded into yet another passion alongside hacking. Dancing in front of audiences dressed in the native garb of a Balkan peasant, Stallman no longer felt like the awkward, uncoordinated 10-year-old whose attempts to play football had ended in frustration. He felt confident, agile, and alive. For a brief moment, he even felt a hint of emotional connection. He soon found being in front of an audience fun, and it wasn't long thereafter that he began craving the performance side of dancing almost as much as the social side. +={folk dancing;Stallman, Richard M.:folk dancing} + +Although the dancing and hacking did little to improve Stallman's social standing, they helped him overcome the feelings of weirdness that had clouded his pre-Harvard life. Instead of lamenting his weird nature, Stallman found ways to celebrate it. In 1977, while attending a science-fiction convention, he came across a woman selling custom-made buttons. Excited, Stallman ordered a button with the words "Impeach God" emblazoned on it. + +For Stallman, the "Impeach God" message worked on many levels. An atheist since early childhood, Stallman first saw it as an attempt to set a "second front" in the ongoing debate on religion. "Back then everybody was arguing about God being dead or alive," Stallman recalls. "`Impeach God' approached the subject of God from a completely different viewpoint. If God was so powerful as to create the world and yet do nothing to correct the problems in it, why would we ever want to worship such a God? Wouldn't it be better to put him on trial?" + +At the same time, "Impeach God" was a satirical take on America and the American political system. The Watergate scandal of the 1970s affected Stallman deeply. As a child, Stallman had grown up mistrusting authority. Now, as an adult, his mistrust had been solidified by the culture of the AI Lab hacker community. To the hackers, Watergate was merely a Shakespearean rendition of the daily power struggles that made life such a hassle for those without privilege. It was an outsized parable for what happened when people traded liberty and openness for security and convenience. + +Buoyed by growing confidence, Stallman wore the button proudly. People curious enough to ask him about it received the same well-prepared spiel. "My name is Jehovah," Stallman would say. "I have a special plan to save the universe, but because of heavenly security reasons I can't tell you what that plan is. You're just going to have to put your faith in me, because I see the picture and you don't. You know I'm good because I told you so. If you don't believe me, I'll throw you on my enemies list and throw you in a pit where Infernal Revenue Service will audit your taxes for eternity." + +Those who interpreted the spiel as a word-for-word parody of the Watergate hearings only got half the message. For Stallman, the other half of the message was something only his fellow hackers seemed to be hearing. One hundred years after Lord Acton warned about absolute power corrupting absolutely, Americans seemed to have forgotten the first part of Acton's truism: power, itself, corrupts. Rather than point out the numerous examples of petty corruption, Stallman felt content voicing his outrage toward an entire system that trusted power in the first place. + +"I figured why stop with the small fry," says Stallman, recalling the button and its message. "If we went after Nixon, why not going after Mr. Big. The way I see it, any being that has power and abuses it deserves to have that power taken away." + +1~ Chapter 5 - Small Puddle of Freedom + +Ask anyone who's spent more than a minute in Richard Stallman's presence, and you'll get the same recollection: forget the long hair. Forget the quirky demeanor. The first thing you notice is the gaze. One look into Stallman's green eyes, and you know you're in the presence of a true believer. + +To call the Stallman gaze intense is an understatement. Stallman's eyes don't just look at you; they look through you. Even when your own eyes momentarily shift away out of simple primate politeness, Stallman's eyes remain locked-in, sizzling away at the side of your head like twin photon beams. + +Maybe that's why most writers, when describing Stallman, tend to go for the religious angle. In a 1998 Salon.com article titled "The Saint of Free Software," Andrew Leonard describes Stallman's green eyes as "radiating the power of an Old Testament prophet."~{ See Andrew Leonard, "The Saint of Free Software," Salon.com (August 1998).
http://www.salon.com/21st/feature/1998/08/cov_31feature.html }~ A 1999 /{Wired}/ magazine article describes the Stallman beard as "Rasputin-like,"~{ See Leander Kahney, "Linux's Forgotten Man," Wired News (March 5, 1999).
http://www.wired.com/news/print/0,1294,18291,00.html }~ while a /{London Guardian}/ profile describes the Stallman smile as the smile of "a disciple seeing Jesus."~{ See "Programmer on moral high ground; Free software is a moral issue for Richard Stallman believes in freedom and free software." London Guardian (November 6, 1999).
These are just a small sampling of the religious comparisons. To date, the most extreme comparison has to go to Linus Torvalds, who, in his autobiography-see Linus Torvalds and David Diamond, Just For Fun: The Story of an Accidentaly Revolutionary (HarperCollins Publishers, Inc., 2001): 58-writes "Richard Stallman is the God of Free Software."
Honorable mention goes to Larry Lessig, who, in a footnote description of Stallman in his book-see Larry Lessig, The Future of Ideas (Random House, 2001): 270-likens Stallman to Moses:
_1 ... as with Moses, it was another leader, Linus Torvalds, who finally carried the movement into the promised land by facilitating the development of the final part of the OS puzzle. Like Moses, too, Stallman is both respected and reviled by allies within the movement. He is [an] unforgiving, and hence for many inspiring, leader of a critically important aspect of modern culture. I have deep respect for the principle and commitment of this extraordinary individual, though I also have great respect for those who are courageous enough to question his thinking and then sustain his wrath.
In a final interview with Stallman, I asked him his thoughts about the religious comparisons. "Some people do compare me with an Old Testament prophent, and the reason is Old Testament prophets said certain social practices were wrong. They wouldn't compromise on moral issues. They couldn't be bought off, and they were usually treated with contempt." }~ +={Wired magazine;Leonard, Andrew;London Guardian;Salon.com} + +Such analogies serve a purpose, but they ultimately fall short. That's because they fail to take into account the vulnerable side of the Stallman persona. Watch the Stallman gaze for an extended period of time, and you will begin to notice a subtle change. What appears at first to be an attempt to intimidate or hypnotize reveals itself upon second and third viewing as a frustrated attempt to build and maintain contact. If, as Stallman himself has suspected from time to time, his personality is the product of autism or Asperger Syndrome, his eyes certainly confirm the diagnosis. Even at their most high-beam level of intensity, they have a tendency to grow cloudy and distant, like the eyes of a wounded animal preparing to give up the ghost. +={Asperger Syndrome;autism} + +My own first encounter with the legendary Stallman gaze dates back to the March, 1999, LinuxWorld Convention and Expo in San Jose, California. Billed as a "coming out party" for the Linux software community, the convention also stands out as the event that reintroduced Stallman to the technology media. Determined to push for his proper share of credit, Stallman used the event to instruct spectators and reporters alike on the history of the GNU Project and the project's overt political objectives. +={GNU Project:GNOME 1.0+1;Linux+6;LinuxWorld+8} + +As a reporter sent to cover the event, I received my own Stallman tutorial during a press conference announcing the release of GNOME 1.0, a free software graphic user interface. Unwittingly, I push an entire bank of hot buttons when I throw out my very first question to Stallman himself: do you think GNOME's maturity will affect the commercial popularity of the Linux operating system? +={GNOME 1.0} + +"I ask that you please stop calling the operating system Linux," Stallman responds, eyes immediately zeroing in on mine. "The Linux kernel is just a small part of the operating system. Many of the software programs that make up the operating system you call Linux were not developed by Linus Torvalds at all. They were created by GNU Project volunteers, putting in their own personal time so that users might have a free operating system like the one we have today. To not acknowledge the contribution of those programmers is both impolite and a misrepresentation of history. That's why I ask that when you refer to the operating system, please call it by its proper name, GNU/Linux." +={GNU Project:Linux and|kernel;Torvalds, Linus+3} + +% GNU Project linus/kernel index ref added + +Taking the words down in my reporter's notebook, I notice an eerie silence in the crowded room. When I finally look up, I find Stallman's unblinking eyes waiting for me. Timidly, a second reporter throws out a question, making sure to use the term " GNU/Linux" instead of Linux. Miguel de Icaza, leader of the GNOME project, fields the question. It isn't until halfway through de Icaza's answer, however, that Stallman's eyes finally unlock from mine. As soon as they do, a mild shiver rolls down my back. When Stallman starts lecturing another reporter over a perceived error in diction, I feel a guilty tinge of relief. At least he isn't looking at me, I tell myself. +={de Icaza, Miguel;GNU/Linux} + +For Stallman, such face-to-face moments would serve their purpose. By the end of the first LinuxWorld show, most reporters know better than to use the term "Linux" in his presence, and wired.com is running a story comparing Stallman to a pre-Stalinist revolutionary erased from the history books by hackers and entrepreneurs eager to downplay the GNU Project's overly political objectives. ^24^ Other articles follow, and while few reporters call the operating system GNU/Linux in print, most are quick to credit Stallman for launching the drive to build a free software operating system 15 years before. + +I won't meet Stallman again for another 17 months. During the interim, Stallman will revisit Silicon Valley once more for the August, 1999 LinuxWorld show. Although not invited to speak, Stallman does managed to deliver the event's best line. Accepting the show's Linus Torvalds Award for Community Service-an award named after Linux creator Linus Torvalds-on behalf of the Free Software Foundation, Stallman wisecracks, "Giving the Linus Torvalds Award to the Free Software Foundation is a bit like giving the Han Solo Award to the Rebel Alliance." + +This time around, however, the comments fail to make much of a media dent. Midway through the week, Red Hat, Inc., a prominent GNU/Linux vendor, goes public. The news merely confirms what many reporters such as myself already suspect: "Linux" has become a Wall Street buzzword, much like "e-commerce" and "dot-com" before it. With the stock market approaching the Y2K rollover like a hyperbola approaching its vertical asymptote, all talk of free software or open source as a political phenomenon falls by the wayside. +={Red Hat Inc.:going public} + +% Red Hat added + +Maybe that's why, when LinuxWorld follows up its first two shows with a third LinuxWorld show in August, 2000, Stallman is conspicuously absent. + +My second encounter with Stallman and his trademark gaze comes shortly after that third LinuxWorld show. Hearing that Stallman is going to be in Silicon Valley, I set up a lunch interview in Palo Alto, California. The meeting place seems ironic, not only because of the recent no-show but also because of the overall backdrop. Outside of Redmond, Washington, few cities offer a more direct testament to the economic value of proprietary software. Curious to see how Stallman, a man who has spent the better part of his life railing against our culture's predilection toward greed and selfishness, is coping in a city where even garage-sized bungalows run in the half-million-dollar price range, I make the drive down from Oakland. +={Redmond (Washington);Palo Alto (California);Silicon Valley+1} + +I follow the directions Stallman has given me, until I reach the headquarters of Art.net, a nonprofit "virtual artists collective." Located in a hedge-shrouded house in the northern corner of the city, the Art.net headquarters are refreshingly run-down. Suddenly, the idea of Stallman lurking in the heart of Silicon Valley doesn't seem so strange after all. +={Art.net} + +I find Stallman sitting in a darkened room, tapping away on his gray laptop computer. He looks up as soon as I enter the room, giving me a full blast of his 200-watt gaze. When he offers a soothing "Hello," I offer a return greeting. Before the words come out, however, his eyes have already shifted back to the laptop screen. + +"I'm just finishing an article on the spirit of hacking," Stallman says, fingers still tapping. "Take a look." + +I take a look. The room is dimly lit, and the text appears as greenish-white letters on a black background, a reversal of the color scheme used by most desktop word-processing programs, so it takes my eyes a moment to adjust. When they do, I find myself reading Stallman's account of a recent meal at a Korean restaurant. Before the meal, Stallman makes an interesting discovery: the person setting the table has left six chopsticks instead of the usual two in front of Stallman's place setting. Where most restaurant goers would have ignored the redundant pairs, Stallman takes it as challenge: find a way to use all six chopsticks at once. Like many software hacks, the successful solution is both clever and silly at the same time. Hence Stallman's decision to use it as an illustration. + +As I read the story, I feel Stallman watching me intently. I look over to notice a proud but child-like half smile on his face. When I praise the essay, my comment barely merits a raised eyebrow. + +"I'll be ready to go in a moment," he says. + +Stallman goes back to tapping away at his laptop. The laptop is gray and boxy, not like the sleek, modern laptops that seemed to be a programmer favorite at the recent LinuxWorld show. Above the keyboard rides a smaller, lighter keyboard, a testament to Stallman's aging hands. During the late 1980s, when Stallman was putting in 70- and 80-hour work weeks writing the first free software tools and programs for the GNU Project, the pain in Stallman's hands became so unbearable that he had to hire a typist. Today, Stallman relies on a keyboard whose keys require less pressure than a typical computer keyboard. + +Stallman has a tendency to block out all external stimuli while working. Watching his eyes lock onto the screen and his fingers dance, one quickly gets the sense of two old friends locked in deep conversation. + +The session ends with a few loud keystrokes and the slow disassembly of the laptop. + +"Ready for lunch?" Stallman asks. + +We walk to my car. Pleading a sore ankle, Stallman limps along slowly. Stallman blames the injury on a tendon in his left foot. The injury is three years old and has gotten so bad that Stallman, a huge fan of folk dancing, has been forced to give up all dancing activities. "I love folk dancing inherently," Stallman laments. "Not being able to dance has been a tragedy for me." +={folk dancing;Stallman, Richard M.:folk dancing} + +Stallman's body bears witness to the tragedy. Lack of exercise has left Stallman with swollen cheeks and a pot belly that was much less visible the year before. You can tell the weight gain has been dramatic, because when Stallman walks, he arches his back like a pregnant woman trying to accommodate an unfamiliar load. + +The walk is further slowed by Stallman's willingness to stop and smell the roses, literally. Spotting a particularly beautiful blossom, he tickles the innermost petals with his prodigious nose, takes a deep sniff and steps back with a contented sigh. + +"Mmm, rhinophytophilia,"~{ At the time, I thought Stallman was referring to the flower's scientific name. Months later, I would learn that rhinophytophilia was in fact a humorous reference to the activity, i.e., Stallman sticking his nose into a flower and enjoying the moment. For another humorous Stallman flower incident, visit:
http://www.stallman.org/texas.html }~ he says, rubbing his back. + +The drive to the restaurant takes less than three minutes. Upon recommendation from Tim Ney, former executive director of the Free Software Foundation, I have let Stallman choose the restaurant. While some reporters zero in on Stallman's monk-like lifestyle, the truth is, Stallman is a committed epicure when it comes to food. One of the fringe benefits of being a traveling missionary for the free software cause is the ability to sample delicious food from around the world. "Visit almost any major city in the world, and chances are Richard knows the best restaurant in town," says Ney. "Richard also takes great pride in knowing what's on the menu and ordering for the entire table." +={Ney, Tim} + +For today's meal, Stallman has chosen a Cantonese-style dim sum restaurant two blocks off University Avenue, Palo Alto's main drag. The choice is partially inspired by Stallman's recent visit to China, including a lecture stop in Guangdong province, in addition to Stallman's personal aversion to spicier Hunanese and Szechuan cuisine. "I'm not a big fan of spicy," Stallman admits. + +We arrive a few minutes after 11 a.m. and find ourselves already subject to a 20-minute wait. Given the hacker aversion to lost time, I hold my breath momentarily, fearing an outburst. Stallman, contrary to expectations, takes the news in stride. + +"It's too bad we couldn't have found somebody else to join us," he tells me. "It's always more fun to eat with a group of people." + +During the wait, Stallman practices a few dance steps. His moves are tentative but skilled. We discuss current events. Stallman says his only regret about not attending LinuxWorld was missing out on a press conference announcing the launch of the GNOME Foundation. Backed by Sun Microsystems and IBM, the foundation is in many ways a vindication for Stallman, who has long championed that free software and free-market economics need not be mutually exclusive. Nevertheless, Stallman remains dissatisfied by the message that came out. + +"The way it was presented, the companies were talking about Linux with no mention of the GNU Project at all," Stallman says. +={GNU Project:Linux and;Linux:GNU Project and} + +Such disappointments merely contrast the warm response coming from overseas, especially Asia, Stallman notes. A quick glance at the Stallman 2000 travel itinerary bespeaks the growing popularity of the free software message. Between recent visits to India, China, and Brazil, Stallman has spent 12 of the last 115 days on United States soil. His travels have given him an opportunity to see how the free software concept translates into different languages of cultures. + +"In India many people are interested in free software, because they see it as a way to build their computing infrastructure without spending a lot of money," Stallman says. "In China, the concept has been much slower to catch on. Comparing free software to free speech is harder to do when you don't have any free speech. Still, the level of interest in free software during my last visit was profound." + +The conversation shifts to Napster, the San Mateo, California software company, which has become something of a media cause cÈlËbre in recent months. The company markets a controversial software tool that lets music fans browse and copy the music files of other music fans. Thanks to the magnifying powers of the Internet, this so-called "peer-to-peer" program has evolved into a de facto online juke box, giving ordinary music fans a way to listen to MP3 music files over the computer without paying a royalty or fee, much to record companies' chagrin. +={Napster+4;San Mateo (California)+2} + +Although based on proprietary software, the Napster system draws inspiration from the long-held Stallman contention that once a work enters the digital realm-in other words, once making a copy is less a matter of duplicating sounds or duplicating atoms and more a matter of duplicating information-the natural human impulse to share a work becomes harder to restrict. Rather than impose additional restrictions, Napster execs have decided to take advantage of the impulse. Giving music listeners a central place to trade music files, the company has gambled on its ability to steer the resulting user traffic toward other commercial opportunities. + +The sudden success of the Napster model has put the fear in traditional record companies, with good reason. Just days before my Palo Alto meeting with Stallman, U.S. District Court Judge Marilyn Patel granted a request filed by the Recording Industry Association of America for an injunction against the file-sharing service. The injunction was subsequently suspended by the U.S. Ninth District Court of Appeals, but by early 2001, the Court of Appeals, too, would find the San Mateo-based company in breach of copyright law,~{ See Cecily Barnes and Scott Ard, "Court Grants Stay of Napster Injunction," News.com (July 28, 2000).
http://news.cnet.com/news/0-1005-200-2376465.html }~ a decision RIAA spokesperson Hillary Rosen would later proclaim proclaim a "clear victory for the creative content community and the legitimate online marketplace."~{ See "A Clear Victory for Recording Industry in Napster Case," RIAA press release (February 12, 2001).
http://www.riaa.com/PR_story.cfm?id=372 }~ + +For hackers such as Stallman, the Napster business model is scary in different ways. The company's eagerness to appropriate time-worn hacker principles such as file sharing and communal information ownership, while at the same time selling a service based on proprietary software, sends a distressing mixed message. As a person who already has a hard enough time getting his own carefully articulated message into the media stream, Stallman is understandably reticent when it comes to speaking out about the company. Still, Stallman does admit to learning a thing or two from the social side of the Napster phenomenon. + +"Before Napster, I thought it might be OK for people to privately redistribute works of entertainment," Stallman says. "The number of people who find Napster useful, however, tells me that the right to redistribute copies not only on a neighbor-to-neighbor basis, but to the public at large, is essential and therefore may not be taken away." + +No sooner does Stallman say this than the door to the restaurant swings open and we are invited back inside by the host. Within a few seconds, we are seated in a side corner of the restaurant next to a large mirrored wall. + +The restaurant's menu doubles as an order form, and Stallman is quickly checking off boxes before the host has even brought water to the table. "Deep-fried shrimp roll wrapped in bean-curd skin," Stallman reads. "Bean-curd skin. It offers such an interesting texture. I think we should get it." + +This comment leads to an impromptu discussion of Chinese food and Stallman's recent visit to China. "The food in China is utterly exquisite," Stallman says, his voice gaining an edge of emotion for the first time this morning. "So many different things that I've never seen in the U.S., local things made from local mushrooms and local vegetables. It got to the point where I started keeping a journal just to keep track of every wonderful meal." + +The conversation segues into a discussion of Korean cuisine. During the same June, 2000, Asian tour, Stallman paid a visit to South Korea. His arrival ignited a mini-firestorm in the local media thanks to a Korean software conference attended by Microsoft founder and chairman Bill Gates that same week. Next to getting his photo above Gates's photo on the front page of the top Seoul newspaper, Stallman says the best thing about the trip was the food. "I had a bowl of naeng myun, which is cold noodles," says Stallman. "These were a very interesting feeling noodle. Most places don't use quite the same kind of noodles for your naeng myun, so I can say with complete certainty that this was the most exquisite naeng myun I ever had." +={Gates, Bill;South Korea} + +The term "exquisite" is high praise coming from Stallman. I know this, because a few moments after listening to Stallman rhapsodize about naeng myun, I feel his laser-beam eyes singeing the top of my right shoulder. + +"There is the most exquisite woman sitting just behind you," Stallman says. + +I turn to look, catching a glimpse of a woman's back. The woman is young, somewhere in her mid-20s, and is wearing a white sequinned dress. She and her male lunch companion are in the final stages of paying the check. When both get up from the table to leave the restaurant, I can tell without looking, because Stallman's eyes suddenly dim in intensity. + +"Oh, no," he says. "They're gone. And to think, I'll probably never even get to see her again." + +After a brief sigh, Stallman recovers. The moment gives me a chance to discuss Stallman's reputation vis-ý-vis the fairer sex. The reputation is a bit contradictory at times. A number of hackers report Stallman's predilection for greeting females with a kiss on the back of the hand.~{ See Mae Ling Mak, "Mae Ling's Story" (December 17, 1998).
http://www.crackmonkey.org/pipermail/crackmonkey/1998q4/003006.htm
So far, Mak is the only person I've found willing to speak on the record in regard to this practice, although I've heard this from a few other female sources. Mak, despite expressing initial revulsion at it, later managed to put aside her misgivings and dance with Stallman at a 1999 LinuxWorld show.
http://www.linux.com/interact/potd.phtml?potd_id=44 }~ A May 26, 2000 Salon.com article, meanwhile, portrays Stallman as a bit of a hacker lothario. Documenting the free software-free love connection, reporter Annalee Newitz presents Stallman as rejecting traditional family values, telling her, "I believe in love, but not monogamy."~{ See Annalee Newitz, "If Code is Free Why Not Me?" Salon.com (May 26, 2000).
http://www.salon.com/tech/feature/2000/05/26/free_love/print.html }~ +={Newitz, Annalee;Salon.com} + +Stallman lets his menu drop a little when I bring this up. "Well, most men seem to want sex and seem to have a rather contemptuous attitude towards women," he says. "Even women they're involved with. I can't understand it at all." + +I mention a passage from the 1999 book Open Sources in which Stallman confesses to wanting to name the ill-fated GNU kernel after a girlfriend at the time. The girlfriend's name was Alix, a name that fit perfectly with the Unix developer convention of putting an "x" at the end of any new kernel name-e.g., "Linux." Because the woman was a Unix system administrator, Stallman says it would have been an even more touching tribute. Unfortunately, Stallman notes, the kernel project's eventual main developer renamed the kernel HURD.~{ See Richard Stallman, "The GNU Operating System and the Free Software Movement," Open Sources (O'Reilly & Associates, Inc., 1999): 65. }~ Although Stallman and the girlfriend later broke up, the story triggers an automatic question: for all the media imagery depicting him as a wild-eyed fanatic, is Richard Stallman really just a hopeless romantic, a wandering Quixote tilting at corporate windmills in an effort to impress some as-yet-unidentified Dulcinea? +={HURD kernel;Open Sources (DiBona, et al)} + +"I wasn't really trying to be romantic," Stallman says, recalling the Alix story. "It was more of a teasing thing. I mean, it was romantic, but it was also teasing, you know? It would have been a delightful surprise." + +For the first time all morning, Stallman smiles. I bring up the hand kissing. "Yes, I do do that," Stallman says. "I've found it's a way of offering some affection that a lot of women will enjoy. It's a chance to give some affection and to be appreciated for it." + +Affection is a thread that runs clear through Richard Stallman's life, and he is painfully candid about it when questions arise. "There really hasn't been much affection in my life, except in my mind," he says. Still, the discussion quickly grows awkward. After a few one-word replies, Stallman finally lifts up his menu, cutting off the inquiry. + +"Would you like some shimai?" he asks. + +When the food comes out, the conversation slaloms between the arriving courses. We discuss the oft-noted hacker affection for Chinese food, the weekly dinner runs into Boston's Chinatown district during Stallman's days as a staff programmer at the AI Lab, and the underlying logic of the Chinese language and its associated writing system. Each thrust on my part elicits a well-informed parry on Stallman's part. + +"I heard some people speaking Shanghainese the last time I was in China," Stallman says. "It was interesting to hear. It sounded quite different [from Mandarin]. I had them tell me some cognate words in Mandarin and Shanghainese. In some cases you can see the resemblance, but one question I was wondering about was whether tones would be similar. They're not. That's interesting to me, because there's a theory that the tones evolved from additional syllables that got lost and replaced. Their effect survives in the tone. If that's true, and I've seen claims that that happened within historic times, the dialects must have diverged before the loss of these final syllables." + +The first dish, a plate of pan-fried turnip cakes, has arrived. Both Stallman and I take a moment to carve up the large rectangular cakes, which smell like boiled cabbage but taste like potato latkes fried in bacon. + +I decide to bring up the outcast issue again, wondering if Stallman's teenage years conditioned him to take unpopular stands, most notably his uphill battle since 1994 to get computer users and the media to replace the popular term "Linux" with "GNU/Linux." + +"I believe it did help me," Stallman says, chewing on a dumpling. "I have never understood what peer pressure does to other people. I think the reason is that I was so hopelessly rejected that for me, there wasn't anything to gain by trying to follow any of the fads. It wouldn't have made any difference. I'd still be just as rejected, so I didn't try." + +Stallman points to his taste in music as a key example of his contrarian tendencies. As a teenager, when most of his high school classmates were listening to Motown and acid rock, Stallman preferred classical music. The memory leads to a rare humorous episode from Stallman's middle-school years. Following the Beatles' 1964 appearance on the Ed Sullivan Show, most of Stallman's classmates rushed out to purchase the latest Beatles albums and singles. Right then and there, Stallman says, he made a decision to boycott the Fab Four. +={Beatles+2;music+4} + +"I liked some of the pre-Beatles popular music," Stallman says. "But I didn't like the Beatles. I especially disliked the wild way people reacted to them. It was like: who was going to have a Beatles assembly to adulate the Beatles the most?" + +When his Beatles boycott failed to take hold, Stallman looked for other ways to point out the herd-mentality of his peers. Stallman says he briefly considered putting together a rock band himself dedicated to satirizing the Liverpool group. + +"I wanted to call it Tokyo Rose and the Japanese Beetles." + +Given his current love for international folk music, I ask Stallman if he had a similar affinity for Bob Dylan and the other folk musicians of the early 1960s. Stallman shakes his head. "I did like Peter, Paul and Mary," he says. "That reminds me of a great filk." +={Dylan, Bob;Peter, Paul and Mary} + +When I ask for a definition of "filk," Stallman explains the concept. A filk, he says, is a popular song whose lyrics have been replaced with parody lyrics. The process of writing a filk is called filking, and it is a popular activity among hackers and science-fiction aficionados. Classic filks include "On Top of Spaghetti," a rewrite of "On Top of Old Smokey," and "Yoda," filk-master "Weird" Al Yankovic's Star Wars-oriented rendition of the Kinks tune, "Lola." + +Stallman asks me if I would be interested in hearing the folk filk. As soon as I say yes, Stallman's voice begins singing in an unexpectedly clear tone: + +_1 How much wood could a woodchuck chuck,If a woodchuck could chuck wood? How many poles could a polak lock,If a polak could lock poles? How many knees could a negro grow, If a negro could grow knees? The answer, my dear, is stick it in your ear.The answer is to stick it in your ear. + +The singing ends, and Stallman's lips curl into another child-like half smile. I glance around at the nearby tables. The Asian families enjoying their Sunday lunch pay little attention to the bearded alto in their midst.~{ For more Stallman filks, visit
http://www.stallman.org/doggerel.html. To hear Stallman singing "The Free Software Song," visit
http://www.gnu.org/music/free-software-song.html. }~ After a few moments of hesitation, I finally smile too. + +"Do you want that last cornball?" Stallman asks, eyes twinkling. Before I can screw up the punch line, Stallman grabs the corn-encrusted dumpling with his two chopsticks and lifts it proudly. "Maybe I'm the one who should get the cornball," he says. + +The food gone, our conversation assumes the dynamics of a normal interview. Stallman reclines in his chair and cradles a cup of tea in his hands. We resume talking about Napster and its relation to the free software movement. Should the principles of free software be extended to similar arenas such as music publishing? I ask. + +"It's a mistake to transfer answers from one thing to another," says Stallman, contrasting songs with software programs. "The right approach is to look at each type of work and see what conclusion you get." + +When it comes to copyrighted works, Stallman says he divides the world into three categories. The first category involves "functional" works-e.g., software programs, dictionaries, and textbooks. The second category involves works that might best be described as "testimonial"-e.g., scientific papers and historical documents. Such works serve a purpose that would be undermined if subsequent readers or authors were free to modify the work at will. The final category involves works of personal expression-e.g., diaries, journals, and autobiographies. To modify such documents would be to alter a person's recollections or point of view-action Stallman considers ethically unjustifiable. +={copyrighted works, categories of} + +Of the three categories, the first should give users the unlimited right to make modified versions, while the second and third should regulate that right according to the will of the original author. Regardless of category, however, the freedom to copy and redistribute noncommercially should remain unabridged at all times, Stallman insists. If that means giving Internet users the right to generate a hundred copies of an article, image, song, or book and then email the copies to a hundred strangers, so be it. "It's clear that private occasional redistribution must be permitted, because only a police state can stop that," Stallman says. "It's antisocial to come between people and their friends. Napster has convinced me that we also need to permit, must permit, even noncommercial redistribution to the public for the fun of it. Because so many people want to do that and find it so useful." +={Napster} + +When I ask whether the courts would accept such a permissive outlook, Stallman cuts me off. + +"That's the wrong question," he says. "I mean now you've changed the subject entirely from one of ethics to one of interpreting laws. And those are two totally different questions in the same field. It's useless to jump from one to the other. How the courts would interpret the existing laws is mainly in a harsh way, because that's the way these laws have been bought by publishers." + +The comment provides an insight into Stallman's political philosophy: just because the legal system currently backs up businesses' ability to treat copyright as the software equivalent of land title doesn't mean computer users have to play the game according to those rules. Freedom is an ethical issue, not a legal issue. "I'm looking beyond what the existing laws are to what they should be," Stallman says. "I'm not trying to draft legislation. I'm thinking about what should the law do? I consider the law prohibiting the sharing of copies with your friend the moral equivalent of Jim Crow. It does not deserve respect." + +The invocation of Jim Crow prompts another question. How much influence or inspiration does Stallman draw from past political leaders? Like the civil-rights movement of the 1950s and 1960s, his attempt to drive social change is based on an appeal to timeless values: freedom, justice, and fair play. + +Stallman divides his attention between my analogy and a particularly tangled strand of hair. When I stretch the analogy to the point where I'm comparing Stallman with Dr. Martin Luther King, Jr., Stallman, after breaking off a split end and popping it into his mouth, cuts me off. + +% ={King, Dr. Martin Luther, Jr.+3} + +"I'm not in his league, but I do play the same game," he says, chewing. + +I suggest Malcolm X as another point of comparison. Like the former Nation of Islam spokesperson, Stallman has built up a reputation for courting controversy, alienating potential allies, and preaching a message favoring self-sufficiency over cultural integration. + +Chewing on another split end, Stallman rejects the comparison. "My message is closer to King's message," he says. "It's a universal message. It's a message of firm condemnation of certain practices that mistreat others. It's not a message of hatred for anyone. And it's not aimed at a narrow group of people. I invite anyone to value freedom and to have freedom." + +Even so, a suspicious attitude toward political alliances remains a fundamental Stallman character trait. In the case of his well-publicized distaste for the term "open source," the unwillingness to participate in recent coalition-building projects seems understandable. As a man who has spent the last two decades stumping on the behalf of free software, Stallman's political capital is deeply invested in the term. Still, comments such as the "Han Solo" wisecrack at the 1999 LinuxWorld have only reinforced the Stallman's reputation in the software industry as a disgrunted mossback unwilling to roll with political or marketing trends. + +"I admire and respect Richard for all the work he's done," says Red Hat president Robert Young, summing up Stallman's paradoxical political nature. "My only critique is that sometimes Richard treats his friends worse than his enemies." +={Young, Robert;Red Hat Inc.} + +Stallman's unwillingness to seek alliances seems equally perplexing when you consider his political interests outside of the free software movement. Visit Stallman's offices at MIT, and you instantly find a clearinghouse of left-leaning news articles covering civil-rights abuses around the globe. Visit his web site, and you'll find diatribes on the Digital Millennium Copyright Act, the War on Drugs, and the World Trade Organization. +={Digital Millennium Copyright Act;War on Drugs;World Trade Organization} + +Given his activist tendencies, I ask, why hasn't Stallman sought a larger voice? Why hasn't he used his visibility in the hacker world as a platform to boost rather than reduce his political voice. + +Stallman lets his tangled hair drop and contemplates the question for a moment. + +"I hesitate to exaggerate the importance of this little puddle of freedom," he says. "Because the more well-known and conventional areas of working for freedom and a better society are tremendously important. I wouldn't say that free software is as important as they are. It's the responsibility I undertook, because it dropped in my lap and I saw a way I could do something about it. But, for example, to end police brutality, to end the war on drugs, to end the kinds of racism we still have, to help everyone have a comfortable life, to protect the rights of people who do abortions, to protect us from theocracy, these are tremendously important issues, far more important than what I do. I just wish I knew how to do something about them." + +Once again, Stallman presents his political activity as a function of personal confidence. Given the amount of time it has taken him to develop and hone the free software movement's core tenets, Stallman is hesitant to jump aboard any issues or trends that might transport him into uncharted territory. + +"I wish I knew I how to make a major difference on those bigger issues, because I would be tremendously proud if I could, but they're very hard and lots of people who are probably better than I am have been working on them and have gotten only so far," he says. "But as I see it, while other people were defending against these big visible threats, I saw another threat that was unguarded. And so I went to defend against that threat. It may not be as big a threat, but I was the only one there." + +Chewing a final split end, Stallman suggests paying the check. Before the waiter can take it away, however, Stallman pulls out a white-colored dollar bill and throws it on the pile. The bill looks so clearly counterfeit, I can't help but pick it up and read it. Sure enough, it is counterfeit. Instead of bearing the image of a George Washington or Abe Lincoln, the bill's front side bears the image of a cartoon pig. Instead of the United States of America, the banner above the pig reads "United Swines of Avarice." The bill is for zero dollars, and when the waiter picks up the money, Stallman makes sure to tug on his sleeve. + +"I added an extra zero to your tip," Stallman says, yet another half smile creeping across his lips. + +The waiter, uncomprehending or fooled by the look of the bill, smiles and scurries away. + +"I think that means we're free to go," Stallman says. + +1~ Chapter 6 - The Emacs Commune +={Emacs Commune+52;Stallman, Richard M.:AI Lab, as a programmer+18;Stallman, Richard M.:Emacs Commune and+52} + +The AI Lab of the 1970s was by all accounts a special place. Cutting-edge projects and top-flight researchers gave it an esteemed position in the world of computer science. The internal hacker culture and its anarchic policies lent a rebellious mystique as well. Only later, when many of the lab's scientists and software superstars had departed, would hackers fully realize the unique and ephemeral world they had once inhabited. +={AI Lab (Artificial Intelligence Laboratory)+17} + +"It was a bit like the Garden of Eden," says Stallman, summing up the lab and its software-sharing ethos in a 1998 Forbes article. "It hadn't occurred to us not to cooperate."~{ See Josh McHugh, "For the Love of Hacking," Forbes (August 10, 1998).
http://www.forbes.com/forbes/1998/0810/6203094a.html }~ + +Such mythological descriptions, while extreme, underline an important fact. The ninth floor of 545 Tech Square was more than a workplace for many. For hackers such as Stallman, it was home. + +The word "home" is a weighted term in the Stallman lexicon. In a pointed swipe at his parents, Stallman, to this day, refuses to acknowledge any home before Currier House, the dorm he lived in during his days at Harvard. He has also been known to describe leaving that home in tragicomic terms. Once, while describing his years at Harvard, Stallman said his only regret was getting kicked out. It wasn't until I asked Stallman what precipitated his ouster, that I realized I had walked into a classic Stallman setup line. +={Currier House (Harvard University)} + +"At Harvard they have this policy where if you pass too many classes they ask you to leave," Stallman says. + +With no dorm and no desire to return to New York, Stallman followed a path blazed by Greenblatt, Gosper, Sussman, and the many other hackers before him. Enrolling at MIT as a grad student, Stallman rented an apartment in nearby Cambridge but soon viewed the AI Lab itself as his de facto home. In a 1986 speech, Stallman recalled his memories of the AI Lab during this period: +={Gosper, Bill;Greenblat, Richard;Sussman, Gerald} + +_1 I may have done a little bit more living at the lab than most people, because every year or two for some reason or other I'd have no apartment and I would spend a few months living at the lab. And I've always found it very comfortable, as well as nice and cool in the summer. But it was not at all uncommon to find people falling asleep at the lab, again because of their enthusiasm; you stay up as long as you possibly can hacking, because you just don't want to stop. And then when you're completely exhausted, you climb over to the nearest soft horizontal surface. A very informal atmosphere.~{ See Stallman (1986). }~ + +The lab's home-like atmosphere could be a problem at times. What some saw as a dorm, others viewed as an electronic opium den. In the 1976 book Computer Power and Human Reason, MIT researcher Joseph Weizenbaum offered a withering critique of the " computer bum," Weizenbaum's term for the hackers who populated computer rooms such as the AI Lab. "Their rumpled clothes, their unwashed hair and unshaved faces, and their uncombed hair all testify that they are oblivious to their bodies and to the world in which they move," Weizenbaum wrote. "[Computer bums] exist, at least when so engaged, only through and for the computers."~{ See Joseph Weizenbaum, Computer Power and Human Reason: From Judgment to Calculation (W. H. Freeman, 1976): 116. }~ +={computer bums;Computer Power and Human Reason (Weizenbaum);Weizenbaum, Joseph+1} + +Almost a quarter century after its publication, Stallman still bristles when hearing Weizenbaum's "computer bum" description, discussing it in the present tense as if Weizenbaum himself was still in the room. "He wants people to be just professionals, doing it for the money and wanting to get away from it and forget about it as soon as possible," Stallman says. "What he sees as a normal state of affairs, I see as a tragedy." + +Hacker life, however, was not without tragedy. Stallman characterizes his transition from weekend hacker to full-time AI Lab denizen as a series of painful misfortunes that could only be eased through the euphoria of hacking. As Stallman himself has said, the first misfortune was his graduation from Harvard. Eager to continue his studies in physics, Stallman enrolled as a graduate student at MIT. The choice of schools was a natural one. Not only did it give Stallman the chance to follow the footsteps of great MIT alumni: William Shockley ('36), Richard P. Feynman ('39), and Murray Gell-Mann ('51), it also put him two miles closer to the AI Lab and its new PDP-10 computer. "My attention was going toward programming, but I still thought, well, maybe I can do both," Stallman says. +={Feynman, Richard;Gell-Mann, Murray;Harvard University:graduation from;Shockley, William} + +Toiling in the fields of graduate-level science by day and programming in the monastic confines of the AI Lab by night, Stallman tried to achieve a perfect balance. The fulcrum of this geek teeter-totter was his weekly outing with the folk-dance troupe, his one social outlet that guaranteed at least a modicum of interaction with the opposite sex. Near the end of that first year at MIT, however, disaster struck. A knee injury forced Stallman to drop out of the troupe. At first, Stallman viewed the injury as a temporary problem, devoting the spare time he would have spent dancing to working at the AI Lab even more. By the end of the summer, when the knee still ached and classes reconvened, Stallman began to worry. "My knee wasn't getting any better," Stallman recalls, "which meant I had to stop dancing completely. I was heartbroken." + +With no dorm and no dancing, Stallman's social universe imploded. Like an astronaut experiencing the aftereffects of zero-gravity, Stallman found that his ability to interact with nonhackers, especially female nonhackers, had atrophied significantly. After 16 weeks in the AI Lab, the self confidence he'd been quietly accumulating during his 4 years at Harvard was virtually gone. + +"I felt basically that I'd lost all my energy," Stallman recalls. "I'd lost my energy to do anything but what was most immediately tempting. The energy to do something else was gone. I was in total despair." + +Stallman retreated from the world even further, focusing entirely on his work at the AI Lab. By October, 1975, he dropped out of MIT, never to go back. Software hacking, once a hobby, had become his calling. + +Looking back on that period, Stallman sees the transition from full-time student to full-time hacker as inevitable. Sooner or later, he believes, the siren's call of computer hacking would have overpowered his interest in other professional pursuits. "With physics and math, I could never figure out a way to contribute," says Stallman, recalling his struggles prior to the knee injury. "I would have been proud to advance either one of those fields, but I could never see a way to do that. I didn't know where to start. With software, I saw right away how to write things that would run and be useful. The pleasure of that knowledge led me to want to do it more." + +Stallman wasn't the first to equate hacking with pleasure. Many of the hackers who staffed the AI Lab boasted similar, incomplete academic rÈsumÈs. Most had come in pursuing degrees in math or electrical engineering only to surrender their academic careers and professional ambitions to the sheer exhilaration that came with solving problems never before addressed. Like St. Thomas Aquinas, the scholastic known for working so long on his theological summae that he sometimes achieved spiritual visions, hackers reached transcendent internal states through sheer mental focus and physical exhaustion. Although Stallman shunned drugs, like most hackers, he enjoyed the "high" that came near the end of a 20-hour coding bender. +={Thomas Aquinas, saint} + +Perhaps the most enjoyable emotion, however, was the sense of personal fulfillment. When it came to hacking, Stallman was a natural. A childhood's worth of late-night study sessions gave him the ability to work long hours with little sleep. As a social outcast since age 10, he had little difficulty working alone. And as a mathematician with built-in gift for logic and foresight, Stallman possessed the ability to circumvent design barriers that left most hackers spinning their wheels. + +"He was special," recalls Gerald Sussman, an MIT faculty member and former AI Lab researcher. Describing Stallman as a "clear thinker and a clear designer," Sussman employed Stallman as a research-project assistant beginning in 1975. The project was complex, involving the creation of an AI program that could analyze circuit diagrams. Not only did it involve an expert's command of Lisp, a programming language built specifically for AI applications, but it also required an understanding of how a human might approach the same task. +={LISP programming language;Sussman, Gerald} + +When he wasn't working on official projects such as Sussman's automated circuit-analysis program, Stallman devoted his time to pet projects. It was in a hacker's best interest to improve the lab's software infrastructure, and one of Stallman's biggest pet projects during this period was the lab's editor program TECO. +={TECO editor program+23} + +The story of Stallman's work on TECO during the 1970s is inextricably linked with Stallman's later leadership of the free software movement. It is also a significant stage in the history of computer evolution, so much so that a brief recapitulation of that evolution is necessary. During the 1950s and 1960s, when computers were first appearing at universities, computer programming was an incredibly abstract pursuit. To communicate with the machine, programmers created a series of punch cards, with each card representing an individual software command. Programmers would then hand the cards over to a central system administrator who would then insert them, one by one, into the machine, waiting for the machine to spit out a new set of punch cards, which the programmer would then decipher as output. This process, known as "batch processing," was cumbersome and time consuming. It was also prone to abuses of authority. One of the motivating factors behind hackers' inbred aversion to centralization was the power held by early system operators in dictating which jobs held top priority. +={batch processing;Free Software Foundation (FSF):TECO text-editor and;punch cards, for batch processing} + +% teco and fsf link tenuous + +In 1962, computer scientists and hackers involved in MIT's Project MAC, an early forerunner of the AI Lab, took steps to alleviate this frustration. Time-sharing, originally known as "time stealing," made it possible for multiple programs to take advantage of a machine's operational capabilities. Teletype interfaces also made it possible to communicate with a machine not through a series of punched holes but through actual text. A programmer typed in commands and read the line-by-line output generated by the machine. +={Project MAC;teletype interfaces vs. batch processing+3} + +During the late 1960s, interface design made additional leaps. In a famous 1968 lecture, Doug Engelbart, a scientist then working at the Stanford Research Institute, unveiled a prototype of the modern graphical interface. Rigging up a television set to the computer and adding a pointer device which Engelbart dubbed a "mouse," the scientist created a system even more interactive than the time-sharing system developed a MIT. Treating the video display like a high-speed printer, Engelbart's system gave a user the ability to move the cursor around the screen and see the cursor position updated by the computer in real time. The user suddenly had the ability to position text anywhere on the screen. +={Engelbart, Doug;graphial interfaces;mice, as video pointers;Stanford Research Institute} + +Such innovations would take another two decades to make their way into the commercial marketplace. Still, by the 1970s, video screens had started to replace teletypes as display terminals, creating the potential for full-screen-as opposed to line-by-line-editing capabilities. +={display terminals, replacing teletypes;video screens} + +One of the first programs to take advantage of this full-screen capability was the MIT AI Lab's TECO. Short for Text Editor and COrrector, the program had been upgraded by hackers from an old teletype line editor for the lab's PDP-6 machine.~{ According to the Jargon File, TECO's name originally stood for Tape Editor and Corrector.
http://www.tuxedo.org/~esr/jargon/html/entry/TECO.html }~ + +TECO was a substantial improvement over old editors, but it still had its drawbacks. To create and edit a document, a programmer had to enter a series of software commands specifying each edit. It was an abstract process. Unlike modern word processors, which update text with each keystroke, TECO demanded that the user enter an extended series of editing instructions followed by an "end of command" sequence just to change the text.Over time, a hacker grew proficient enough to write entire documents in edit mode, but as Stallman himself would later point out, the process required "a mental skill like that of blindfold chess."~{ See Richard Stallman, "EMACS: The Extensible, Customizable, Display Editor," AI Lab Memo (1979). An updated HTML version of this memo, from which I am quoting, is available at
http://www.gnu.org/software/emacs/emacs-paper.html }~ + +To facilitate the process, AI Lab hackers had built a system that displayed both the "source" and "display" modes on a split screen. Despite this innovative hack, switching from mode to mode was still a nuisance. + +TECO wasn't the only full-screen editor floating around the computer world at this time. During a visit to the Stanford Artificial Intelligence Lab in 1976, Stallman encountered an edit program named E. The program contained an internal feature, which allowed a user to update display text after each command keystroke. In the language of 1970s programming, E was one of the first rudimentary WYSIWYG editors. Short for "what you see is what you get," WYSIWYG meant that a user could manipulate the file by moving through the displayed text, as opposed to working through a back-end editor program."~{ See Richard Stallman, "Emacs the Full Screen Editor" (1987).
http://www.lysator.liu.se/history/garb/txt/87-1-emacs.txt }~ +={E edit program;Stanford Artificial Intelligence Laboratory} + +Impressed by the hack, Stallman looked for ways to expand TECO's functionality in similar fashion upon his return to MIT. He found a TECO feature called Control-R, written by Carl Mikkelson and named after the two-key combination that triggered it. Mikkelson's hack switched TECO from its usual abstract command-execution mode to a more intuitive keystroke-by-keystroke mode. Stallman revised the feature in a subtle but significant way. He made it possible to trigger other TECO command strings, or "macros," using other, two-key combinations. Where users had once entered command strings and discarded them after entering then, Stallman's hack made it possible to save macro tricks on file and call them up at will. Mikkelson's hack had raised TECO to the level of a WYSIWYG editor. Stallman's hack had raised it to the level of a user-programmable WYSIWYG editor. "That was the real breakthrough," says Guy Steele, a fellow AI Lab hacker at the time. ^39^ +={macro modes, adding to TECO+11;Steele, Guy+13} + +By Stallman's own recollection, the macro hack touched off an explosion of further innovation. "Everybody and his brother was writing his own collection of redefined screen-editor commands, a command for everything he typically liked to do," Stallman would later recall. "People would pass them around and improve them, making them more powerful and more general. The collections of redefinitions gradually became system programs in their own right." ^39^ + +So many people found the macro innovations useful and had incorporated it into their own TECO programs that the TECO editor had become secondary to the macro mania it inspired. "We started to categorize it mentally as a programming language rather than as an editor," Stallman says. Users were experiencing their own pleasure tweaking the software and trading new ideas. ^39^ + +Two years after the explosion, the rate of innovation began to exhibit dangerous side effects. The explosive growth had provided an exciting validation of the collaborative hacker approach, but it had also led to over-complexity. "We had a Tower of Babel effect," says Guy Steele. + +The effect threatened to kill the spirit that had created it, Steele says. Hackers had designed ITS to facilitate programmers' ability to share knowledge and improve each other's work. That meant being able to sit down at another programmer's desk, open up a programmer's work and make comments and modifications directly within the software. "Sometimes the easiest way to show somebody how to program or debug something was simply to sit down at the terminal and do it for them," explains Steele. + +The macro feature, after its second year, began to foil this capability. In their eagerness to embrace the new full-screen capabilities, hackers had customized their versions of TECO to the point where a hacker sitting down at another hacker's terminal usually had to spend the first hour just figuring out what macro commands did what. + +Frustrated, Steele took it upon himself to the solve the problem. He gathered together the four different macro packages and began assembling a chart documenting the most useful macro commands. In the course of implementing the design specified by the chart, Steele says he attracted Stallman's attention. + +"He started looking over my shoulder, asking me what I was doing," recalls Steele. + +For Steele, a soft-spoken hacker who interacted with Stallman infrequently, the memory still sticks out. Looking over another hacker's shoulder while he worked was a common activity at the AI Lab. Stallman, the TECO maintainer at the lab, deemed Steele's work "interesting" and quickly set off to complete it. + +"As I like to say, I did the first 0.001 percent of the implementation, and Stallman did the rest," says Steele with a laugh. + +The project's new name, Emacs, came courtesy of Stallman. Short for "editing macros," it signified the evolutionary transcendence that had taken place during the macros explosion two years before. It also took advantage of a gap in the software programming lexicon. Noting a lack of programs on ITS starting with the letter "E," Stallman chose Emacs, making it possible to reference the program with a single letter. Once again, the hacker lust for efficiency had left its mark. ^39^ +={Emacs text editor+11;GNU Emacs+11} + +In the course of developing a standard system of macro commands, Stallman and Steele had to traverse a political tightrope. In creating a standard program, Stallman was in clear violation of the fundamental hacker tenet-"promote decentralization." He was also threatening to hobble the very flexibility that had fueled TECO's explosive innovation in the first place. + +"On the one hand, we were trying to make a uniform command set again; on the other hand, we wanted to keep it open ended, because the programmability was important," recalls Steele. + +To solve the problem, Stallman, Steele, and fellow hackers David Moon and Dan Weinreib limited their standardization effort to the WYSIWYG commands that controlled how text appeared on-screen. The rest of the Emacs effort would be devoted to retaining the program's Tinker Toy-style extensibility. + +Stallman now faced another conundrum: if users made changes but didn't communicate those changes back to the rest of the community, the Tower of Babel effect would simply emerge in other places. Falling back on the hacker doctrine of sharing innovation, Stallman embedded a statement within the source code that set the terms of use. Users were free to modify and redistribute the code on the condition that they gave back all the extensions they made. Stallman dubbed it the " Emacs Commune." Just as TECO had become more than a simple editor, Emacs had become more than a simple software program. To Stallman, it was a social contract. In an early memo documenting the project, Stallman spelled out the contract terms. "EMACS," he wrote, "was distributed on a basis of communal sharing, which means that all improvements must be given back to me to be incorporated and distributed."~{ See Stallman (1979): #SEC34. }~ +={Emacs Commune} + +Not everybody accepted the contract. The explosive innovation continued throughout the decade, resulting in a host of Emacs-like programs with varying degrees of cross-compatibility. A few cited their relation to Stallman's original Emacs with humorously recursive names: Sine (Sine is not Emacs), Eine (Eine is not Emacs), and Zwei (Zwei was Eine initially). As a devoted exponent of the hacker ethic, Stallman saw no reason to halt this innovation through legal harassment. Still, the fact that some people would so eagerly take software from the community chest, alter it, and slap a new name on the resulting software displayed a stunning lack of courtesy. +={Eine (Eine is not Emacs) text editor;Zwei (Zwei was Eine initially) text editor;Sine (Sine is not Emacs) text editor} + +Such rude behavior was reflected against other, unsettling developments in the hacker community. Brian Reid's 1979 decision to embed "time bombs" in Scribe, making it possible for Unilogic to limit unpaid user access to the software, was a dark omen to Stallman. "He considered it the most Nazi thing he ever saw in his life," recalls Reid. Despite going on to later Internet fame as the cocreator of the Usenet alt heirarchy, Reid says he still has yet to live down that 1979 decision, at least in Stallman's eyes. "He said that all software should be free and the prospect of charging money for software was a crime against humanity."~{ In a 1996 interview with online magazine MEME, Stallman cited Scribe's sale as irksome, but hesitated to mention Reid by name. "The problem was nobody censured or punished this student for what he did," Stallman said. "The result was other people got tempted to follow his example." See MEME 2.04.
http://memex.org/meme2-04.html }~ +={Reid, Brian+1;Unilogic software company;time bombs, in software;Scribe text-formatting program} + +% additional reference to Unilogic; also time bombs; also scribe text-formatting program + +Although Stallman had been powerless to head off Reid's sale, he did possess the ability to curtail other forms of behavior deemed contrary to the hacker ethos. As central source-code maintainer for the Emacs "commune," Stallman began to wield his power for political effect. During his final stages of conflict with the administrators at the Laboratory for Computer Science over password systems, Stallman initiated a software "strike,"~{ See Steven Levy, Hackers (Penguin USA [paperback], 1984): 419. }~ refusing to send lab members the latest version of Emacs until they rejected the security system on the lab's computers. The move did little to improve Stallman's growing reputation as an extremist, but it got the point across: commune members were expected to speak up for basic hacker values. +={security (computer), opposition to;strike, at the Laboratory for Computer Science} + +"A lot of people were angry with me, saying I was trying to hold them hostage or blackmail them, which in a sense I was," Stallman would later tell author Steven Levy. "I was engaging in violence against them because I thought they were engaging in violence to everyone at large." ^42^ + +Over time, Emacs became a sales tool for the hacker ethic. The flexibility Stallman and built into the software not only encouraged collaboration, it demanded it. Users who didn't keep abreast of the latest developments in Emacs evolution or didn't contribute their contributions back to Stallman ran the risk of missing out on the latest breakthroughs. And the breakthroughs were many. Twenty years later, users had modified Emacs for so many different uses-using it as a spreadsheet, calculator, database, and web browser-that later Emacs developers adopted an overflowing sink to represent its versatile functionality. "That's the idea that we wanted to convey," says Stallman. "The amount of stuff it has contained within it is both wonderful and awful at the same time." + +Stallman's AI Lab contemporaries are more charitable. Hal Abelson, an MIT grad student who worked with Stallman during the 1970s and would later assist Stallman as a charter boardmember of the Free Software Foundation, describes Emacs as "an absolutely brilliant creation." In giving programmers a way to add new software libraries and features without messing up the system, Abelson says, Stallman paved the way for future large-scale collaborative software projects. "Its structure was robust enough that you'd have people all over the world who were loosely collaborating [and] contributing to it," Abelson says. "I don't know if that had been done before."~{ In writing this chapter, I've elected to focus more on the social significance of Emacs than the software significance. To read more about the software side, I recommend Stallman's 1979 memo. I particularly recommend the section titled "Research Through Development of Installed Tools" (#SEC27). Not only is it accessible to the nontechnical reader, it also sheds light on how closely intertwined Stallman's political philosophies are with his software-design philosophies. A sample excerpt follows:
_1 EMACS could not have been reached by a process of careful design, because such processes arrive only at goals which are visible at the outset, and whose desirability is established on the bottom line at the outset. Neither I nor anyone else visualized an extensible editor until I had made one, nor appreciated its value until he had experienced it. EMACS exists because I felt free to make individually useful small improvements on a path whose end was not in sight. }~ +={Abelson, Hal} + +Guy Steele expresses similar admiration. Currently a research scientist for Sun Microsystems, he remembers Stallman primarily as a "brilliant programmer with the ability to generate large quantities of relatively bug-free code." Although their personalities didn't exactly mesh, Steele and Stallman collaborated long enough for Steele to get a glimpse of Stallman's intense coding style. He recalls a notable episode in the late 1970s when the two programmers banded together to write the editor's "pretty print" feature. Originally conceived by Steele, pretty print was another keystroke-triggerd feature that reformatted Emacs' source code so that it was both more readable and took up less space, further bolstering the program's WYSIWIG qualities. The feature was strategic enough to attract Stallman's active interest, and it wasn't long before Steele wrote that he and Stallman were planning an improved version. +={Steele, Guy+3;Sun Microsystems} + +"We sat down one morning," recalls Steele. "I was at the keyboard, and he was at my elbow," says Steele. "He was perfectly willing to let me type, but he was also telling me what to type. + +The programming session lasted 10 hours. Throughout that entire time, Steele says, neither he nor Stallman took a break or made any small talk. By the end of the session, they had managed to hack the pretty print source code to just under 100 lines. "My fingers were on the keyboard the whole time," Steele recalls, "but it felt like both of our ideas were flowing onto the screen. He told me what to type, and I typed it." + +The length of the session revealed itself when Steele finally left the AI Lab. Standing outside the building at 545 Tech Square, he was surprised to find himself surrounded by nighttime darkness. As a programmer, Steele was used to marathon coding sessions. Still, something about this session was different. Working with Stallman had forced Steele to block out all external stimuli and focus his entire mental energies on the task at hand. Looking back, Steele says he found the Stallman mind-meld both exhilarating and scary at the same time. "My first thought afterward was: it was a great experience, very intense, and that I never wanted to do it again in my life." + +1~ Chapter 7 - A Stark Moral Choice +={Stallman, Richard M.:GNU Project+72} + +On September 27, 1983, computer programmers logging on to the Usenet newsgroup net.unix-wizards encountered an unusual message. Posted in the small hours of the morning, 12:30 a.m. to be exact, and signed by rms@mit-oz, the message's subject line was terse but attention-grabbing. "New UNIX implementation," it read. Instead of introducing a newly released version of Unix, however, the message's opening paragraph issued a call to arms: +={GNU Project:new UNIX implementation;net.unix-wizards newsgroup} + +_1 Starting this Thanksgiving I am going to write a complete Unix-compatible software system called GNU (for Gnu's Not Unix), and give it away free to everyone who can use it. Contributions of time, money, programs and equipment are greatly needed.~{ See Richard Stallman, "Initial GNU Announcement" (September 1983).
http://www.gnu.ai.mit.edu/gnu/initial-announcement.html }~ +={Unix operating system:GNU system and} + +To an experienced Unix developer, the message was a mixture of idealism and hubris. Not only did the author pledge to rebuild the already mature Unix operating system from the ground up, he also proposed to improve it in places. The new GNU system, the author predicted, would carry all the usual components-a text editor, a shell program to run Unix-compatible applications, a compiler, "and a few other things." ^44^ It would also contain many enticing features that other Unix systems didn't yet offer: a graphic user interface based on the Lisp programming language, a crash-proof file system, and networking protocols built according to MIT's internal networking system. +={LISP programming language:GNU system and} + +"GNU will be able to run Unix programs, but will not be identical to Unix," the author wrote. "We will make all improvements that are convenient, based on our experience with other operating systems." + +Anticipating a skeptical response on some readers' part, the author made sure to follow up his operating-system outline with a brief biographical sketch titled, "Who am I?": + +_1 I am Richard Stallman, inventor of the original much-imitated EMACS editor, now at the Artificial Intelligence Lab at MIT. I have worked extensively on compilers, editors, debuggers, command interpreters, the Incompatible Timesharing System and the Lisp Machine operating system. I pioneered terminal-independent display support in ITS. In addition I have implemented one crashproof file system and two window systems for Lisp machines. ^44^ + +As fate would have it, Stallman's fanciful GNU Project missed its Thanksgiving launch date. By January, 1984, however, Stallman made good on his promise and fully immersed himself in the world of Unix software development. For a software architect raised on ITS, it was like designing suburban shopping malls instead of Moorish palaces. Even so, building a Unix-like operating system had its hidden advantages. ITS had been powerful, but it also possessed an Achilles' heel: MIT hackers had designed it to take specific advantage of the DEC-built PDP line. When AI Lab administrators elected to phase out the lab's powerful PDP-10 machine in the early 1980s, the operating system that hackers once likened to a vibrant city became an instant ghost town. Unix, on the other hand, was designed for mobility and long-term survival. Originally developed by junior scientists at AT&T, the program had slipped out under corporate-management radar, finding a happy home in the cash-strapped world of academic computer systems. With fewer resources than their MIT brethren, Unix developers had customized the software to ride atop a motley assortment of hardware systems: everything from the 16-bit PDP-11-a machine considered fit for only small tasks by most AI Lab hackers-to 32-bit mainframes such as the VAX 11/780. By 1983, a few companies, most notably Sun Microsystems, were even going so far as to develop a new generation of microcomputers, dubbed "workstations," to take advantage of the increasingly ubiquitous operating system. +={AT&T;Incompatible Timesharing System (ITS)+5;VAX 11/780;PDP-10 computer;PDP-11 computer;Sun Microsystems:developing workstations} + +% original index refers to VAX 11/750 rather than 11/780, check inconsistency + +To facilitate this process, the developers in charge of designing the dominant Unix strains made sure to keep an extra layer of abstraction between the software and the machine. Instead of tailoring the operating system to take advantage of a specific machine's resources-as the AI Lab hackers had done with ITS and the PDP-10-Unix developers favored a more generic, off-the-rack approach. Focusing more on the interlocking standards and specifications that held the operating system's many subcomponents together, rather than the actual components themselves, they created a system that could be quickly modified to suit the tastes of any machine. If a user quibbled with a certain portion, the standards made it possible to pull out an individual subcomponent and either fix it or replace it with something better. Simply put, what the Unix approach lacked in terms of style or aesthetics, it more than made up for in terms of flexibility and economy, hence its rapid adoption.~{ See Marshall Kirk McKusick, "Twenty Years of Berkeley Unix," Open Sources (O'Reilly & Associates, Inc., 1999): 38. }~ +={abstraction:designing Unix;Unix operating system:adoption through flexibility} + +Stallman's decision to start developing the GNU system was triggered by the end of the ITS system that the AI Lab hackers had nurtured for so long. The demise of ITS had been a traumatic blow to Stallman. Coming on the heels of the Xerox laser printer episode, it offered further evidence that the AI Lab hacker culture was losing its immunity to business practices in the outside world. +={AI Lab (Artificial Intelligence Laboratory):ITS demise+3} + +Like the software code that composed it, the roots of ITS' demise stretched way back. Defense spending, long a major font for computer-science research, had dried up during the post-Vietnam years. In a desperate quest for new funds, laboratories and universities turned to the private sector. In the case of the AI Lab, winning over private investors was an easy sell. Home to some of the most ambitious computer-science projects of the post-war era, the lab became a quick incubator of technology. Indeed, by 1980, most of the lab's staff, including many hackers, were dividing its time between Institute and commercial projects. + +What at first seemed like a win-win deal-hackers got to work on the best projects, giving the lab first look at many of the newest computer technologies coming down the pike-soon revealed itself as a Faustian bargain. The more time hackers devoted to cutting-edge commercial projects, the less time they had to devote to general maintenance on the lab's baroque software infrastructure. Soon, companies began hiring away hackers outright in an attempt to monopolize their time and attention. With fewer hackers to mind the shop, programs and machines took longer to fix. Even worse, Stallman says, the lab began to undergo a "demographic change." The hackers who had once formed a vocal minority within the AI Lab were losing membership while "the professors and the students who didn't really love the [PDP-10] were just as numerous as before."3 +={PDP-10 computer+4} + +The breaking point came in 1982. That was the year the lab's administration decided to upgrade its main computer, the PDP-10. Digital, the corporation that manufactured the PDP-10, had discontinued the line. Although the company still offered a high-powered mainframe, dubbed the KL-10, the new machine required a drastic rewrite or "port" of ITS if hackers wanted to continue running the same operating system. Fearful that the lab had lost its critical mass of in-house programming talent, AI Lab faculty members pressed for Twenex, a commercial operating system developed by Digital. Outnumbered, the hackers had no choice but to comply. +={KL-10 mainframe+11;Twenex operating systems+4} + +"Without hackers to maintain the system, [faculty members] said, `We're going to have a disaster; we must have commercial software,'" Stallman would recall a few years later. "They said, `We can expect the company to maintain it.' It proved that they were utterly wrong, but that's what they did."~{ See Richard Stallman (1986). }~ + +At first, hackers viewed the Twenex system as yet another authoritarian symbol begging to be subverted. The system's name itself was a protest. Officially dubbed TOPS-20 by DEC, it was a successor to TOPS-10, a commercial operating system DEC marketed for the PDP-10. Bolt Beranek Newman had deveoped an improved version, dubbed Tenex, which TOPS-20 drew upon.~{ Multiple sources: see Richard Stallman interview, Gerald Sussman email, and Jargon File 3.0.0.
http://www.clueless.com/jargon3.0.0/TWENEX.html }~ Stallman, the hacker who coined the Twenex term, says he came up with the name as a way to avoid using the TOPS-20 name. "The system was far from tops, so there was no way I was going to call it that," Stallman recalls. "So I decided to insert a `w' in the Tenex name and call it Twenex." +={DEC (Digital Equipment Corporation);TOPS-20 operating system+1} + +% ={Bolt, Beranek & Newman engineering firm;Tenex} + +The machine that ran the Twenex/TOPS-20 system had its own derisive nickname: Oz. According to one hacker legend, the machine got its nickname because it required a smaller PDP-11 machine to power its terminal. One hacker, upon viewing the KL-10-PDP-11 setup for the first time, likened it to the wizard's bombastic onscreen introduction in the Wizard of Oz. "I am the great and powerful Oz," the hacker intoned. "Pay no attention to the PDP-11 behind that console."~{ See http://www.as.cmu.edu/~geek/humor/See_Figure_1.txt }~ +={Oz+8;PDP-11 computer} + +If hackers laughed when they first encountered the KL-10, their laughter quickly died when they encountered Twenex. Not only did Twenex boast built-in security, but the system's software engineers had designed the tools and applications with the security system in mind. What once had been a cat-and-mouse game over passwords in the case of the Laboratory for Computer Science's security system, now became an out-and-out battle over system management. System administrators argued that without security, the Oz system was more prone to accidental crashes. Hackers argued that crashes could be better prevented by overhauling the source code. Unfortunately, the number of hackers with the time and inclination to perform this sort of overhaul had dwindled to the point that the system-administrator argument prevailed. +={security (computer), opposition to:Twenex operating systems and} + +Cadging passwords and deliberately crashing the system in order to glean evidence from the resulting wreckage, Stallman successfully foiled the system administrators' attempt to assert control. After one foiled "coup d'etat," Stallman issued an alert to the entire AI staff. ^46^ + +"There has been another attempt to seize power," Stallman wrote. "So far, the aristocratic forces have been defeated." To protect his identity, Stallman signed the message "Radio Free OZ." + +The disguise was a thin one at best. By 1982, Stallman's aversion to passwords and secrecy had become so well known that users outside the AI Laboratory were using his account as a stepping stone to the ARPAnet, the research-funded computer network that would serve as a foundation for today's Internet. One such "tourist" during the early 1980s was Don Hopkins, a California programmer who learned through the hacking grapevine that all an outsider needed to do to gain access to MIT's vaunted ITS system was to log in under the initials RMS and enter the same three-letter monogram when the system requested a password. +={ARPAnet+2;Hopkins, Don} + +"I'm eternally grateful that MIT let me and many other people use their computers for free," says Hopkins. "It meant a lot to many people." + +This so-called "tourist" policy, which had been openly tolerated by MIT management during the ITS years,~{ See "MIT AI Lab Tourist Policy."
http://catalog.com/hopkins/text/tourist-policy.html }~ fell by the wayside when Oz became the lab's primary link to the ARPAnet. At first, Stallman continued his policy of repeating his login ID as a password so outside users could follow in his footsteps. Over time, however, the Oz's fragility prompted administrators to bar outsiders who, through sheer accident or malicious intent, might bring down the system. When those same administrators eventually demanded that Stallman stop publishing his password, Stallman, citing personal ethics, refused to do so and ceased using the Oz system altogether. ^46^ + +"[When] passwords first appeared at the MIT AI Lab I [decided] to follow my belief that there should be no passwords," Stallman would later say. "Because I don't believe that it's really desirable to have security on a computer, I shouldn't be willing to help uphold the security regime." ^46^ + +Stallman's refusal to bow before the great and powerful Oz symbolized the growing tension between hackers and AI Lab management during the early 1980s. This tension paled in comparison to the conflict that raged within the hacker community itself. By the time the KL-10 arrived, the hacker community had already divided into two camps. The first centered around a software company called Symbolics, Inc. The second centered around Symbolics chief rival, Lisp Machines, Inc. (LMI). Both companies were in a race to market the Lisp Machine, a device built to take full advantage of the Lisp programming language. +={Symbolics+15;LISP programming language+1} + +Created by artificial-intelligence research pioneer John McCarthy, a MIT artificial-intelligence researcher during the late 1950s, Lisp is an elegant language well-suited for programs charged with heavy-duty sorting and processing. The language's name is a shortened version of LISt Processing. Following McCarthy's departure to the Stanford Artificial Intelligence Laboratory, MIT hackers refined the language into a local dialect dubbed MACLISP. The "MAC" stood for Project MAC, the DARPA-funded research project that gave birth to the AI Lab and the Laboratory for Computer Science. Led by AI Lab arch-hacker Richard Greenblatt, AI Lab programmers during the 1970s built up an entire Lisp-based operating system, dubbed the Lisp Machine operating system. By 1980, the Lisp Machine project had generated two commercial spin-offs. Symbolics was headed by Russell Noftsker, a former AI Lab administrator, and Lisp Machines, Inc., was headed by Greenblatt. +={DARPA;Greenblat, Richard;LISP programming language:operating system for+4;MACLISP language;McCarthy, John;Project MAC;Stanford Artificial Intelligence Laboratory} + +% Greenblat index ref added; additional Project MAC ref + +The Lisp Machine software was hacker-built, meaning it was owned by MIT but available for anyone to copy as per hacker custom. Such a system limited the marketing advantage of any company hoping to license the software from MIT and market it as unique. To secure an advantage, and to bolster the aspects of the operating system that customers might consider attractive, the companies recruited various AI Lab hackers and set them working on various components of the Lisp Machine operating system outside the auspices of the AI Lab. + +The most aggressive in this strategy was Symbolics. By the end of 1980, the company had hired 14 AI Lab staffers as part-time consultants to develop its version of the Lisp Machine. Apart from Stallman, the rest signed on to help LMI.~{ See H. P. Newquist, The Brain Makers: Genius, Ego, and Greed in the Quest for Machines that Think (Sams Publishing, 1994): 172. }~ +={AI Lab (Artificial Intelligence Laboratory):Symbolics and+10} + +% Symbolics AI Lab longer range marked + +At first, Stallman accepted both companies' attempt to commercialize the Lisp machine, even though it meant more work for him. Both licensed the Lisp Machine OS source code from MIT, and it was Stallman's job to update the lab's own Lisp Machine to keep pace with the latest innovations. Although Symbolics' license with MIT gave Stallman the right to review, but not copy, Symbolics' source code, Stallman says a "gentleman's agreement" between Symbolics management and the AI Lab made it possible to borrow attractive snippets in traditional hacker fashion. +={LISP Machines Inc. (LMI):Symbolics and+13;LMI (LISP Machines Inc.):Symbolics and+13} + +On March 16, 1982, a date Stallman remembers well because it was his birthday, Symbolics executives decided to end this gentlemen's agreement. The move was largely strategic. LMI, the primary competition in the Lisp Machine marketplace, was essentially using a copy of the AI Lab Lisp Machine. Rather than subsidize the development of a market rival, Symbolics executives elected to enforce the letter of the license. If the AI Lab wanted its operating system to stay current with the Symbolics operating system, the lab would have to switch over to a Symbolics machine and sever its connection to LMI. + +As the person responsible for keeping up the lab's Lisp Machine, Stallman was incensed. Viewing this announcement as an "ultimatum," he retaliated by disconnecting Symbolics' microwave communications link to the laboratory. He then vowed never to work on a Symbolics machine and pledged his immediate allegiance to LMI. "The way I saw it, the AI Lab was a neutral country, like Belgium in World War I," Stallman says. "If Germany invades Belgium, Belgium declares war on Germany and sides with Britain and France." + +The circumstances of the so-called "Symbolics War" of 1982-1983 depend heavily on the source doing the telling. When Symbolics executives noticed that their latest features were still appearing in the AI Lab Lisp Machine and, by extension, the LMI Lisp machine, they installed a "spy" program on Stallman's computer terminal. Stallman says he was rewriting the features from scratch, taking advantage of the license's review clause but also taking pains to make the source code as different as possible. Symbolics executives argued otherwise and took their case to MIT administration. According to 1994 book, The Brain Makers: Genius, Ego, and Greed, and the Quest for Machines That Think, written by Harvey Newquist, the administration responded with a warning to Stallman to "stay away" from the Lisp Machine project.~{ Ibid.: 196. }~ According to Stallman, MIT administrators backed Stallman up. "I was never threatened," he says. "I did make changes in my practices, though. Just to be ultra safe, I no longer read their source code. I used only the documentation and wrote the code from that." +={Brain Makers: Genius, Ego, and Greed in the Quest for Machines that Think, The Newquist;Newquist, Harvey} + +Whatever the outcome, the bickering solidified Stallman's resolve. With no source code to review, Stallman filled in the software gaps according to his own tastes and enlisted members of the AI Lab to provide a continuous stream of bug reports. He also made sure LMI programmers had direct access to the changes. "I was going to punish Symbolics if it was the last thing I did," Stallman says. + +Such statements are revealing. Not only do they shed light on Stallman's nonpacifist nature, they also reflect the intense level of emotion triggered by the conflict. According to another Newquist-related story, Stallman became so irate at one point that he issued an email threatening to "wrap myself in dynamite and walk into Symbolics' offices."~{ Ibid. Newquist, who says this anecdote was confirmed by several Symbolics executives, writes, "The message caused a brief flurry of excitement and speculation on the part of Symbolics' employees, but ultimately, no one took Stallman's outburst that seriously." }~ Although Stallman would deny any memory of the email and still describes its existence as a "vicious rumor," he acknowledges that such thoughts did enter his head. "I definitely did have fantasies of killing myself and destroying their building in the process," Stallman says. "I thought my life was over." ^48^ + +The level of despair owed much to what Stallman viewed as the "destruction" of his "home"-i.e., the demise of the AI Lab's close-knit hacker subculture. In a later email interview with Levy, Stallman would liken himself to the historical figure Ishi, the last surviving member of the Yahi, a Pacific Northwest tribe wiped out during the Indian wars of the 1860s and 1870s. The analogy casts Stallman's survival in epic, almost mythical, terms. In reality, however, it glosses over the tension between Stallman and his fellow AI Lab hackers prior to the Symbolics-LMI schism. Instead of seeing Symbolics as an exterminating force, many of Stallman's colleagues saw it as a belated bid for relevance. In commercializing the Lisp Machine, the company pushed hacker principles of engineer-driven software design out of the ivory-tower confines of the AI Lab and into the corporate marketplace where manager-driven design principles held sway. Rather than viewing Stallman as a holdout, many hackers saw him as a troubling anachronism. +={Ishi;Yahi} + +Stallman does not dispute this alternate view of historical events. In fact, he says it was yet another reason for the hostility triggered by the Symbolics "ultimatum." Even before Symbolics hired away most of the AI Lab's hacker staff, Stallman says many of the hackers who later joined Symbolics were shunning him. "I was no longer getting invited to go to Chinatown," Stallman recalls. "The custom started by Greenblatt was that if you went out to dinner, you went around or sent a message asking anybody at the lab if they also wanted to go. Sometime around 1980-1981, I stopped getting asked. They were not only not inviting me, but one person later confessed that he had been pressured to lie to me to keep their going away to dinner without me a secret." +={Greenblat, Richard} + +% Greenblat index ref added + +Although Stallman felt anger toward the hackers who orchestrated this petty form of ostracism, the Symbolics controversy dredged up a new kind of anger, the anger of a person about to lose his home. When Symbolics stopped sending over its source-code changes, Stallman responded by holing up in his MIT offices and rewriting each new software feature and tool from scratch. Frustrating as it may have been, it guaranteed that future Lisp Machine users had unfettered access to the same features as Symbolics users. + +It also guaranteed Stallman's legendary status within the hacker community. Already renowned for his work with Emacs, Stallman's ability to match the output of an entire team of Symbolics programmers-a team that included more than a few legendary hackers itself-still stands has one of the major human accomplishments of the Information Age, or of any age for that matter. Dubbing it a "master hack" and Stallman himself a "virtual John Henry of computer code," author Steven Levy notes that many of his Symbolics-employed rivals had no choice but to pay their idealistic former comrade grudging respect. Levy quotes Bill Gosper, a hacker who eventually went to work for Symbolics in the company's Palo Alto office, expressing amazement over Stallman's output during this period: +={Gosper, Bill} + +_1 I can see something Stallman wrote, and I might decide it was bad (probably not, but somebody could convince me it was bad), and I would still say, "But wait a minute-Stallman doesn't have anybody to argue with all night over there. He's working alone! It's incredible anyone could do this alone!"~{ See Steven Levy, Hackers (Penguin USA [paperback], 1984): 426. }~ + +For Stallman, the months spent playing catch up with Symbolics evoke a mixture of pride and profound sadness. As a dyed-in-the-wool liberal whose father had served in World War II, Stallman is no pacifist. In many ways, the Symbolics war offered the rite of passage toward which Stallman had been careening ever since joining the AI Lab staff a decade before. At the same time, however, it coincided with the traumatic destruction of the AI Lab hacker culture that had nurtured Stallman since his teenage years. One day, while taking a break from writing code, Stallman experienced a traumatic moment passing through the lab's equipment room. There, Stallman encountered the hulking, unused frame of the PDP-10 machine. Startled by the dormant lights, lights that once actively blinked out a silent code indicating the status of the internal program, Stallman says the emotional impact was not unlike coming across a beloved family member's well-preserved corpse. +={PDP-10 computer} + +"I started crying right there in the equipment room," he says. "Seeing the machine there, dead, with nobody left to fix it, it all drove home how completely my community had been destroyed." + +Stallman would have little opportunity to mourn. The Lisp Machine, despite all the furor it invoked and all the labor that had gone into making it, was merely a sideshow to the large battles in the technology marketplace. The relentless pace of computer miniaturization was bringing in newer, more powerful microprocessors that would soon incorporate the machine's hardware and software capabilities like a modern metropolis swallowing up an ancient desert village. + +Riding atop this microprocessor wave were hundreds-thousands-of commercial software programs, each protected by a patchwork of user licenses and nondisclosure agreements that made it impossible for hackers to review or share source code. The licenses were crude and ill-fitting, but by 1983 they had become strong enough to satisfy the courts and scare away would-be interlopers. Software, once a form of garnish most hardware companies gave away to make their expensive computer systems more flavorful, was quickly becoming the main dish. In their increasing hunger for new games and features, users were putting aside the traditional demand to review the recipe after every meal. + +Nowhere was this state of affairs more evident than in the realm of personal computer systems. Companies such as Apple Computer and Commodore were minting fresh millionaires selling machines with built-in operating systems. Unaware of the hacker culture and its distaste for binary-only software, many of these users saw little need to protest when these companies failed to attach the accompanying source-code files. A few anarchic adherents of the hacker ethic helped propel that ethic into this new marketplace, but for the most part, the marketplace rewarded the programmers speedy enough to write new programs and savvy enough to copyright them as legally protected works. +={Apple Computers; Commodore computers;software+10} + +One of the most notorious of these programmers was Bill Gates, a Harvard dropout two years Stallman's junior. Although Stallman didn't know it at the time, seven years before sending out his message to the net.unix-wizards newsgroup, Gates, a budding entrepreneur and general partner with the Albuquerque-based software firm Micro-Soft, later spelled as Microsoft, had sent out his own open letter to the software-developer community. Written in response to the PC users copying Micro-Soft's software programs, Gates' " Open Letter to Hobbyists" had excoriated the notion of communal software development. +={Gates, Bill+2;Micro-Soft;net.unix-wizards newsgroup;Open Letter to Hobbyists (Gates)+1} + +"Who can afford to do professional work for nothing?" asked Gates. "What hobbyist can put three man-years into programming, finding all bugs, documenting his product, and distributing it for free?"~{ See Bill Gates, "An Open Letter to Hobbyists" (February 3, 1976).
To view an online copy of this letter, go to
http://www.blinkenlights.com/classiccmp/gateswhine.html. }~ + +Although few hackers at the AI Lab saw the missive, Gates' 1976 letter nevertheless represented the changing attitude toward software both among commercial software companies and commercial software developers. Why treat software as a zero-cost commodity when the market said otherwise? As the 1970s gave way to the 1980s, selling software became more than a way to recoup costs; it became a political statement. At a time when the Reagan Administration was rushing to dismantle many of the federal regulations and spending programs that had been built up during the half century following the Great Depression, more than a few software programmers saw the hacker ethic as anticompetitive and, by extension, un-American. At best, it was a throwback to the anticorporate attitudes of the late 1960s and early 1970s. Like a Wall Street banker discovering an old tie-dyed shirt hiding between French-cuffed shirts and double-breasted suits, many computer programmers treated the hacker ethic as an embarrassing reminder of an idealistic age. + +For a man who had spent the entire 1960s as an embarrassing throwback to the 1950s, Stallman didn't mind living out of step with his peers. As a programmer used to working with the best machines and the best software, however, Stallman faced what he could only describe as a "stark moral choice": either get over his ethical objection for " proprietary" software-the term Stallman and his fellow hackers used to describe any program that carried private copyright or end-user license that restricted copying and modification-or dedicate his life to building an alternate, nonproprietary system of software programs. Given his recent months-long ordeal with Symbolics, Stallman felt more comfortable with the latter option. "I suppose I could have stopped working on computers altogether," Stallman says. "I had no special skills, but I'm sure I could have become a waiter. Not at a fancy restaurant, probably, but I could've been a waiter somewhere." +={proprietary software+3} + +Being a waiter-i.e., dropping out of programming altogether-would have meant completely giving up an activity, computer programming, that had given him so much pleasure. Looking back on his life since moving to Cambridge, Stallman finds it easy to identify lengthy periods when software programming provided the only pleasure. Rather than drop out, Stallman decided to stick it out. + +An atheist, Stallman rejects notions such as fate, dharma, or a divine calling in life. Nevertheless, he does feel that the decision to shun proprietary software and build an operating system to help others do the same was a natural one. After all, it was Stallman's own personal combination of stubbornness, foresight, and coding virtuosity that led him to consider a fork in the road most others didn't know existed. In describing the decision in a chapter for the 1999 book, Open Sources, Stallman cites the spirit encapsulated in the words of the Jewish sage Hillel: +={Hillel+1;Open Sources (DiBona, et al)+1} + +group{ + + If I am not for myself, who will be for me? + + If I am only for myself, what am I? + + If not now, when? + +}group ~{ See Richard Stallman, Open Sources (O'Reilly & Associates, Inc., 1999): 56.
Stallman adds his own footnote to this statement, writing, "As an atheist, I don't follow any religious leaders, but I sometimes find I admire something one of them has said." }~ + +Speaking to audiences, Stallman avoids the religious route and expresses the decision in pragmatic terms. "I asked myself: what could I, an operating-system developer, do to improve the situation? It wasn't until I examined the question for a while that I realized an operating-system developer was exactly what was needed to solve the problem." + +Once he reached that decision, Stallman says, everything else "fell into place." He would abstain from using software programs that forced him to compromise his ethical beliefs, while at the same time devoting his life to the creation of software that would make it easier for others to follow the same path. Pledging to build a free software operating system "or die trying-of old age, of course," Stallman quips, he resigned from the MIT staff in January, 1984, to build GNU. + +The resignation distanced Stallman's work from the legal auspices of MIT. Still, Stallman had enough friends and allies within the AI Lab to retain rent-free access to his MIT office. He also had the ability to secure outside consulting gigs to underwrite the early stages of the GNU Project. In resigning from MIT, however, Stallman negated any debate about conflict of interest or Institute ownership of the software. The man whose early adulthood fear of social isolation had driven him deeper and deeper into the AI Lab's embrace was now building a legal firewall between himself and that environment. +={GNU Project} + +For the first few months, Stallman operated in isolation from the Unix community as well. Although his announcement to the net.unix-wizards group had attracted sympathetic responses, few volunteers signed on to join the crusade in its early stages. +={net.unix-wizards newsgroup} + +"The community reaction was pretty much uniform," recalls Rich Morin, leader of a Unix user group at the time. "People said, `Oh, that's a great idea. Show us your code. Show us it can be done.'" + +In true hacker fashion, Stallman began looking for existing programs and tools that could be converted into GNU programs and tools. One of the first was a compiler named VUCK, which converted programs written in the popular C programming language into machine-readable code. Translated from the Dutch, the program's acronym stood for the Free University Compiler Kit. Optimistic, Stallman asked the program's author if the program was free. When the author informed him that the words "Free University" were a reference to the Vrije Universiteit in Amsterdam, Stallman was chagrined. +={C programming language:VUCK compiler for;VUCK compiler} + +"He responded derisively, stating that the university was free but the compiler was not," recalls Stallman. "I therefore decided that my first program for the GNU Project would be a multi-language, multi-platform compiler." ^46^ +={GNU Project} + +% GNU Project added + +Eventually Stallman found a Pastel language compiler written by programmers at Lawrence Livermore National Lab. According to Stallman's knowledge at the time, the compiler was free to copy and modify. Unfortunately, the program possessed a sizable design flaw: it saved each program into core memory, tying up precious space for other software activities. On mainframe systems this design flaw had been forgivable. On Unix systems it was a crippling barrier, since the machines that ran Unix were too small to handle the large files generated. Stallman made substantial progress at first, building a C-compatible frontend to the compiler. By summer, however, he had come to the conclusion that he would have to build a totally new compiler from scratch. +={Lawrence Livermore National Lab;Pastel compiler;Unix operating system:Pastel compiler and} + +In September of 1984, Stallman shelved compiler development for the near term and began searching for lower-lying fruit. He began development of a GNU version of Emacs, the program he himself had been supervising for a decade. The decision was strategic. Within the Unix community, the two native editor programs were vi, written by Sun Microsystems cofounder Bill Joy, and ed, written by Bell Labs scientist (and Unix cocreator) Ken Thompson. Both were useful and popular, but neither offered the endlessly expandable nature of Emacs. In rewriting Emacs for the Unix audience, Stallman stood a better chance of showing off his skills. It also stood to reason that Emacs users might be more attuned to the Stallman mentality. +={Bell Labs;Emacs text editor:rewriting for Unix+2;GNU Emacs:rewriting for Unix+2;Joy, Bill;vi text editor;Thompson, Ken} + +Looking back, Stallman says he didn't view the decision in strategic terms. "I wanted an Emacs, and I had a good opportunity to develop one." + +Once again, the notion of reinventing the wheel grated on Stallman's efficient hacker sensibilities. In writing a Unix version of Emacs, Stallman was soon following the footsteps of Carnegie Mellon graduate student James Gosling, author of a C-based version dubbed Gosling Emacs or GOSMACS. Gosling's version of Emacs included an interpreter that exploited a simplified offshoot of the Lisp language called MOCKLISP. Determined to build GNU Emacs on a similar Lisp foundation, Stallman borrowed copiously from Gosling's innovations. Although Gosling had put GOSMACS under copyright and had sold the rights to UniPress, a privately held software company, Stallman cited the assurances of a fellow developer who had participated in the early MOCKLISP interpreter. According to the developer, Gosling, while a Ph.D. student at Carnegie Mellon, had assured early collaborators that their work would remain accessible. When UniPress caught wind of Stallman's project, however, the company threatened to enforce the copyright. Once again, Stallman faced the prospect of building from the ground up. +={Carnegie Mellon University;Gosling, James+3;GOSMACS (Gosling Emacs);interpreters for LISP+1;LISP programming language:EMACS and+1;MOCKLISP language;UniPress software company+1} + +In the course of reverse-engineering Gosling's interpreter, Stallman would create a fully functional Lisp interpreter, rendering the need for Gosling's original interpreter moot. Nevertheless, the notion of developers selling off software rights-indeed, the very notion of developers having software rights to sell in the first place-rankled Stallman. In a 1986 speech at the Swedish Royal Technical Institute, Stallman cited the UniPress incident as yet another example of the dangers associated with proprietary software. +={proprietary software:Emacs and+4;Swedish Royal Technical Institute} + +"Sometimes I think that perhaps one of the best things I could do with my life is find a gigantic pile of proprietary software that was a trade secret, and start handing out copies on a street corner so it wouldn't be a trade secret any more," said Stallman. "Perhaps that would be a much more efficient way for me to give people new free software than actually writing it myself; but everyone is too cowardly to even take it."^3^ + +Despite the stress it generated, the dispute over Gosling's innovations would assist both Stallman and the free software movement in the long term. It would force Stallman to address the weaknesses of the Emacs Commune and the informal trust system that had allowed problematic offshoots to emerge. It would also force Stallman to sharpen the free software movement's political objectives. Following the release of GNU Emacs in 1985, Stallman issued " The GNU Manifesto," an expansion of the original announcement posted in September, 1983. Stallman included within the document a lengthy section devoted to the many arguments used by commercial and academic programmers to justify the proliferation of proprietary software programs. One argument, "Don't programmers deserve a reward for their creativity," earned a response encapsulating Stallman's anger over the recent Gosling Emacs episode: +={Emacs Commune:proprietary software and;Emacs text editor;GNU Emacs;GNU Manifesto} + +"If anything deserves a reward, it is social contribution," Stallman wrote. "Creativity can be a social contribution, but only in so far [sic] as society is free to use the results. If programmers deserve to be rewarded for creating innovative programs, by the same token they deserve to be punished if they restrict the use of these programs."~{ See Richard Stallman, "The GNU Manifesto" (1985).
http://www.gnu.org/manifesto.html }~ + +With the release of GNU Emacs, the GNU Project finally had code to show. It also had the burdens of any software-based enterprise. As more and more Unix developers began playing with the software, money, gifts, and requests for tapes began to pour in. To address the business side of the GNU Project, Stallman drafted a few of his colleagues and formed the Free Software Foundation (FSF), a nonprofit organization dedicated to speeding the GNU Project towards its goal. With Stallman as president and various hacker allies as board members, the FSF helped provide a corporate face for the GNU Project. +={Free Software Foundation (FSF):GNU Project and;GNU Project:Emacs, release of} + +Robert Chassell, a programmer then working at Lisp Machines, Inc., became one of five charter board members at the Free Software Foundation following a dinner conversation with Stallman. Chassell also served as the organization's treasurer, a role that started small but quickly grew. +={Chassell, Robert+6;LISP Machines Inc. (LMI);LMI (LISP Machines Inc.)} + +"I think in '85 our total expenses and revenue were something in the order of $23,000, give or take," Chassell recalls. "Richard had his office, and we borrowed space. I put all the stuff, especially the tapes, under my desk. It wasn't until sometime later LMI loaned us some space where we could store tapes and things of that sort." + +In addition to providing a face, the Free Software Foundation provided a center of gravity for other disenchanted programmers. The Unix market that had seemed so collegial even at the time of Stallman's initial GNU announcement was becoming increasingly competitive. In an attempt to tighten their hold on customers, companies were starting to close off access to Unix source code, a trend that only speeded the number of inquiries into ongoing GNU software projects. The Unix wizards who once regarded Stallman as a noisy kook were now beginning to see him as a software Cassandra. + +"A lot of people don't realize, until they've had it happen to them, how frustrating it can be to spend a few years working on a software program only to have it taken away," says Chassell, summarizing the feelings and opinions of the correspondents writing in to the FSF during the early years. "After that happens a couple of times, you start to say to yourself, `Hey, wait a minute.'" + +For Chassell, the decision to participate in the Free Software Foundation came down to his own personal feelings of loss. Prior to LMI, Chassell had been working for hire, writing an introductory book on Unix for Cadmus, Inc., a Cambridge-area software company. When Cadmus folded, taking the rights to the book down with it, Chassell says he attempted to buy the rights back with no success. + +"As far as I know, that book is still sitting on shelf somewhere, unusable, uncopyable, just taken out of the system," Chassell says. "It was quite a good introduction if I may say so myself. It would have taken maybe three or four months to convert [the book] into a perfectly usable introduction to GNU/Linux today. The whole experience, aside from what I have in my memory, was lost." + +Forced to watch his work sink into the mire while his erstwhile employer struggled through bankruptcy, Chassell says he felt a hint of the anger that drove Stallman to fits of apoplexy. "The main clarity, for me, was the sense that if you want to have a decent life, you don't want to have bits of it closed off," Chassell says. "This whole idea of having the freedom to go in and to fix something and modify it, whatever it may be, it really makes a difference. It makes one think happily that after you've lived a few years that what you've done is worthwhile. Because otherwise it just gets taken away and thrown out or abandoned or, at the very least, you no longer have any relation to it. It's like losing a bit of your life." + +1~ Chapter 8 - St. Ignucius +={Ignucius, (St.);St. Ignucius} + +The Maui High Performance Computing Center is located in a single-story building in the dusty red hills just above the town of Kihei. Framed by million-dollar views and the multimillion dollar real estate of the Silversword Golf Course, the center seems like the ultimate scientific boondoggle. Far from the boxy, sterile confines of Tech Square or even the sprawling research metropolises of Argonne, Illinois and Los Alamos, New Mexico, the MHPCC seems like the kind of place where scientists spend more time on their tans than their post-doctoral research projects. +={Argonne (Illinois);Los Alamos (New Mexico);Maui High Performance Computing Center (MHPCC);MHPCC (Maui High Performance Computing Center)} + +The image is only half true. Although researchers at the MHPCC do take advantage of the local recreational opportunities, they also take their work seriously. According to Top500.org, a web site that tracks the most powerful supercomputers in the world, the IBM SP Power3 supercomputer housed within the MHPCC clocks in at 837 billion floating-point operations per second, making it one of 25 most powerful computers in the world. Co-owned and operated by the University of Hawaii and the U.S. Air Force, the machine divides its computer cycles between the number crunching tasks associated with military logistics and high-temperature physics research. +={IBM SP Power3 supercomputer;U.S Air Force;University of Hawaii;Top500.org} + +Simply put, the MHPCC is a unique place, a place where the brainy culture of science and engineering and the laid-back culture of the Hawaiian islands coexist in peaceful equilibrium. A slogan on the lab's 2000 web site sums it up: "Computing in paradise." + +It's not exactly the kind of place you'd expect to find Richard Stallman, a man who, when taking in the beautiful view of the nearby Maui Channel through the picture windows of a staffer's office, mutters a terse critique: "Too much sun." Still, as an emissary from one computing paradise to another, Stallman has a message to deliver, even if it means subjecting his pale hacker skin to the hazards of tropical exposure. + +The conference room is already full by the time I arrive to catch Stallman's speech. The gender breakdown is a little better than at the New York speech, 85% male, 15% female, but not by much. About half of the audience members wear khaki pants and logo-encrusted golf shirts. The other half seems to have gone native. Dressed in the gaudy flower-print shirts so popular in this corner of the world, their faces are a deep shade of ochre. The only residual indication of geek status are the gadgets: Nokia cell phones, Palm Pilots, and Sony VAIO laptops. + +Needless to say, Stallman, who stands in front of the room dressed in plain blue T-shirt, brown polyester slacks, and white socks, sticks out like a sore thumb. The fluorescent lights of the conference room help bring out the unhealthy color of his sun-starved skin. His beard and hair are enough to trigger beads of sweat on even the coolest Hawaiian neck. Short of having the words "mainlander" tattooed on his forehead, Stallman couldn't look more alien if he tried. + +As Stallman putters around the front of the room, a few audience members wearing T-shirts with the logo of the Maui FreeBSD Users Group (MFUG) race to set up camera and audio equipment. FreeBSD, a free software offshoot of the Berkeley Software Distribution, the venerable 1970s academic version of Unix, is technically a competitor to the GNU/Linux operating system. Still, in the hacking world, Stallman speeches are documented with a fervor reminiscent of the Grateful Dead and its legendary army of amateur archivists. As the local free software heads, it's up to the MFUG members to make sure fellow programmers in Hamburg, Mumbai, and Novosibirsk don't miss out on the latest pearls of RMS wisdom. +={Berkely Software Distribution (BSD);BSD (Berkely Software Distribution);Grateful Dead, The+1;Maui FreeBSD Users Group} + +The analogy to the Grateful Dead is apt. Often, when describing the business opportunities inherent within the free software model, Stallman has held up the Grateful Dead as an example. In refusing to restrict fans' ability to record live concerts, the Grateful Dead became more than a rock group. They became the center of a tribal community dedicated to Grateful Dead music. Over time, that tribal community became so large and so devoted that the band shunned record contracts and supported itself solely through musical tours and live appearances. In 1994, the band's last year as a touring act, the Grateful Dead drew $52 million in gate receipts alone.~{ See "Grateful Dead Time Capsule: 1985-1995 North American Tour Grosses."
http://www.accessplace.com/gdtc/1197.htm }~ + +While few software companies have been able to match that success, the tribal aspect of the free software community is one reason many in the latter half of the 1990s started to accept the notion that publishing software source code might be a good thing. Hoping to build their own loyal followings, companies such as IBM, Sun Microsystems, and Hewlett Packard have come to accept the letter, if not the spirit, of the Stallman free software message. Describing the GPL as the information-technology industry's "Magna Carta," ZDNet software columnist Evan Leibovitch sees the growing affection for all things GNU as more than just a trend. "This societal shift is letting users take back control of their futures," Leibovitch writes. "Just as the Magna Carta gave rights to British subjects, the GPL enforces consumer rights and freedoms on behalf of the users of computer software."~{ See Evan Leibovitch, "Who's Afraid of Big Bad Wolves," ZDNet Tech Update (December 15, 2000).
http://techupdate.zdnet.com/techupdate/stories/main/0,14179,2664992,00.html }~ +={Hewlett Packard;IBM;Sun Microsystems} + +The tribal aspect of the free software community also helps explain why 40-odd programmers, who might otherwise be working on physics projects or surfing the Web for windsurfing buoy reports, have packed into a conference room to hear Stallman speak. + +Unlike the New York speech, Stallman gets no introduction. He also offers no self-introduction. When the FreeBSD people finally get their equipment up and running, Stallman simply steps forward, starts speaking, and steamrolls over every other voice in the room. +={FreeBSD} + +"Most of the time when people consider the question of what rules society should have for using software, the people considering it are from software companies, and they consider the question from a self-serving perspective," says Stallman, opening his speech. "What rules can we impose on everybody else so they have to pay us lots of money? I had the good fortune in the 1970s to be part of a community of programmers who shared software. And because of this I always like to look at the same issue from a different direction to ask: what kind of rules make possible a good society that is good for the people who are in it? And therefore I reach completely different answers." + +Once again, Stallman quickly segues into the parable of the Xerox laser printer, taking a moment to deliver the same dramatic finger-pointing gestures to the crowd. He also devotes a minute or two to the GNU/Linux name. + +"Some people say to me, `Why make such a fuss about getting credit for this system? After all, the important thing is the job is done, not whether you get recognition for it.' Well, this would be wise advice if it were true. But the job wasn't to build an operating system; the job is to spread freedom to the users of computers. And to do that we have to make it possible to do everything with computers in freedom."~{ For narrative purposes, I have hesitated to go in-depth when describing Stallman's full definition of software "freedom." The GNU Project web site lists four fundamental components:
The freedom to run a program, for any purpose (freedom 0).
The freedom to study how a program works, and adapt it to your needs (freedom 1).
The freedom to redistribute copies of a program so you can help your neighbor (freedom 2).
The freedom to improve the program, and release your improvements to the public, so that the whole community benefits (freedom 3).
For more information, please visit "The Free Software Definition" at http://www.gnu.org/philosophy/free-sw.html }~ + +Adds Stallman, "There's a lot more work to do." + +For some in the audience, this is old material. For others, it's a little arcane. When a member of the golf-shirt contingent starts dozing off, Stallman stops the speech and asks somebody to wake the person up. + +"Somebody once said my voice was so soothing, he asked if I was some kind of healer," says Stallman, drawing a quick laugh from the crowd. "I guess that probably means I can help you drift gently into a blissful, relaxing sleep. And some of you might need that. I guess I shouldn't object if you do. If you need to sleep, by all means do." + +The speech ends with a brief discussion of software patents, a growing issue of concern both within the software industry and within the free software community. Like Napster, software patents reflect the awkward nature of applying laws and concepts written for the physical world to the frictionless universe of information technology. The difference between protecting a program under copyright and protecting a program under software patents is subtle but significant. In the case of copyright, a software creator can restrict duplication of the source code but not duplication of the idea or functionality that the source code addresses. In other words, if a developer chooses not to use a software program under the original developer's terms, that second developer is still free to reverse-engineer the program-i.e., duplicate the software program's functionality by rewriting the source code from scratch. Such duplication of ideas is common within the commercial software industry, where companies often isolate reverse-engineering teams to head off accusations of corporate espionage or developer hanky-panky. In the jargon of modern software development, companies refer to this technique as "clean room" engineering. + +Software patents work differently. According to the U.S. Patent Office, companies and individuals may secure patents for innovative algorithms provided they submit their claims to a public review. In theory, this allows the patent-holder to trade off disclosure of their invention for a limited monopoly of a minimum of 20 years after the patent filing. In practice, the disclosure is of limited value, since the operation of the program is often self-evident. Unlike copyright, a patent gives its holder the ability to head off the independent development of software programs with the same or similar functionality. +={U.S. Patent Office} + +In the software industry, where 20 years can cover the entire life cycle of a marketplace, patents take on a strategic weight. Where companies such as Microsoft and Apple once battled over copyright and the "look and feel" of various technologies, today's Internet companies use patents as a way to stake out individual applications and business models, the most notorious example being Amazon.com's 2000 attempt to patent the company's "one-click" online shopping process. For most companies, however, software patents have become a defensive tool, with cross-licensing deals balancing one set of corporate patents against another in a tense form of corporate detente. Still, in a few notable cases of computer encryption and graphic imaging algorithms, software vendors have successfully stifled rival technologies. + +For Stallman, the software-patent issue dramatizes the need for eternal hacker vigilance. It also underlines the importance of stressing the political benefits of free software programs over the competitive benefits. Pointing to software patents' ability to create sheltered regions in the marketplace, Stallman says competitive performance and price, two areas where free software operating systems such as GNU/Linux and FreeBSD already hold a distinct advantage over their proprietary counterparts, are red herrings compared to the large issues of user and developer freedom. +={FreeBSD+2} + +% add index reference + +"It's not because we don't have the talent to make better software," says Stallman. "It's because we don't have the right. Somebody has prohibited us from serving the public. So what's going to happen when users encounter these gaps in free software? Well, if they have been persuaded by the open source movement that these freedoms are good because they lead to more-powerful reliable software, they're likely to say, `You didn't deliver what you promised. This software's not more powerful. It's missing this feature. You lied to me.' But if they have come to agree with the free software movement, that the freedom is important in itself, then they will say, `How dare those people stop me from having this feature and my freedom too.' And with that kind of response, we may survive the hits that we're going to take as these patents explode." + +Such comments involve a hefty dose of spin, of course. Most open source advocates are equally, if not more, vociferous as Stallman when it comes to opposing software patents. Still, the underlying logic of Stallman's argument-that open source advocates emphasize the utilitarian advantages of free software over the political advantages-remains uncontested. Rather than stress the political significance of free software programs, open source advocates have chosen to stress the engineering integrity of the hacker development model. Citing the power of peer review, the open source argument paints programs such as GNU/Linux or FreeBSD as better built, better inspected and, by extension, more trushworthy to the average user. + +That's not to say the term "open source" doesn't have its political implications. For open source advocates, the term open source serves two purposes. First, it eliminates the confusion associated with the word "free," a word many businesses interpret as meaning "zero cost." Second, it allows companies to examine the free software phenomenon on a technological, rather than ethical, basis. Eric Raymond, cofounder of the Open Source Initiative and one of the leading hackers to endorse the term, effectively summed up the frustration of following Stallman down the political path in a 1999 essay, titled "Shut Up and Show Them the Code": +={OSI (Open Source Initiative);Open Source Initiative (OSI);Raymond, Eric;Shut Up and Show Them the Code (Raymond)+1} + +_1 RMS's rhetoric is very seductive to the kind of people we are. We hackers are thinkers and idealists who readily resonate with appeals to "principle" and "freedom" and "rights." Even when we disagree with bits of his program, we want RMS's rhetorical style to work; we think it ought to work; we tend to be puzzled and disbelieving when it fails on the 95% of people who aren't wired like we are.~{ See Eric Raymond, "Shut Up and Show Them the Code," online essay, (June 28, 1999). }~ + +Included among that 95%, Raymond writes, are the bulk of business managers, investors, and nonhacker computer users who, through sheer weight of numbers, tend to decide the overall direction of the commercial software marketplace. Without a way to win these people over, Raymond argues, programmers are doomed to pursue their ideology on the periphery of society: + +_1 When RMS insists that we talk about "computer users' rights," he's issuing a dangerously attractive invitation to us to repeat old failures. It's one we should reject-not because his principles are wrong, but because that kind of language, applied to software, simply does not persuade anybody but us. In fact, it confuses and repels most people outside our culture. ^60^ + +Watching Stallman deliver his political message in person, it is hard to see anything confusing or repellent. Stallman's appearance may seem off-putting, but his message is logical. When an audience member asks if, in shunning proprietary software, free software proponents lose the ability to keep up with the latest technological advancements, Stallman answers the question in terms of his own personal beliefs. "I think that freedom is more important than mere technical advance," he says. "I would always choose a less advanced free program rather than a more advanced nonfree program, because I won't give up my freedom for something like that. My rule is, if I can't share it with you, I won't take it." + +Such answers, however, reinforce the quasi-religious nature of the Stallman message. Like a Jew keeping kosher or a Mormon refusing to drink alcohol, Stallman paints his decision to use free software in the place of proprietary in the color of tradition and personal belief. As software evangelists go, Stallman avoids forcing those beliefs down listeners' throats. Then again, a listener rarely leaves a Stallman speech not knowing where the true path to software righteousness lies. + +As if to drive home this message, Stallman punctuates his speech with an unusual ritual. Pulling a black robe out of a plastic grocery bag, Stallman puts it on. Out of a second bag, he pulls a reflective yellow computer disk and places it on his head. The crowd lets out a startled laugh. + +"I am St. Ignucius of the Church of Emacs," says Stallman, raising his right hand in mock-blessing. "I bless your computer, my child." +={Ignucius, (St.);St. Ignucius} + +{free_as_in_freedom_03_rms_st_ignucius.png 188x209 "Stallman dressed as St. Ignucius. Photo by Wouter van Oortmerssen." }http://en.wikipedia.org/wiki/Richard_stallman + +The laughter turns into full-blown applause after a few seconds. As audience members clap, the computer disk on Stallman's head catches the glare of an overhead light, eliciting a perfect halo effect. In the blink of an eye, Stallman goes from awkward haole to Russian religious icon. + +"Emacs was initially a text editor," says Stallman, explaining the getup. "Eventually it became a way of life for many and a religion for some. We call this religion the Church of Emacs." +={Church of Emacs+8;Emacs text editor+11;GNU Emacs+11} + +The skit is a lighthearted moment of self-pardoy, a humorous return-jab at the many people who might see Stallman's form of software asceticism as religious fanaticism in disguise. It is also the sound of the other shoe dropping-loudly. It's as if, in donning his robe and halo, Stallman is finally letting listeners of the hook, saying, "It's OK to laugh. I know I'm weird." + +Discussing the St. Ignucius persona afterward, Stallman says he first came up with it in 1996, long after the creation of Emacs but well before the emergence of the "open source" term and the struggle for hacker-community leadership that precipitated it. At the time, Stallman says, he wanted a way to "poke fun at himself," to remind listeners that, though stubborn, Stallman was not the fanatic some made him out to be. It was only later, Stallman adds, that others seized the persona as a convenient way to play up his reputation as software ideologue, as Eric Raymond did in an 1999 interview with the linux.com web site: +={linux.com;Raymond, Eric:St. Ignucius and+2} + +_1 When I say RMS calibrates what he does, I'm not belittling or accusing him of insincerity. I'm saying that like all good communicators he's got a theatrical streak. Sometimes it's conscious-have you ever seen him in his St. Ignucius drag, blessing software with a disk platter on his head? Mostly it's unconscious; he's just learned the degree of irritating stimulus that works, that holds attention without (usually) freaking people out.~{ See "Guest Interview: Eric S. Raymond," Linux.com (May 18, 1999).
http://www.linux.com/interviews/19990518/8/ }~ + +Stallman takes issue with the Raymond analysis. "It's simply my way of making fun of myself," he says. "The fact that others see it as anything more than that is a reflection of their agenda, not mine." + +That said, Stallman does admit to being a ham. "Are you kidding?" he says at one point. "I love being the center of attention." To facilitate that process, Stallman says he once enrolled in Toastmasters, an organization that helps members bolster their public-speaking skills and one Stallman recommends highly to others. He possesses a stage presence that would be the envy of most theatrical performers and feels a link to vaudevillians of years past. A few days after the Maui High Performance Computing Center speech, I allude to the 1999 LinuxWorld performace and ask Stallman if he has a Groucho Marx complex-i.e., the unwillingness to belong to any club that would have him as a member. Stallman's response is immediate: "No, but I admire Groucho Marx in a lot of ways and certainly have been in some things I say inspired by him. But then I've also been inspired in some ways by Harpo." +={Marx, Groucho+1} + +The Groucho Marx influence is certainly evident in Stallman's lifelong fondness for punning. Then again, punning and wordplay are common hacker traits. Perhaps the most Groucho-like aspect of Stallman's personality, however, is the deadpan manner in which the puns are delivered. Most come so stealthily-without even the hint of a raised eyebrow or upturned smile-you almost have to wonder if Stallman's laughing at his audience more than the audience is laughing at him. + +Watching members of the Maui High Performance Computer Center laugh at the St. Ignucius parody, such concerns evaporate. While not exactly a standup act, Stallman certainly possesses the chops to keep a roomful of engineers in stitches. "To be a saint in the Church of Emacs does not require celibacy, but it does require making a commitment to living a life of moral purity," he tells the Maui audience. "You must exorcise the evil proprietary operating system from all your computer and then install a wholly [holy] free operating system. And then you must install only free software on top of that. If you make this commitment and live by it, then you too will be a saint in the Church of Emacs, and you too may have a halo." + +The St. Ignucius skit ends with a brief inside joke. On most Unix systems and Unix-related offshoots, the primary competitor program to Emacs is vi, a text-editing program developed by former UC Berkeley student and current Sun Microsystems chief scientist, Bill Joy. Before doffing his "halo," Stallman pokes fun at the rival program. "People sometimes ask me if it is a sin in the Church of Emacs to use vi," he says. "Using a free version of vi is not a sin; it is a penance. So happy hacking." +={Joy, Bill;vi text editor:as an Emacs competitor;UC Berkeley;Sun Microsystems} + +After a brief question-and-answer session, audience members gather around Stallman. A few ask for autographs. "I'll sign this," says Stallman, holding up one woman's print out of the GNU General Public License, "but only if you promise me to use the term GNU/Linux instead of Linux and tell all your friends to do likewise." +={GNU General Public License;GPL} + +The comment merely confirms a private observation. Unlike other stage performers and political figures, Stallman has no "off" mode. Aside from the St. Ignucius character, the ideologue you see onstage is the ideologue you meet backstage. Later that evening, during a dinner conversation in which a programmer mentions his affinity for "open source" programs, Stallman, between bites, upbraids his tablemate: "You mean free software. That's the proper way to refer to it." + +During the question-and-answer session, Stallman admits to playing the pedagogue at times. "There are many people who say, `Well, first let's invite people to join the community, and then let's teach them about freedom.' And that could be a reasonable strategy, but what we have is almost everybody's inviting people to join the community, and hardly anybody's teaching them about freedom once they come in." + +The result, Stallman says, is something akin to a third-world city. People move in, hoping to strike it rich or at the very least to take part in a vibrant, open culture, and yet those who hold the true power keep evolving new tricks and strategies-i.e., software patents-to keep the masses out. "You have millions of people moving in and building shantytowns, but nobody's working on step two: getting them out of those shantytowns. If you think talking about software freedom is a good strategy, please join in doing step two. There are plenty working on step one. We need more people working on step two." + +Working on "step two" means driving home the issue that freedom, not acceptance, is the root issue of the free software movement. Those who hope to reform the proprietary software industry from the inside are on a fool's errand. "Change from the inside is risky," Stallman stays. "Unless you're working at the level of a Gorbachev, you're going to be neutralized." + +Hands pop up. Stallman points to a member of the golf shirt-wearing contingent. "Without patents, how would you suggest dealing with commercial espionage?" + +"Well, those two questions have nothing to do with each other, really," says Stallman. + +"But I mean if someone wants to steal another company's piece of software." + +Stallman's recoils as if hit by a poisonous spray. "Wait a second," Stallman says. "Steal? I'm sorry, there's so much prejudice in that statement that the only thing I can say is that I reject that prejudice. Companies that develop nonfree software and other things keep lots and lots of trade secrets, and so that's not really likely to change. In the old days-even in the 1980s-for the most part programmers were not aware that there were even software patents and were paying no attention to them. What happened was that people published the interesting ideas, and if they were not in the free software movement, they kept secret the little details. And now they patent those broad ideas and keep secret the little details. So as far as what you're describing, patents really make no difference to it one way or another." + +"But if it doesn't affect their publication," a new audience member jumps in, his voice trailing off almost as soon as he starts speaking. + +"But it does," Stallman says. "Their publication is telling you that this is an idea that's off limits to the rest of the community for 20 years. And what the hell good is that? Besides, they've written it in such a hard way to read, both to obfuscate the idea and to make the patent as broad as possible, that it's basically useless looking at the published information to learn anything anyway. The only reason to look at patents is to see the bad news of what you can't do." + +The audience falls silent. The speech, which began at 3:15, is now nearing the 5:00 whistle, and most listeners are already squirming in their seats, antsy to get a jump start on the weekend. Sensing the fatigue, Stallman glances around the room and hastily shuts things down. "So it looks like we're done," he says, following the observation with an auctioneer's "going, going, gone" to flush out any last-minute questioners. When nobody throws their hand up, Stallman signs off with a traditional exit line. + +"Happy hacking," he says. + +1~ Chapter 9 - The GNU General Public License +={GNU General Public License+82;GPL+82;Stallman, Richard M.:childhood:GNU General Public License+82} + +By the spring of 1985, Richard Stallman had settled on the GNU Project's first milestone-a Lisp-based free software version of Emacs. To meet this goal, however, he faced two challenges. First, he had to rebuild Emacs in a way that made it platform independent. Second, he had to rebuild the Emacs Commune in a similar fashion. +={Emacs Commune+7;Emacs text editor:Lisp-based free software version;GNU Emacs:List-based free software version} + +The dispute with UniPress had highlighted a flaw in the Emacs Commune social contract. Where users relied on Stallman's expert insight, the Commune's rules held. In areas where Stallman no longer held the position of alpha hacker-pre-1984 Unix systems, for example-individuals and companies were free to make their own rules. +={UniPress software company} + +The tension between the freedom to modify and the freedom to exert authorial privilege had been building before GOSMACS. The Copyright Act of 1976 had overhauled U.S. copyright law, extending the legal protection of copyright to software programs. According to Section 102(b) of the Act, individuals and companies now possessed the ability to copyright the "expression" of a software program but not the "actual processes or methods embodied in the program."~{ See Hal Abelson, Mike Fischer, and Joanne Costello, "Software and Copyright Law," updated version (1998).
http://www.swiss.ai.mit.edu/6805/articles/int-prop/software-copyright.html }~ Translated, programmers and companies had the ability to treat software programs like a story or song. Other programmers could take inspiration from the work, but to make a direct copy or nonsatirical derivative, they first had to secure permission from the original creator. Although the new law guaranteed that even programs without copyright notices carried copyright protection, programmers quickly asserted their rights, attaching coypright notices to their software programs. +={Copyright Act of 1976;copyright laws;GOSMACS (Gosling Emacs);software:copyright laws on} + +At first, Stallman viewed these notices with alarm. Rare was the software program that didn't borrow source code from past programs, and yet, with a single stroke of the president's pen, Congress had given programmers and companies the power to assert individual authorship over communally built programs. It also injected a dose of formality into what had otherwise been an informal system. Even if hackers could demonstrate how a given program's source-code bloodlines stretched back years, if not decades, the resources and money that went into battling each copyright notice were beyond most hackers' means. Simply put, disputes that had once been settled hacker-to-hacker were now settled lawyer-to-lawyer. In such a system, companies, not hackers, held the automatic advantage. +={source code:copy rights for} + +Proponents of software copyright had their counter-arguments: without copyright, works might otherwise slip into the public domain. Putting a copyright notice on a work also served as a statement of quality. Programmers or companies who attached their name to the copyright attached their reputations as well. Finally, it was a contract, as well as a statement of ownership. Using copyright as a flexible form of license, an author could give away certain rights in exchange for certain forms of behavior on the part of the user. For example, an author could give away the right to suppress unauthorized copies just so long as the end user agreed not to create a commercial offshoot. + +It was this last argument that eventually softened Stallman's resistance to software copyright notices. Looking back on the years leading up to the GNU Project, Stallman says he began to sense the beneficial nature of copyright sometime around the release of Emacs 15.0, the last significant pre-GNU Project upgrade of Emacs. "I had seen email messages with copyright notices plus simple `verbatim copying permitted' licenses," Stallman recalls. "Those definitely were [an] inspiration." + +For Emacs 15, Stallman drafted a copyright that gave users the right to make and distribute copies. It also gave users the right to make modified versions, but not the right to claim sole ownership of those modified versions, as in the case of GOSMACS. +={Emacs text editor:copyrights and|GNU Emacs License and;GNU Emacs:copyrights and|GNU Emacs License and;GOSMACS (Gosling Emacs):copyrights and;licenses+15} + +Although helpful in codifying the social contract of the Emacs Commune, the Emacs 15 license remained too "informal" for the purposes of the GNU Project, Stallman says. Soon after starting work on a GNU version of Emacs, Stallman began consulting with the other members of the Free Software Foundation on how to shore up the license's language. He also consulted with the attorneys who had helped him set up the Free Software Foundation. + +Mark Fischer, a Boston attorney specializing in intellectual-property law, recalls discussing the license with Stallman during this period. "Richard had very strong views about how it should work," Fischer says, "He had two principles. The first was to make the software absolutely as open as possible. The second was to encourage others to adopt the same licensing practices." +={Fischer, Mark+2} + +Encouraging others to adopt the same licensing practices meant closing off the escape hatch that had allowed privately owned versions of Emacs to emerge. To close that escape hatch, Stallman and his free software colleagues came up with a solution: users would be free to modify GNU Emacs just so long as they published their modifications. In addition, the resulting "derivative" works would also have carry the same GNU Emacs License. + +The revolutionary nature of this final condition would take a while to sink in. At the time, Fischer says, he simply viewed the GNU Emacs License as a simple contract. It put a price tag on GNU Emacs' use. Instead of money, Stallman was charging users access to their own later modifications. That said, Fischer does remember the contract terms as unique. + +"I think asking other people to accept the price was, if not unique, highly unusual at that time," he says. + +The GNU Emacs License made its debut when Stallman finally released GNU Emacs in 1985. Following the release, Stallman welcomed input from the general hacker community on how to improve the license's language. One hacker to take up the offer was future software activist John Gilmore, then working as a consultant to Sun Microsystems. As part of his consulting work, Gilmore had ported Emacs over to SunOS, the company's in-house version of Unix. In the process of doing so, Gilmore had published the changes as per the demands of the GNU Emacs License. Instead of viewing the license as a liability, Gilmore saw it as clear and concise expression of the hacker ethos. "Up until then, most licenses were very informal," Gilmore recalls. +={Gilmore, John+6;SunOS:porting Emacs to;Sun Microsystems} + +As an example of this informality, Gilmore cites a copyright notice for trn, a Unix utility. Written by Larry Wall, future creator of the Perl programming language, patch made it simple for Unix programmers to insert source-code fixes - "patches" in hacker jargon-into any large program. Recognizing the utility of this feature, Wall put the following copyright notice in the program's accompanying README file: +={Wall, Larry+1;patches, inserting into source code;Perl programming language;source code:patches} + +% previous markup as 'poem' with footnote not satisfactory + +Copyright (c) 1985, Larry Wall
+You may copy the trn kit in whole or in part as long as you don't try +to make money off it, or pretend that you wrote it.~{ See Trn Kit README.
http://www.za.debian.org/doc/trn/trn-readme }~ + +Such statements, while reflective of the hacker ethic, also reflected the difficulty of translating the loose, informal nature of that ethic into the rigid, legal language of copyright. In writing the GNU Emacs License, Stallman had done more than close up the escape hatch that permitted proprietary offshoots. He had expressed the hacker ethic in a manner understandable to both lawyer and hacker alike. + +It wasn't long, Gilmore says, before other hackers began discussing ways to "port" the GNU Emacs License over to their own programs. Prompted by a conversation on Usenet, Gilmore sent an email to Stallman in November, 1986, suggesting modification: + +_1 You should probably remove "EMACS" from the license and replace it with "SOFTWARE" or something. Soon, we hope, Emacs will not be the biggest part of the GNU system, and the license applies to all of it.~{ See John Gilmore, quoted from email to author. }~ + +Gilmore wasn't the only person suggesting a more general approach. By the end of 1986, Stallman himself was at work with GNU Project's next major milestone, a source-code debugger, and was looking for ways to revamp the Emacs license so that it might apply to both programs. Stallman's solution: remove all specific references to Emacs and convert the license into a generic copyright umbrella for GNU Project software. The GNU General Public License, GPL for short, was born. +={GNU Debugger (GDB)+1;GDB (GNU Debugger);Debugger+1} + +In fashioning the GPL, Stallman followed the software convention of using decimal numbers to indicate prototype versions and whole numbers to indicate mature versions. Stallman published Version 1.0 of the GPL in 1989 (a project Stallman was developing in 1985), almost a full year after the release of the GNU Debugger, Stallman's second major foray into the realm of Unix programming. The license contained a preamble spelling out its political intentions: + +poem{ + +The General Public License is designed to make sure that you have +the freedom to give away or sell copies of free software, that you +receive source code or can get it if you want it, that you can change +the software or use pieces of it in new free programs; and that you +know you can do these things. + +To protect your rights, we need to make restrictions that forbid +anyone to deny you these rights or to ask you to surrender the +rights. These restrictions translate to certain responsibilities for +you if you distribute copies of the software, or if you modify it. + +}poem ~{ See Richard Stallman, et al., "GNU General Public License: Version 1," (February, 1989).
http://www.gnu.org/copyleft/copying-1.0.html }~ + +In fashioning the GPL, Stallman had been forced to make an additional adjustment to the informal tenets of the old Emacs Commune. Where he had once demanded that Commune members publish any and all changes, Stallman now demanded publication only in instances when programmers circulated their derivative versions in the same public manner as Stallman. In other words, programmers who simply modified Emacs for private use no longer needed to send the source-code changes back to Stallman. In what would become a rare compromise of free software doctrine, Stallman slashed the price tag for free software. Users could innovate without Stallman looking over their shoulders just so long as they didn't bar Stallman and the rest of the hacker community from future exchanges of the same program. +={Emacs Commune+1} + +% additional reference to emacs commune + +Looking back, Stallman says the GPL compromise was fueled by his own dissatisfaction with the Big Brother aspect of the original Emacs Commune social contract. As much as he liked peering into other hackers' systems, the knowledge that some future source-code maintainer might use that power to ill effect forced him to temper the GPL. + +"It was wrong to require people to publish all changes," says Stallman. "It was wrong to require them to be sent to one privileged developer. That kind of centralization and privilege for one was not consistent with a society in which all had equal rights." + +As hacks go, the GPL stands as one of Stallman's best. It created a system of communal ownership within the normally proprietary confines of copyright law. More importantly, it demonstrated the intellectual similarity between legal code and software code. Implicit within the GPL's preamble was a profound message: instead of viewing copyright law with suspicion, hackers should view it as yet another system begging to be hacked. + +"The GPL developed much like any piece of free software with a large community discussing its structure, its respect or the opposite in their observation, needs for tweaking and even to compromise it mildly for greater acceptance," says Jerry Cohen, another attorney who helped Stallman with the creation of the license. "The process worked very well and GPL in its several versions has gone from widespread skeptical and at times hostile response to widespread acceptance." + +In a 1986 interview with Byte magazine, Stallman summed up the GPL in colorful terms. In addition to proclaiming hacker values, Stallman said, readers should also "see it as a form of intellectual jujitsu, using the legal system that software hoarders have set up against them."~{ See David Betz and Jon Edwards, "Richard Stallman discusses his public-domain [sic] Unix-compatible software system with BYTE editors," BYTE (July, 1996). (Reprinted on the GNU Project web site: http://www.gnu.org/gnu/byte-interview.html )
This interview offers an interesting, not to mention candid, glimpse at Stallman's political attitudes during the earliest days of the GNU Project. It is also helpful in tracing the evolution of Stallman's rhetoric.
Describing the purpose of the GPL, Stallman says, "I'm trying to change the way people approach knowledge and information in general. I think that to try to own knowledge, to try to control whether people are allowed to use it, or to try to stop other people from sharing it, is sabotage."
Contrast this with a statement to the author in August 2000: "I urge you not to use the term `intellectual property' in your thinking. It will lead you to misunderstand things, because that term generalizes about copyrights, patents, and trademarks. And those things are so different in their effects that it is entirely foolish to try to talk about them at once. If you hear somebody saying something about intellectual property, without quotes, then he's not thinking very clearly and you shouldn't join." }~ Years later, Stallman would describe the GPL's creation in less hostile terms. "I was thinking about issues that were in a sense ethical and in a sense political and in a sense legal," he says. "I had to try to do what could be sustained by the legal system that we're in. In spirit the job was that of legislating the basis for a new society, but since I wasn't a government, I couldn't actually change any laws. I had to try to do this by building on top of the existing legal system, which had not been designed for anything like this." +={Byte magazine} + +About the time Stallman was pondering the ethical, political, and legal issues associated with free software, a California hacker named Don Hopkins mailed him a manual for the 68000 microprocessor. Hopkins, a Unix hacker and fellow science-fiction buff, had borrowed the manual from Stallman a while earlier. As a display of gratitude, Hopkins decorated the return envelope with a number of stickers obtained at a local science-fiction convention. One sticker in particular caught Stallman's eye. It read, "Copyleft (L), All Rights Reversed." Following the release of the first version of GPL, Stallman paid tribute to the sticker, nicknaming the free software license "Copyleft." Over time, the nickname and its shorthand symbol, a backwards "C," would become an official Free Software Foundation synonym for the GPL. +={copyleft;Hopkins, Don} + +The German sociologist Max Weber once proposed that all great religions are built upon the "routinization" or "institutionalization" of charisma. Every successful religion, Weber argued, converts the charisma or message of the original religious leader into a social, political, and ethical apparatus more easily translatable across cultures and time. +={Weber, Max} + +While not religious per se, the GNU GPL certainly qualifies as an interesting example of this "routinization" process at work in the modern, decentralized world of software development. Since its unveiling, programmers and companies who have otherwise expressed little loyalty or allegiance to Stallman have willingly accepted the GPL bargain at face value. A few have even accepted the GPL as a preemptive protective mechanism for their own software programs. Even those who reject the GPL contract as too compulsory, still credit it as influential. + +One hacker falling into this latter group was Keith Bostic, a University of California employee at the time of the GPL 1.0 release. Bostic's department, the Computer Systems Research Group (SRG), had been involved in Unix development since the late 1970s and was responsible for many key parts of Unix, including the TCP/IP networking protocol, the cornerstone of modern Internet communications. By the late 1980s, AT&T, the original owner of the Unix brand name, began to focus on commercializing Unix and began looking to the Berkeley Software Distribution, or BSD, the academic version of Unix developed by Bostic and his Berkeley peers, as a key source of commercial technology. +={AT&T+1;Berkely Software Distribution (BSD)+6;Bostic, Keith+5;BSD (Berkely Software Distribution)+6;Computer Systems Research Group;University of California+4;TCP/IP} + +% SRG referred to as CSRG below? ; additional TCP/IP ref included + +Although the Berkeley BSD source code was shared among researchers and commercial programmers with a source-code license, this commercialization presented a problem. The Berkeley code was intermixed with proprietary AT&T code. As a result, Berkeley distributions were available only to institutions that already had a Unix source license from AT&T. As AT&T raised its license fees, this arrangement, which had at first seemed innocuous, became increasingly burdensome. +={licenses:AT&T UNIX source code and+2} + +Hired in 1986, Bostic had taken on the personal project of porting BSD over to the Digital Equipment Corporation's PDP-11 computer. It was during this period, Bostic says, that he came into close interaction with Stallman during Stallman's occasional forays out to the west coast. "I remember vividly arguing copyright with Stallman while he sat at borrowed workstations at CSRG," says Bostic. "We'd go to dinner afterward and continue arguing about copyright over dinner." +={DEC (Digital Equipment Corporation);PDP-11 computer} + +% CSRG abbreviated to SRG above? + +The arguments eventually took hold, although not in the way Stallman would have liked. In June, 1989, Berkeley separated its networking code from the rest of the AT&T-owned operating system and distributed it under a University of California license. The contract terms were liberal. All a licensee had to do was give credit to the university in advertisements touting derivative programs.~{ The University of California's "obnoxious advertising clause" would later prove to be a problem. Looking for a less restrictive alternative to the GPL, some hackers used the University of California, replacing "University of California" with the name of their own instution. The result: free software programs that borrowed from dozens of other programs would have to cite dozens of institutions in advertisements. In 1999, after a decade of lobbying on Stallman's part, the University of California agreed to drop this clause.
See "The BSD License Problem" at http://www.gnu.org/philosophy/bsd.html. }~ In contrast to the GPL, proprietary offshoots were permissible. Only one problem hampered the license's rapid adoption: the BSD Networking release wasn't a complete operating system. People could study the code, but it could only be run in conjunction with other proprietary-licensed code. +={AT&T+1} + +Over the next few years, Bostic and other University of California employees worked to replace the missing components and turn BSD into a complete, freely redistributable operating system. Although delayed by a legal challenge from Unix Systems Laboratories-the AT&T spin-off that retained ownership of the Unix brand name-the effort would finally bear fruit in the early 1990s. Even before then, however, many of the Berkeley utilities would make their way into Stallman's GNU Project. + +"I think it's highly unlikely that we ever would have gone as strongly as we did without the GNU influence," says Bostic, looking back. "It was clearly something where they were pushing hard and we liked the idea." + +By the end of the 1980s, the GPL was beginning to exert a gravitational effect on the free software community. A program didn't have to carry the GPL to qualify as free software-witness the case of the BSD utilities-but putting a program under the GPL sent a definite message. "I think the very existence of the GPL inspired people to think through whether they were making free software, and how they would license it," says Bruce Perens, creator of Electric Fence, a popular Unix utility, and future leader of the Debian GNU/Linux development team. A few years after the release of the GPL, Perens says he decided to discard Electric Fence's homegrown license in favor of Stallman's lawyer-vetted copyright. "It was actually pretty easy to do," Perens recalls. +={Perens, Bruce} + +% extra Perens index ref added + +% ={Electric Fence Unix utility} + +Rich Morin, the programmer who had viewed Stallman's initial GNU announcement with a degree of skepticism, recalls being impressed by the software that began to gather under the GPL umbrella. As the leader of a SunOS user group, one of Morin's primary duties during the 1980s had been to send out distribution tapes containing the best freeware or free software utilities. The job often mandated calling up original program authors to verify whether their programs were copyright protected or whether they had been consigned to the public domain. Around 1989, Morin says, he began to notice that the best software programs typically fell under the GPL license. "As a software distributor, as soon as I saw the word GPL, I knew I was home free," recalls Morin. +={SunOS} + +To compensate for the prior hassles that went into compiling distribution tapes to the Sun User Group, Morin had charged recipients a convenience fee. Now, with programs moving over to the GPL, Morin was suddenly getting his tapes put together in half the time, turning a tidy profit in the process. Sensing a commercial opportunity, Morin rechristened his hobby as a business: Prime Time Freeware. +={Sun User Group} + +Such commercial exploitation was completely within the confines of the free software agenda. "When we speak of free software, we are referring to freedom, not price," advised Stallman in the GPL's preamble. By the late 1980s, Stallman had refined it to a more simple mnemonic: "Don't think free as in free beer; think free as in free speech." + +For the most part, businesses ignored Stallman's entreaties. Still, for a few entrepreneurs, the freedom associated with free software was the same freedom associated with free markets. Take software ownership out of the commercial equation, and you had a situation where even the smallest software company was free to compete against the IBMs and DECs of the world. + +One of the first entrepreneurs to grasp this concept was Michael Tiemann, a software programmer and graduate student at Stanford University. During the 1980s, Tiemann had followed the GNU Project like an aspiring jazz musician following a favorite artist. It wasn't until the release of the GNU C Compiler in 1987, however, that he began to grasp the full potential of free software. Dubbing GCC a "bombshell," Tiemann says the program's own existence underlined Stallman's determination as a programmer. +={C Compiler (GNU)+9;GNU C Compiler (GCC)+9;GCC (GNU C Compiler)+9;Tiemann, Michael+8;Stanford University} + +"Just as every writer dreams of writing the great American novel, every programmer back in the 1980s talked about writing the great American compiler," Tiemman recalls. "Suddenly Stallman had done it. It was very humbling." + +"You talk about single points of failure, GCC was it," echoes Bostic. "Nobody had a compiler back then, until GCC came along." + +% ={Bostic, Keith} + +Rather than compete with Stallman, Tiemann decided to build on top of his work. The original version of GCC weighed in at 110,000 lines of code, but Tiemann recalls the program as surprisingly easy to understand. So easy in fact that Tiemann says it took less than five days to master and another week to port the software to a new hardware platform, National Semiconductor's 32032 microchip. Over the next year, Tiemann began playing around with the source code, creating a native compiler for the C+ programming language. One day, while delivering a lecture on the program at Bell Labs, Tiemann ran into some AT&T developers struggling to pull off the same thing. +={C+ programming language} + +"There were about 40 or 50 people in the room, and I asked how many people were working on the native code compiler," Tiemann recalls. "My host said the information was confidential but added that if I took a look around the room I might get a good general idea." + +It wasn't long after, Tiemann says, that the light bulb went off in his head. "I had been working on that project for six months," Tiemann says. I just thought to myself, whether it's me or the code this is a level of efficiency that the free market should be ready to reward." + +Tiemann found added inspiration in the GNU Manifesto, which, while excoriating the greed of some software vendors, encourages other vendors to consider the advantages of free software from a consumer point of view. By removing the power of monopoly from the commerical software question, the GPL makes it possible for the smartest vendors to compete on the basis of service and consulting, the two most profit-rich corners of the software marketplace. +={GNU Manifesto} + +% added GNU Manifesto + +In a 1999 essay, Tiemann recalls the impact of Stallman's Manifesto. "It read like a socialist polemic, but I saw something different. I saw a business plan in disguise."~{ See Michael Tiemann, "Future of Cygnus Solutions: An Entrepreneur's Account," Open Sources (O'Reilly & Associates, Inc., 1999): 139. }~ + +Teaming up with John Gilmore, another GNU Project fan, Tiemann launched a software consulting service dedicated to customizing GNU programs. Dubbed Cygnus Support, the company signed its first development contract in February, 1990. By the end of the year, the company had $725,000 worth of support and development contracts. +={Gilmore, John} + +% added Gilmore + +GNU Emacs, GDB, and GCC were the "big three" of developer-oriented tools, but they weren't the only ones developed by Stallman during the GNU Project's first half decade. By 1990, Stallman had also generated GNU versions of the Bourne Shell (rechristened the Bourne Again Shell, or BASH), YACC (rechristened Bison), and awk (rechristened gawk). Like GCC , every GNU program had to be designed to run on multiple systems, not just a single vendor's platform. In the process of making programs more flexible, Stallman and his collaborators often made them more useful as well. + +Recalling the GNU universalist approach, Prime Time Freeware's Morin points to a critical, albeit mundane, software package called hello. "It's the hello world program which is five lines of C, packaged up as if it were a GNU distribution," Morin says. "And so it's got the Texinfo stuff and the configure stuff. It's got all the other software engineering goo that the GNU Project has come up with to allow packages to port to all these different environments smoothly. That's tremendously important work, and it affects not only all of [Stallman's] software, but also all of the other GNU Project software." + +According to Stallman, improving software programs was secondary to building them in the first place. "With each piece I may or may not find a way to improve it," said Stallman to Byte. "To some extent I am getting the benefit of reimplementation, which makes many systems much better. To some extent it's because I have been in the field a long time and worked on many other systems. I therefore have many ideas to bring to bear."~{ See Richard Stallman, BYTE (1986). }~ +={Byte magazine} + +Nevertheless, as GNU tools made their mark in the late 1980s, Stallman's AI Lab-honed reputation for design fastidiousness soon became legendary throughout the entire software-development community. + +Jeremy Allison, a Sun user during the late 1980s and programmer destined to run his own free software project, Samba, in the 1990s, recalls that reputation with a laugh. During the late 1980s, Allison began using Emacs. Inspired by the program's community-development model, Allison says he sent in a snippet of source code only to have it rejected by Stallman. +={Allison, Jeramy+1} + +"It was like the Onion headline," Allison says. "`Child's prayers to God answered: No.'" +={Onion, The} + +Stallman's growing stature as a software programmer, however, was balanced by his struggles as a project manager. Although the GNU Project moved from success to success in creation of developer-oriented tools, its inability to generate a working kernel-the central "traffic cop" program in all Unix systems that determines which devices and applications get access to the microprocessor and when-was starting to elicit grumbles as the 1980s came to a close. As with most GNU Project efforts, Stallman had started kernel development by looking for an existing program to modify. According to a January 1987 "Gnusletter," Stallman was already working to overhaul TRIX, a Unix kernel developed at MIT. + +A review of GNU Project "GNUsletters" of the late 1980s reflects the management tension. In January, 1987, Stallman announced to the world that the GNU Project was working to overhaul TRIX, a Unix kernel developed at MIT. A year later, in February of 1988, the GNU Project announced that it had shifted its attentions to Mach, a lightweight "micro-kernel" developed at Carnegie Mellon. All told, however, official GNU Project kernel development wouldn't commence until 1990.~{ See "HURD History."
http://www.gnu.org/software/hurd/history.html }~ + +% ={Carnegie Mellon University} + +The delays in kernel development were just one of many concerns weighing on Stallman during this period. In 1989, Lotus Development Corporation filed suit against rival software company, Paperback Software International, for copying menu commands in Lotus' popular 1-2-3 Spreadsheet program. Lotus' suit, coupled with the Apple-Microsoft "look and feel" battle, provided a troublesome backdrop for the GNU Project. Although both suits fell outside the scope of the GNU Project, both revolved around operating systems and software applications developed for the personal computer, not Unix-compatible hardware systems-they threatened to impose a chilling effect on the entire culture of software development. Determined to do something, Stallman recruited a few programmer friends and composed a magazine ad blasting the lawsuits. He then followed up the ad by helping to organize a group to protest the corporations filing the suit. Calling itself the League of Programming Freedom, the group held protests outside the offices of Lotus, Inc. and the Boston courtroom hosting the Lotus trial. +={Apple Computers;Lotus Development Corp.;Microsoft Corporation:Apple Computer lawsuit;Paperback Software International} + +The protests were notable.~{ According to a League of Programming Freedom Press, the protests were notable for featuring the first hexadecimal protest chant:
1-2-3-4, toss the lawyers out the door;
5-6-7-8, innovate don't litigate;
9-A-B-C, 1-2-3 is not for me;
D-E-F-O, look and feel have got to go
http://lpf.ai.mit.edu/Links/prep.ai.mit.edu/demo.final.release }~ They document the evolving nature of software industry. Applications had quietly replaced operating systems as the primary corporate battleground. In its unfulfilled quest to build a free software operating system, the GNU Project seemed hopelessly behind the times. Indeed, the very fact that Stallman had felt it necessary to put together an entirely new group dedicated to battling the "look and feel" lawsuits reinforced that obsolescence in the eyes of some observers. + +In 1990, the John D. and Catherine T. MacArthur Foundation cerified Stallman's genius status when it granted Stallman a MacArthur fellowship, therefore making him a recipient for the organization's so-called "genius grant." The grant, a $240,000 reward for launching the GNU Project and giving voice to the free software philosophy, relieved a number of short-term concerns. First and foremost, it gave Stallman, a nonsalaried employee of the FSF who had been supporting himself through consulting contracts, the ability to devote more time to writing GNU code.~{ I use the term "writing" here loosely. About the time of the MacArthur award, Stallman began suffering chronic pain in his hands and was dictating his work to FSF-employed typists. Although some have speculated that the hand pain was the result of repetitive stress injury, or RSI, an injury common among software programmers, Stallman is not 100% sure. "It was NOT carpal tunnel syndrome," he writes. "My hand problem was in the hands themselves, not in the wrists." Stallman has since learned to work without typists after switching to a keyboard with a lighter touch. }~ + +Ironically, the award also made it possible for Stallman to vote. Months before the award, a fire in Stallman's apartment house had consumed his few earthly possessions. By the time of the award, Stallman was listing himself as a "squatter"~{ See Reuven Lerner, "Stallman wins $240,000 MacArthur award," MIT, The Tech (July 18, 1990). +http://the-tech.mit.edu/V110/N30/rms.30n.html }~ at 545 Technology Square. "[The registrar of voters] didn't want to accept that as my address," Stallman would later recall. "A newspaper article about the MacArthur grant said that and then they let me register."~{ See Michael Gross, "Richard Stallman: High School Misfit, Symbol of Free Software, MacArthur-certified Genius" (1999). }~ + +Most importantly, the MacArthur money gave Stallman more freedom. Already dedicated to the issue of software freedom, Stallman chose to use the additional freedom to increase his travels in support of the GNU Project mission. + +Interestingly, the ultimate success of the GNU Project and the free software movement in general would stem from one of these trips. In 1990, Stallman paid a visit to the Polytechnic University in Helsinki, Finland. Among the audience members was 21-year-old Linus Torvalds, future developer of the Linux kernel-the free software kernel destined to fill the GNU Project's most sizable gap. +={Helsinki, Finland+3;Polytechnic University (Finland);Torvalds, Linus+16} + +A student at the nearby University of Helsinki at the time, Torvalds regarded Stallman with bemusement. "I saw, for the first time in my life, the stereotypical long-haired, bearded hacker type," recalls Torvalds in his 2001 autobiography Just for Fun. "We don't have much of them in Helsinki."~{ See Linus Torvalds and David Diamond, Just For Fun: The Story of an Accidentaly Revolutionary (HarperCollins Publishers, Inc., 2001): 58-59. }~ +={University of Helsinki+2} + +While not exactly attuned to the "sociopolitical" side of the Stallman agenda, Torvalds nevertheless appreciated the agenda's underlying logic: no programmer writes error-free code. By sharing software, hackers put a program's improvement ahead of individual motivations such as greed or ego protection. + +Like many programmers of his generation, Torvalds had cut his teeth not on mainframe computers like the IBM 7094, but on a motley assortment of home-built computer systems. As university student, Torvalds had made the step up from C programming to Unix, using the university's MicroVAX. This ladder-like progression had given Torvalds a different perspective on the barriers to machine access. For Stallman, the chief barriers were bureaucracy and privilege. For Torvalds, the chief barriers were geography and the harsh Helsinki winter. Forced to trek across the University of Helsinki just to log in to his Unix account, Torvalds quickly began looking for a way to log in from the warm confines of his off-campus apartment. +={IBM 7094 computer;MicroVAX+1} + +The search led Torvalds to the operating system Minix, a lightweight version of Unix developed for instructional purposes by Dutch university professor Andrew Tanenbaum. The program fit within the memory confines of a 386 PC, the most powerful machine Torvalds could afford, but still lacked a few necessary features. It most notably lacked terminal emulation, the feature that allowed Torvalds' machine to mimic a university terminal, making it possible to log in to the MicroVAX from home. +={Minix operating system+2;Unix operating system:Minix and;Tanenbaum, Andrew} + +During the summer of 1991, Torvalds rewrote Minix from the ground up, adding other features as he did so. By the end of the summer, Torvalds was referring to his evolving work as the "GNU/Emacs of terminal emulation programs."~{ See Linus Torvalds and David Diamond, Just For Fun: The Story of an Accidentaly Revolutionary (HarperCollins Publishers, Inc., 2001): 78. }~ Feeling confident, he solicited a Minix newsgroup for copies of the POSIX standards, the software blue prints that determined whether a program was Unix compatible. A few weeks later, Torvalds was posting a message eerily reminiscent of Stallman's original 1983 GNU posting: +={Linux:001 version of+6;POSIX standards} + +poem{ + +Hello everybody out there using minix- + +I'm doing a (free) operating system (just a hobby, won't be big and +professional like gnu for 386 (486) AT clones). This has been brewing +since April, and is starting to get ready. I'd like any feedback on +things people like/dislike in minix, as my OS resembles it somewhat +(same physical layout of the file-system (due to practical reasons) +among other things). + +}poem~{ See "Linux 10th Anniversary."
http://www.linux10.org/history/ }~ + +The posting drew a smattering of responses and within a month, Torvalds had posted a 0.01 version of the operating system-i.e., the earliest possible version fit for outside review-on an Internet FTP site. In the course of doing so, Torvalds had to come up with a name for the new system. On his own PC hard drive, Torvalds had saved the program as Linux, a name that paid its respects to the software convention of giving each Unix variant a name that ended with the letter X. Deeming the name too "egotistical," Torvalds changed it to Freax, only to have the FTP site manager change it back. +={Freax} + +Although Torvalds had set out build a full operating system, both he and other developers knew at the time that most of the functional tools needed to do so were already available, thanks to the work of GNU, BSD, and other free software developers. One of the first tools the Linux development team took advantage of was the GNU C Compiler, a tool that made it possible to process programs written in the C programming language. +={C Compiler (GNU):Linux development and+3;GNU C Compiler (GCC):Linux development and;GCC (GNU C Compiler):Linux development and}} + +Integrating GCC improved the performance of Linux. It also raised issues. Although the GPL's "viral" powers didn't apply to the Linux kernel, Torvald's willingness to borrow GCC for the purposes of his own free software operating system indicated a certain obligation to let other users borrow back. As Torvalds would later put it: "I had hoisted myself up on the shoulders of giants."~{ See Linus Torvalds and David Diamond, Just For Fun: The Story of an Accidentaly Revolutionary (HarperCollins Publishers, Inc., 2001): 96-97. }~ Not surprisingly, he began to think about what would happen when other people looked to him for similar support. A decade after the decision, Torvalds echoes the Free Software Foundation's Robert Chassel when he sums up his thoughts at the time: + +_1 You put six months of your life into this thing and you want to make it available and you want to get something out of it, but you don't want people to take advantage of it. I wanted people to be able to see [Linux], and to make changes and improvements to their hearts' content. But I also wanted to make sure that what I got out of it was to see what they were doing. I wanted to always have access to the sources so that if they made improvements, I could make those improvements myself.~{ See Linus Torvalds and David Diamond, Just For Fun: The Story of an Accidentaly Revolutionary (HarperCollins Publishers, Inc., 2001): 94-95. }~ + +When it was time to release the 0.12 version of Linux, the first to include a fully integrated version of GCC, Torvalds decided to voice his allegiance with the free software movement. He discarded the old kernel license and replaced it with the GPL. The decision triggered a porting spree, as Torvalds and his collaborators looked to other GNU programs to fold into the growing Linux stew. Within three years, Linux developers were offering their first production release, Linux 1.0, including fully modified versions of GCC, GDB, and a host of BSD tools. + +By 1994, the amalgamated operating system had earned enough respect in the hacker world to make some observers wonder if Torvalds hadn't given away the farm by switching to the GPL in the project's initial months. In the first issue of Linux Journal, publisher Robert Young sat down with Torvalds for an interview. When Young asked the Finnish programmer if he felt regret at giving up private ownership of the Linux source code, Torvalds said no. "Even with 20/20 hindsight," Torvalds said, he considered the GPL "one of the very best design decisions" made during the early stages of the Linux project.~{ See Robert Young, "Interview with Linus, the Author of Linux," Linux Journal (March 1, 1994).
http://www.linuxjournal.com/article.php?sid=2736 }~ +={Young, Robert} + +% robert young entry added + +That the decision had been made with zero appeal or deference to Stallman and the Free Software Foundation speaks to the GPL's growing portability. Although it would take a few years to be recognized by Stallman, the explosiveness of Linux development conjured flashbacks of Emacs. This time around, however, the innovation triggering the explosion wasn't a software hack like Control-R but the novelty of running a Unix-like system on the PC architecture. The motives may have been different, but the end result certainly fit the ethical specifications: a fully functional operating system composed entirely of free software. +={Control-R (^R)} + +As his initial email message to the comp.os.minix newsgroup indicates, it would take a few months before Torvalds saw Linux as anything less than a holdover until the GNU developers delivered on the HURD kernel. This initial unwillingness to see Linux in political terms would represent a major blow to the Free Software Foundation. +={HURD kernel} + +% HURD kernel added reference + +As far as Torvalds was concerned, he was simply the latest in a long line of kids taking apart and reassembling things just for fun. Nevertheless, when summing up the runaway success of a project that could have just as easily spent the rest of its days on an abandoned computer hard drive, Torvalds credits his younger self for having the wisdom to give up control and accept the GPL bargain. + +"I may not have seen the light," writes Torvalds, reflecting on Stallman's 1991 Polytechnic University speech and his subsequent decision to switch to the GPL. "But I guess something from his speech sunk in ."~{ See Linus Torvalds and David Diamond, Just For Fun: The Story of an Accidentaly Revolutionary (HarperCollins Publishers, Inc., 2001): 59. }~ + +1~ Chapter 10 - GNU/Linux +={GNU/Linux+45;Linux+45;Stallman, Richard M.:GNU Linux+46} + +% extended Linux reference as with GNU/Linux to chapter + +By 1993, the free software movement was at a crossroads. To the optimistically inclined, all signs pointed toward success for the hacker culture. Wired magazine, a funky, new publication offering stories on data encryption, Usenet, and software freedom, was flying off magazine racks. The Internet, once a slang term used only by hackers and research scientists, had found its way into mainstream lexicon. Even President Clinton was using it. The personal computer, once a hobbyist's toy, had grown to full-scale respectability, giving a whole new generation of computer users access to hacker-built software. And while the GNU Project had not yet reached its goal of a fully intact, free software operating system, curious users could still try Linux in the interim. +={Internet+3;Wired magazine;PCs (personal computers)+2;personal computers (PCs)+2} + +Any way you sliced it, the news was good, or so it seemed. After a decade of struggle, hackers and hacker values were finally gaining acceptance in mainstream society. People were getting it. + +Or were they? To the pessimistically inclined, each sign of acceptance carried its own troubling countersign. Sure, being a hacker was suddenly cool, but was cool good for a community that thrived on alienation? Sure, the White House was saying all the right things about the Internet, even going so far as to register its own domain name, whitehouse.gov, but it was also meeting with the companies, censorship advocates, and law-enforcement officials looking to tame the Internet's Wild West culture. Sure, PCs were more powerful, but in commoditizing the PC marketplace with its chips, Intel had created a situation in which proprietary software vendors now held the power. For every new user won over to the free software cause via Linux, hundreds, perhaps thousands, were booting up Microsoft Windows for the first time. +={Intel} + +% Intel index ref added + +Finally, there was the curious nature of Linux itself. Unrestricted by design bugs (like GNU) and legal disputes (like BSD), Linux' high-speed evolution had been so unplanned, its success so accidental, that programmers closest to the software code itself didn't know what to make of it. More compilation album than operating system, it was comprised of a hacker medley of greatest hits: everything from GCC, GDB, and glibc (the GNU Project's newly developed C Library) to X (a Unix-based graphic user interface developed by MIT's Laboratory for Computer Science) to BSD-developed tools such as BIND (the Berkeley Internet Naming Daemon, which lets users substitute easy-to-remember Internet domain names for numeric IP addresses) and TCP/IP. The arch's capstone, of course, was the Linux kernel-itself a bored-out, super-charged version of Minix. Rather than building their operating system from scratch, Torvalds and his rapidly expanding Linux development team had followed the old Picasso adage, "good artists borrow; great artists steal." Or as Torvalds himself would later translate it when describing the secret of his success: "I'm basically a very lazy person who likes to take credit for things other people actually do."~{ Torvalds has offered this quote in many different settings. To date, however, the quote's most notable appearance is in the Eric Raymond essay, "The Cathedral and the Bazaar" (May, 1997).
http://www.tuxedo.org/~esr/writings/cathedral-bazaar/cathedral-bazaar/index.html }~ +={BIND (Berkely Internet Naming Daemon);Berkely Internet Naming Daemon (BIND);C programming language:glibc;GNU Debugger (GDB):Linux and;GDB (GNU Debugger): Linux and;glibc (GNU C Library);GNU C Library (glibc);kernel (Linux);X graphic user interface;Laboratory for Computer Science:X, developing;Minix operating system:kernel, used for Linux;TCP/IP;Torvalds, Linus:Minix, reworking for Linux+2} + +Such laziness, while admirable from an efficiency perspective, was troubling from a political perspective. For one thing, it underlined the lack of an ideological agenda on Torvalds' part. Unlike the GNU developers, Torvalds hadn't built an operating system out of a desire to give his fellow hackers something to work with; he'd built it to have something he himself could play with. Like Tom Sawyer whitewashing a fence, Torvalds' genius lay less in the overall vision and more in his ability to recruit other hackers to speed the process. + +That Torvalds and his recruits had succeeded where others had not raised its own troubling question: what, exactly, was Linux? Was it a manifestation of the free software philosophy first articulated by Stallman in the GNU Manifesto? Or was it simply an amalgamation of nifty software tools that any user, similarly motivated, could assemble on his own home system? +={GNU Manifesto} + +% added GNU Manifesto + +By late 1993, a growing number of Linux users had begun to lean toward the latter definition and began brewing private variations on the Linux theme. They even became bold enough to bottle and sell their variations-or "distributions"-to fellow Unix aficionados. The results were spotty at best. + +"This was back before Red Hat and the other commercial distributions," remembers Ian Murdock, then a computer science student at Purdue University. "You'd flip through Unix magazines and find all these business card-sized ads proclaiming `Linux.' Most of the companies were fly-by-night operations that saw nothing wrong with slipping a little of their own source code into the mix." +={Murdock, Ian+38;Red Hat Inc.;Purdue University} + +Murdock, a Unix programmer, remembers being "swept away" by Linux when he first downloaded and installed it on his home PC system. "It was just a lot of fun," he says. "It made me want to get involved." The explosion of poorly built distributions began to dampen his early enthusiasm, however. Deciding that the best way to get involved was to build a version of Linux free of additives, Murdock set about putting a list of the best free software tools available with the intention of folding them into his own distribution. "I wanted something that would live up to the Linux name," Murdock says. + +In a bid to "stir up some interest," Murdock posted his intentions on the Internet, including Usenet's comp.os.linux newsgroup. One of the first responding email messages was from rms@ai.mit.edu. As a hacker, Murdock instantly recognized the address. It was Richard M. Stallman, founder of the GNU Project and a man Murdock knew even back then as "the hacker of hackers." Seeing the address in his mail queue, Murdock was puzzled. Why on Earth would Stallman, a person leading his own operating-system project, care about Murdock's gripes over Linux? + +Murdock opened the message. + +"He said the Free Software Foundation was starting to look closely at Linux and that the FSF was interested in possibly doing a Linux system, too. Basically, it looked to Stallman like our goals were in line with their philosophy." +={Free Software Foundation (FSF):Linux and+3} + +The message represented a dramatic about-face on Stallman's part. Until 1993, Stallman had been content to keep his nose out of the Linux community's affairs. In fact, he had all but shunned the renegade operating system when it first appeared on the Unix programming landscape in 1991. After receiving the first notification of a Unix-like operating system that ran on PCs, Stallman says he delegated the task of examining the new operating system to a friend. Recalls Stallman, "He reported back that the software was modeled after System V, which was the inferior version of Unix. He also told me it wasn't portable." +={System V} + +The friend's report was correct. Built to run on 386-based machines, Linux was firmly rooted to its low-cost hardware platform. What the friend failed to report, however, was the sizable advantage Linux enjoyed as the only freely modifiable operating system in the marketplace. In other words, while Stallman spent the next three years listening to bug reports from his HURD team, Torvalds was winning over the programmers who would later uproot and replant the operating system onto new platforms. + +By 1993, the GNU Project's inability to deliver a working kernel was leading to problems both within the GNU Project and within the free software movement at large. A March, 1993, a Wired magazine article by Simson Garfinkel described the GNU Project as "bogged down" despite the success of the project's many tools.~{ See Simson Garfinkel, "Is Stallman Stalled?" Wired (March, 1993). }~ Those within the project and its nonprofit adjunct, the Free Software Foundation, remember the mood as being even worse than Garfinkel's article let on. "It was very clear, at least to me at the time, that there was a window of opportunity to introduce a new operating system," says Chassell. "And once that window was closed, people would become less interested. Which is in fact exactly what happened."~{ Chassel's concern about there being a 36-month "window" for a new operating system is not unique to the GNU Project. During the early 1990s, free software versions of the Berkeley Software Distribution were held up by Unix System Laboratories' lawsuit restricting the release of BSD-derived software. While many users consider BSD offshoots such as FreeBSD and OpenBSD to be demonstrably superior to GNU/Linux both in terms of performance and security, the number of FreeBSD and OpenBSD users remains a fraction of the total GNU/Linux user population.
To view a sample analysis of the relative success of GNU/Linux in relation to other free software operating systems, see the essay by New Zealand hacker, Liam Greenwood, "Why is Linux Successful" (1999). }~ +={Garfinkel, Simson;GNU Project:kernel;Wired magazine:GNU Project and} + +% ={Chassell, Robert} + +% note difference in spelling of name Chasell/Chassel in footnote + +Much has been made about the GNU Project's struggles during the 1990-1993 period. While some place the blame on Stallman for those struggles, Eric Raymond, an early member of the GNU Emacs team and later Stallman critic, says the problem was largely institutional. "The FSF got arrogant," Raymond says. "They moved away from the goal of doing a production-ready operating system to doing operating-system research." Even worse, "They thought nothing outside the FSF could affect them." +={HURD kernel+4;Raymond, Eric} + +Murdock, a person less privy to the inner dealings of the GNU Project, adopts a more charitable view. "I think part of the problem is they were a little too ambitious and they threw good money after bad," he says. "Micro-kernels in the late 80s and early 90s were a hot topic. Unfortunately, that was about the time that the GNU Project started to design their kernel. They ended up with alot of baggage and it would have taken a lot of backpedaling to lose it." + +Stallman cites a number of issues when explaining the delay. The Lotus and Apple lawsuits had provided political distractions, which, coupled with Stallman's inability to type, made it difficult for Stallman to lend a helping hand to the HURD team. Stallman also cites poor communication between various portions of the GNU Project. "We had to do a lot of work to get the debugging environment to work," he recalls. "And the people maintaining GDB at the time were not that cooperative." Mostly, however, Stallman says he and the other members of the GNU Project team underestimated the difficulty of expanding the Mach microkernal into a full-fledged Unix kernel. + +"I figured, OK, the [Mach] part that has to talk to the machine has already been debugged," Stallman says, recalling the HURD team's troubles in a 2000 speech. "With that head start, we should be able to get it done faster. But instead, it turned out that debugging these asynchronous multithreaded programs was really hard. There were timing books that would clobber the files, and that's no fun. The end result was that it took many, many years to produce a test version."~{ See Maui High Performance Computing Center Speech. }~ + +Whatever the excuse, or excuses, the concurrent success of the Linux-kernel team created a tense situation. Sure, the Linux kernel had been licensed under the GPL, but as Murdock himself had noted, the desire to treat Linux as a purely free software operating system was far from uniform. By late 1993, the total Linux user population had grown from a dozen or so Minix enthusiasts to somewhere between 20,000 and 100,000.~{ GNU/Linux user-population numbers are sketchy at best, which is why I've provided such a broad range. The 100,000 total comes from the Red Hat "Milestones" site,
http://www.redhat.com/about/corporate/milestones.html }~ What had once been a hobby was now a marketplace ripe for exploitation. Like Winston Churchill watching Soviet troops sweep into Berlin, Stallman felt an understandable set of mixed emotions when it came time to celebrate the Linux "victory."~{ I wrote this Winston Churchill analogy before Stallman himself sent me his own unsolicited comment on Churchill:
_1 World War II and the determination needed to win it was a very strong memory as I was growing up. Statements such as Churchill's, "We will fight them in the landing zones, we will fight them on the beaches . . . we will never surrender," have always resonated for me. }~ + +Although late to the party, Stallman still had clout. As soon as the FSF announced that it would lend its money and moral support to Murdock's software project, other offers of support began rolling in. Murdock dubbed the new project Debian-a compression of his and his wife, Deborah's, names-and within a few weeks was rolling out the first distribution. "[Richard's support] catapulted Debian almost overnight from this interesting little project to something people within the community had to pay attention to," Murdock says. +={Debian+19} + +In January of 1994, Murdock issued the " Debian Manifesto." Written in the spirit of Stallman's "GNU Manifesto" from a decade before, it explained the importance of working closely with the Free Software Foundation. Murdock wrote: +={Debian Manifesto+3;Free Software Foundation (FSF):Debian Manifesto and;GNU Manifesto:Debian Manifesto and} + +% added GNU Manifesto + +_1 The Free Software Foundation plays an extremely important role in the future of Debian. By the simple fact that they will be distributing it, a message is sent to the world that Linux is not a commercial product and that it never should be, but that this does not mean that Linux will never be able to compete commercially. For those of you who disagree, I challenge you to rationalize the success of GNU Emacs and GCC, which are not commercial software but which have had quite an impact on the commercial market regardless of that fact. + +_1 The time has come to concentrate on the future of Linux rather than on the destructive goal of enriching oneself at the expense of the entire Linux community and its future. The development and distribution of Debian may not be the answer to the problems that I have outlined in the Manifesto, but I hope that it will at least attract enough attention to these problems to allow them to be solved.~{ See Ian Murdock, "A Brief History of Debian," (January 6, 1994): Appendix A, "The Debian Manifesto."
http://www.debian.org/doc/manuals/project-history/apA.html }~ + +Shortly after the Manifesto's release, the Free Software Foundation made its first major request. Stallman wanted Murdock to call its distribution "GNU/Linux." At first, Murdock says, Stallman had wanted to use the term " Lignux"-"as in Linux with GNU at the heart of it"-but a sample testing of the term on Usenet and in various impromptu hacker focus groups had merited enough catcalls to convince Stallman to go with the less awkward GNU/Linux. +={Lignux (Linux with GNU)} + +Although some would dismiss Stallman's attempt to add the "GNU" prefix as a belated quest for credit, Murdock saw it differently. Looking back, Murdock saw it as an attempt to counteract the growing tension between GNU Project and Linux-kernel developers. "There was a split emerging," Murdock recalls. "Richard was concerned." + +The deepest split, Murdock says, was over glibc. Short for GNU C Library, glibc is the package that lets programmers make "system calls" directed at the kernel. Over the course of 1993-1994, glibc emerged as a troublesome bottleneck in Linux development. Because so many new users were adding new functions to the Linux kernel, the GNU Project's glibc maintainers were soon overwhelmed with suggested changes. Frustrated by delays and the GNU Project's growing reputation for foot-dragging, some Linux developers suggested creating a " fork"-i.e., a Linux-specific C Library parallel to glibc. +={C programming language:glibc+3;glibc (GNU C Library)+3;GNU C Library (glibc)+3} + +In the hacker world, forks are an interesting phenomenon. Although the hacker ethic permits a programmer to do anything he wants with a given program's source code, most hackers prefer to pour their innovations into a central source-code file or "tree" to ensure compatibility with other people's programs. To fork glibc this early in the development of Linux would have meant losing the potential input of hundreds, even thousands, of Linux developers. It would also mean growing incompatibility between Linux and the GNU system that Stallman and the GNU team still hoped to develop. +={forks (code)+3;tree (source code)} + +As leader of the GNU Project, Stallman had already experienced the negative effects of a software fork in 1991. A group of Emacs developers working for a software company named Lucid had a falling out over Stallman's unwillingness to fold changes back into the GNU Emacs code base. The fork had given birth to a parallel version, Lucid Emacs, and hard feelings all around.~{ Jamie Zawinski, a former Lucid programmer who would go on to head the Mozilla development team, has a web site that documents the Lucid/GNU Emacs fork, titled, "The Lemacs/FSFmacs Schism."
http://www.jwz.org/doc/lemacs.html }~ +={Emacs text editor:Lucid software company and;GNU Emacs:Lucid software company and;Lucid software company} + +Murdock says Debian was mounting work on a similar fork in glibc source code that motivated Stallman to insist on adding the GNU prefix when Debian rolled out its software distribution. "The fork has since converged. Still, at the time, there was a concern that if the Linux community saw itself as a different thing as the GNU community, it might be a force for disunity." + +Stallman seconds Murdock's recollection. In fact, he says there were nascent forks appearing in relation to every major GNU component. At first, Stallman says he considered the forks to be a product of sour grapes. In contrast to the fast and informal dynamics of the Linux-kernel team, GNU source-code maintainers tended to be slower and more circumspect in making changes that might affect a program's long-term viability. They also were unafraid of harshly critiquing other people's code. Over time, however, Stallman began to sense that there was an underlying lack of awareness of the GNU Project and its objectives when reading Linux developers' emails. + +"We discovered that the people who considered themselves Linux users didn't care about the GNU Project," Stallman says. "They said, `Why should I bother doing these things? I don't care about the GNU Project. It's working for me. It's working for us Linux users, and nothing else matters to us.' And that was quite surprising given that people were essentially using a variant of the GNU system, and they cared so little. They cared less than anybody else about GNU." + +While some viewed descriptions of Linux as a "variant" of the GNU Project as politically grasping, Murdock, already sympathetic to the free software cause, saw Stallman's request to call Debian's version GNU/Linux as reasonable. "It was more for unity than for credit," he says. + +Requests of a more technical nature quickly followed. Although Murdock had been accommodating on political issues, he struck a firmer pose when it came to the design and development model of the actual software. What had begun as a show of solidarity soon became of model of other GNU projects. + +"I can tell you that I've had my share of disagreements with him," says Murdock with a laugh. "In all honesty Richard can be a fairly difficult person to work with." + +In 1996, Murdock, following his graduation from Purdue, decided to hand over the reins of the growing Debian project. He had already been ceding management duties to Bruce Perens, the hacker best known for his work on Electric Fence, a Unix utility released under the GPL. Perens, like Murdock, was a Unix programmer who had become enamored of GNU/Linux as soon as the program's Unix-like abilities became manifest. Like Murdock, Perens sympathized with the political agenda of Stallman and the Free Software Foundation, albeit from afar. +={Electric Fence Unix utility; Perens, Bruce+3} + +"I remember after Stallman had already come out with the GNU Manifesto, GNU Emacs, and GCC, I read an article that said he was working as a consultant for Intel," says Perens, recalling his first brush with Stallman in the late 1980s. "I wrote him asking how he could be advocating free software on the one hand and working for Intel on the other. He wrote back saying, `I work as a consultant to produce free software.' He was perfectly polite about it, and I thought his answer made perfect sense." + +As a prominent Debian developer, however, Perens regarded Murdock's design battles with Stallman with dismay. Upon assuming leadership of the development team, Perens says he made the command decision to distance Debian from the Free Software Foundation. "I decided we did not want Richard's style of micro-management," he says. + +According to Perens, Stallman was taken aback by the decision but had the wisdom to roll with it. "He gave it some time to cool off and sent a message that we really needed a relationship. He requested that we call it GNU/Linux and left it at that. I decided that was fine. I made the decision unilaterally. Everybody breathed a sigh of relief." + +Over time, Debian would develop a reputation as the hacker's version of Linux, alongside Slackware, another popular distribution founded during the same 1993-1994 period. Outside the realm of hacker-oriented systems, however, Linux was picking up steam in the commercial Unix marketplace. In North Carolina, a Unix company billing itself as Red Hat was revamping its business to focus on Linux. The chief executive officer was Robert Young, the former Linux Journal editor who in 1994 had put the question to Linus Torvalds, asking whether he had any regrets about putting the kernel under the GPL. To Young, Torvalds' response had a "profound" impact on his own view toward Linux. Instead of looking for a way to corner the GNU/Linux market via traditional software tactics, Young began to consider what might happen if a company adopted the same approach as Debian-i.e., building an operating system completely out of free software parts. Cygnus Solutions, the company founded by Michael Tiemann and John Gilmore in 1990, was already demonstrating the ability to sell free software based on quality and customizability. What if Red Hat took the same approach with GNU/Linux? +={Gilmore, John; Young, Robert+2;Red Hat Inc.;Teimann, Michael;Slackware} + +% added Gilmore and Robert Young, Teimann + +"In the western scientific tradition we stand on the shoulders of giants," says Young, echoing both Torvalds and Sir Isaac Newton before him. "In business, this translates to not having to reinvent wheels as we go along. The beauty of [the GPL] model is you put your code into the public domain.~{ Young uses the term "public domain" incorrectly here. Public domain means not protected by copyright. GPL-protected programs are by definition protected by copyright. }~ If you're an independent software vendor and you're trying to build some application and you need a modem-dialer, well, why reinvent modem dialers? You can just steal PPP off of Red Hat Linux and use that as the core of your modem-dialing tool. If you need a graphic tool set, you don't have to write your own graphic library. Just download GTK. Suddenly you have the ability to reuse the best of what went before. And suddenly your focus as an application vendor is less on software management and more on writing the applications specific to your customer's needs." + +Young wasn't the only software executive intrigued by the business efficiencies of free software. By late 1996, most Unix companies were starting to wake up and smell the brewing source code. The Linux sector was still a good year or two away from full commercial breakout mode, but those close enough to the hacker community could feel it: something big was happening. The Intel 386 chip, the Internet, and the World Wide Web had hit the marketplace like a set of monster waves, and Linux-and the host of software programs that echoed it in terms of source-code accessibility and permissive licensing-seemed like the largest wave yet. + +For Ian Murdock, the programmer courted by Stallman and then later turned off by Stallman's micromanagement style, the wave seemed both a fitting tribute and a fitting punishment for the man who had spent so much time giving the free software movement an identity. Like many Linux aficionados, Murdock had seen the original postings. He'd seen Torvalds's original admonition that Linux was "just a hobby." He'd also seen Torvalds's admission to Minix creator Andrew Tanenbaum: "If the GNU kernel had been ready last spring, I'd not have bothered to even start my project."~{ This quote is taken from the much-publicized Torvalds-Tanenbaum "flame war" following the initial release of Linux. In the process of defending his choice of a nonportable monolithic kernel design, Torvalds says he started working on Linux as a way to learn more about his new 386 PC. "If the GNU kernel had been ready last spring, I'd not have bothered to even start my project." See Chris DiBona et al., Open Sources (O'Reilly & Associates, Inc., 1999): 224. }~ Like many, Murdock knew the opportunities that had been squandered. He also knew the excitement of watching new opportunities come seeping out of the very fabric of the Internet. +={Tanenbaum, Andrew} + +"Being involved with Linux in those early days was fun," recalls Murdock. "At the same time, it was something to do, something to pass the time. If you go back and read those old [comp.os.minix] exchanges, you'll see the sentiment: this is something we can play with until the HURD is ready. People were anxious. It's funny, but in a lot of ways, I suspect that Linux would never have happened if the HURD had come along more quickly." + +By the end of 1996, however, such "what if" questions were already moot. Call it Linux, call it GNU/Linux; the users had spoken. The 36-month window had closed, meaning that even if the GNU Project had rolled out its HURD kernel, chances were slim anybody outside the hard-core hacker community would have noticed. The first Unix-like free software operating system was here, and it had momentum. All hackers had left to do was sit back and wait for the next major wave to come crashing down on their heads. Even the shaggy-haired head of one Richard M. Stallman. +={HURD kernel} + +% HURD kernel added reference + +Ready or not. + +1~ Chapter 11 - Open Source +={GNU Project:open source movement and+59;open source+59;Stallman, Richard M.:open source and+59} + +In November , 1995, Peter Salus, a member of the Free Software Foundation and author of the 1994 book, A Quarter Century of Unix, issued a call for papers to members of the GNU Project's "system-discuss" mailing list. Salus, the conference's scheduled chairman, wanted to tip off fellow hackers about the upcoming Conference on Freely Redistributable Software in Cambridge, Massachusetts. Slated for February, 1996 and sponsored by the Free Software Foundation, the event promised to be the first engineering conference solely dedicated to free software and, in a show of unity with other free software programmers, welcomed papers on "any aspect of GNU, Linux, NetBSD, 386BSD, FreeBSD, Perl, Tcl/tk, and other tools for which the code is accessible and redistributable." Salus wrote: +={Free Software Foundation (FSF);FSF (Free Software Foundation);FreeBSD;Conference on Freely Redistributable Software+1;Linux;NetBSD;Perl programming language;386BSD;Salus, Peter+4} + +_1 Over the past 15 years, free and low-cost software has become ubiquitous. This conference will bring together implementers of several different types of freely redistributable software and publishers of such software (on various media). There will be tutorials and refereed papers, as well as keynotes by Linus Torvalds and Richard Stallman.~{ See Peter Salus, "FYI-Conference on Freely Redistributable Software, 2/2, Cambridge" (1995) (archived by Terry Winograd).
http://hci.stanford.edu/pcd-archives/pcd-fyi/1995/0078.html }~ + +One of the first people to receive Salus' email was conference committee member Eric S. Raymond. Although not the leader of a project or company like the various other members of the list, Raymond had built a tidy reputation within the hacker community as a major contributor to GNU Emacs and as editor of /{The New Hacker Dictionary}/, a book version of the hacking community's decade-old Jargon File. +={New Hacker Dictionary, The;Raymond, Eric:open source and+56} + +For Raymond, the 1996 conference was a welcome event. Active in the GNU Project during the 1980s, Raymond had distanced himself from the project in 1992, citing, like many others before him, Stallman's "micro-management" style. "Richard kicked up a fuss about my making unauthorized modifications when I was cleaning up the Emacs LISP libraries," Raymond recalls. "It frustrated me so much that I decided I didn't want to work with him anymore." + +Despite the falling out, Raymond remained active in the free software community. So much so that when Salus suggested a conference pairing Stallman and Torvalds as keynote speakers, Raymond eagerly seconded the idea. With Stallman representing the older, wiser contingent of ITS/Unix hackers and Torvalds representing the younger, more energetic crop of Linux hackers, the pairing indicated a symbolic show of unity that could only be beneficial, especially to ambitious younger (i.e., below 40) hackers such as Raymond. "I sort of had a foot in both camps," Raymond says. + +By the time of the conference, the tension between those two camps had become palpable. Both groups had one thing in common, though: the conference was their first chance to meet the Finnish wunderkind in the flesh. Surprisingly, Torvalds proved himself to be a charming, affable speaker. Possessing only a slight Swedish accent, Torvalds surprised audience members with his quick, self-effacing wit.~{ Although Linus Torvalds is Finnish, his mother tongue is Swedish. "The Rampantly Unofficial Linus FAQ" offers a brief explanation:
_1 Finland has a significant (about 6%) Swedish-speaking minority population. They call themselves "finlandssvensk" or "finlandssvenskar" and consider themselves Finns; many of their families have lived in Finland for centuries. Swedish is one of Finland's two official languages.
http://tuxedo.org/~esr/faqs/linus/ }~ Even more surprising, says Raymond, was Torvalds' equal willingness to take potshots at other prominent hackers, including the most prominent hacker of all, Richard Stallman. By the end of the conference, Torvalds' half-hacker, half-slacker manner was winning over older and younger conference-goers alike. + +"It was a pivotal moment," recalls Raymond. "Before 1996, Richard was the only credible claimant to being the ideological leader of the entire culture. People who dissented didn't do so in public. The person who broke that taboo was Torvalds." + +The ultimate breach of taboo would come near the end of the show. During a discussion on the growing market dominance of Microsoft Windows or some similar topic, Torvalds admitted to being a fan of Microsoft's PowerPoint slideshow software program. From the perspective of old-line software purists, it was like a Mormon bragging in church about his fondness of whiskey. From the perspective of Torvalds and his growing band of followers, it was simply common sense. Why shun worthy proprietary software programs just to make a point? Being a hacker wasn't about suffering, it was about getting the job done. +={Windows (Microsoft);Microsoft Corporation+3;PowerPoint (Microsoft)+3;proprietary software:Torvalds, Linus and;Torvalds, Linus:PowerPoint and+3} + +"That was a pretty shocking thing to say," Raymond remembers. "Then again, he was able to do that, because by 1995 and 1996, he was rapidly acquiring clout." + +Stallman, for his part, doesn't remember any tension at the 1996 conference, but he does remember later feeling the sting of Torvalds' celebrated cheekiness. "There was a thing in the Linux documentation which says print out the GNU coding standards and then tear them up," says Stallman, recalling one example. "OK, so he disagrees with some of our conventions. That's fine, but he picked a singularly nasty way of saying so. He could have just said `Here's the way I think you should indent your code.' Fine. There should be no hostility there." + +For Raymond, the warm reception other hackers gave to Torvalds' comments merely confirmed his suspicions. The dividing line separating Linux developers from GNU/Linux developers was largely generational. Many Linux hackers, like Torvalds, had grown up in a world of proprietary software. Unless a program was clearly inferior, most saw little reason to rail against a program on licensing issues alone. Somewhere in the universe of free software systems lurked a program that hackers might someday turn into a free software alternative to PowerPoint. Until then, why begrudge Microsoft the initiative of developing the program and reserving the rights to it? + +As a former GNU Project member, Raymond sensed an added dynamic to the tension between Stallman and Torvalds. In the decade since launching the GNU Project, Stallman had built up a fearsome reputation as a programmer. He had also built up a reputation for intransigence both in terms of software design and people management. Shortly before the 1996 conference, the Free Software Foundation would experience a full-scale staff defection, blamed in large part on Stallman. Brian Youmans, a current FSF staffer hired by Salus in the wake of the resignations, recalls the scene: "At one point, Peter [Salus] was the only staff member working in the office." + +For Raymond, the defection merely confirmed a growing suspicion: recent delays such as the HURD and recent troubles such as the Lucid-Emacs schism reflected problems normally associated with software project management, not software code development. Shortly after the Freely Redistributable Software Conference, Raymond began working on his own pet software project, a popmail utility called "fetchmail." Taking a cue from Torvalds, Raymond issued his program with a tacked-on promise to update the source code as early and as often as possible. When users began sending in bug reports and feature suggestions, Raymond, at first anticipating a tangled mess, found the resulting software surprisingly sturdy. Analyzing the success of the Torvalds approach, Raymond issued a quick analysis: using the Internet as his "petri dish" and the harsh scrutiny of the hacker community as a form of natural selection, Torvalds had created an evolutionary model free of central planning. +={fetchmail;FreeBSD;Conference on Freely Redistributable Software;Internet} + +What's more, Raymond decided, Torvalds had found a way around Brooks' Law. First articulated by Fred P. Brooks, manager of IBM's OS/360 project and author of the 1975 book, The Mythical Man-Month, Brooks' Law held that adding developers to a project only resulted in further project delays. Believing as most hackers that software, like soup, benefits from a limited number of cooks, Raymond sensed something revolutionary at work. In inviting more and more cooks into the kitchen, Torvalds had actually found away to make the resulting software better.~{ Brooks' Law is the shorthand summary of the following quote taken from Brooks' book:
_1 Since software construction is inherently a systems effort-an exercise in complex interrelationships-communication effort is great, and it quickly dominates the decrease in individual task time brought about by partitioning. Adding more men then lengthens, not shortens, the schedule.
See Fred P. Brooks, The Mythical Man-Month (Addison Wesley Publishing, 1995) }~ +={Brooks, Fred P.;Mythical Man-Month, The (Brooks)} + +Raymond put his observations on paper. He crafted them into a speech, which he promptly delivered before a group of friends and neighbors in Chester County, Pennsylvania. Dubbed " The Cathedral and the Bazaar," the speech contrasted the management styles of the GNU Project with the management style of Torvalds and the kernel hackers. Raymond says the response was enthusiastic, but not nearly as enthusiastic as the one he received during the 1997 Linux Kongress, a gathering of Linux users in Germany the next spring. +={Cathedral and the Bazaar, The (Raymond)+10;Linux Kongress+6} + +"At the Kongress, they gave me a standing ovation at the end of the speech," Raymond recalls. "I took that as significant for two reasons. For one thing, it meant they were excited by what they were hearing. For another thing, it meant they were excited even after hearing the speech delivered through a language barrier." + +Eventually, Raymond would convert the speech into a paper, also titled "The Cathedral and the Bazaar." The paper drew its name from Raymond's central analogy. GNU programs were "cathedrals," impressive, centrally planned monuments to the hacker ethic, built to stand the test of time. Linux, on the other hand, was more like "a great babbling bazaar," a software program developed through the loose decentralizing dynamics of the Internet. + +Implicit within each analogy was a comparison of Stallman and Torvalds. Where Stallman served as the classic model of the cathedral architect-i.e., a programming "wizard" who could disappear for 18 months and return with something like the GNU C Compiler-Torvalds was more like a genial dinner-party host. In letting others lead the Linux design discussion and stepping in only when the entire table needed a referee, Torvalds had created a development model very much reflective of his own laid-back personality. From the Torvalds' perspective, the most important managerial task was not imposing control but keeping the ideas flowing. + +Summarized Raymond, "I think Linus's cleverest and most consequential hack was not the construction of the Linux kernel itself, but rather his invention of the Linux development model."~{ See Eric Raymond, "The Cathredral and the Bazaar" (1997). }~ + +In summarizing the secrets of Torvalds' managerial success, Raymond himself had pulled off a coup. One of the audience members at the Linux Kongress was Tim O'Reilly, publisher of O'Reilly & Associates, a company specializing in software manuals and software-related books (and the publisher of this book). After hearing Raymond's Kongress speech, O'Reilly promptly invited Raymond to deliver it again at the company's inaugural Perl Conference later that year in Monterey, California. +={Monterey (California);O'Reilly, Tim;O'Reilly & Associates} + +Although the conference was supposed to focus on Perl, a scripting language created by Unix hacker Larry Wall, O'Reilly assured Raymond that the conference would address other free software technologies. Given the growing commercial interest in Linux and Apache, a popular free software web server, O'Reilly hoped to use the event to publicize the role of free software in creating the entire infrastructure of the Internet. From web-friendly languages such as Perl and Python to back-room programs such as BIND (the Berkeley Internet Naming Daemon), a software tool that lets users replace arcane IP numbers with the easy-to-remember domain-name addresses (e.g., amazon.com), and sendmail, the most popular mail program on the Internet, free software had become an emergent phenomenon. Like a colony of ants creating a beautiful nest one grain of sand at a time, the only thing missing was the communal self-awareness. O'Reilly saw Raymond's speech as a good way to inspire that self-awareness, to drive home the point that free software development didn't start and end with the GNU Project. Programming languages, such as Perl and Python, and Internet software, such as BIND, sendmail, and Apache, demonstrated that free software was already ubiquitous and influential. He also assured Raymond an even warmer reception than the one at Linux Kongress. +={Apache web server;BIND (Berkely Internet Naming Daemon);Berkely Internet Naming Daemon (BIND);Wall, Larry;Perl programming language;Python programming language;sendmail Unix mail program} + +O'Reilly was right. "This time, I got the standing ovation before the speech," says Raymond, laughing. + +As predicted, the audience was stocked not only with hackers, but with other people interested in the growing power of the free software movement. One contingent included a group from Netscape, the Mountain View, California startup then nearing the end game of its three-year battle with Microsoft for control of the web-browser market. +={Mountain View (California);Netscape+8} + +Intrigued by Raymond's speech and anxious to win back lost market share, Netscape executives took the message back to corporate headquarters. A few months later, in January, 1998, the company announced its plan to publish the source code of its flagship Navigator web browser in the hopes of enlisting hacker support in future development. +={source code:Mozilla (Netscape)+1} + +When Netscape CEO Jim Barksdale cited Raymond's "Cathedral and the Bazaar" essay as a major influence upon the company's decision, the company instantly elevated Raymond to the level of hacker celebrity. Determined not to squander the opportunity, Raymond traveled west to deliver interviews, advise Netscape executives, and take part in the eventual party celebrating the publication of Netscape Navigator's source code. The code name for Navigator's source code was "Mozilla": a reference both to the program's gargantuan size-30 million lines of code-and to its heritage. Developed as a proprietary offshoot of Mosaic, the web browser created by Marc Andreessen at the University of Illinois, Mozilla was proof, yet again, that when it came to building new programs, most programmers preferred to borrow on older, modifiable programs. +={Andreessen, Marc;Barksdale, Jim} + +While in California, Raymond also managed to squeeze in a visit to VA Research, a Santa Clara-based company selling workstations with the GNU/Linux operating system preinstalled. Convened by Raymond, the meeting was small. The invite list included VA founder Larry Augustin, a few VA employees, and Christine Peterson, president of the Foresight Institute, a Silicon Valley think tank specializing in nanotechnology. +={Augustin, Larry;Foresight Institute;VA Research;Peterson, Christine+4} + +"The meeting's agenda boiled down to one item: how to take advantage of Netscape's decision so that other companies might follow suit?" Raymond doesn't recall the conversation that took place, but he does remember the first complaint addressed. Despite the best efforts of Stallman and other hackers to remind people that the word "free" in free software stood for freedom and not price, the message still wasn't getting through. Most business executives, upon hearing the term for the first time, interpreted the word as synonymous with "zero cost," tuning out any follow up messages in short order. Until hackers found a way to get past this cognitive dissonance, the free software movement faced an uphill climb, even after Netscape. + +Peterson, whose organization had taken an active interest in advancing the free software cause, offered an alternative: open source. + +Looking back, Peterson says she came up with the open source term while discussing Netscape's decision with a friend in the public relations industry. She doesn't remember where she came upon the term or if she borrowed it from another field, but she does remember her friend disliking the term.~{ See Malcolm Maclachlan, "Profit Motive Splits Open Source Movement," TechWeb News (August 26, 1998).
http://content.techweb.com/wire/story/TWB19980824S0012 }~ + +At the meeting, Peterson says, the response was dramatically different. "I was hesitant about suggesting it," Peterson recalls. "I had no standing with the group, so started using it casually, not highlighting it as a new term." To Peterson's surprise, the term caught on. By the end of the meeting, most of the attendees, including Raymond, seemed pleased by it. + +Raymond says he didn't publicly use the term "open source" as a substitute for free software until a day or two after the Mozilla launch party, when O'Reilly had scheduled a meeting to talk about free software. Calling his meeting "the Freeware Summit," O'Reilly says he wanted to direct media and community attention to the other deserving projects that had also encouraged Netscape to release Mozilla. "All these guys had so much in common, and I was surprised they didn't all know each other," says O'Reilly. "I also wanted to let the world know just how great an impact the free software culture had already made. People were missing out on a large part of the free software tradition." +={Freeware Summit;O'Reilly, Tim:open source and+8} + +In putting together the invite list, however, O'Reilly made a decision that would have long-term political consequences. He decided to limit the list to west-coast developers such as Wall, Eric Allman, creator of sendmail, and Paul Vixie, creator of BIND. There were exceptions, of course: Pennsylvania-resident Raymond, who was already in town thanks to the Mozilla launch, earned a quick invite. So did Virginia-resident Guido van Rossum, creator of Python. "Frank Willison, my editor in chief and champion of Python within the company, invited him without first checking in with me," O'Reilly recalls. "I was happy to have him there, but when I started, it really was just a local gathering." +={van Rossum, Guido;Python programming language} + +% names not in index allman of sendmail, allman of bind + +For some observers, the unwillingness to include Stallman's name on the list qualified as a snub. "I decided not to go to the event because of it," says Perens, remembering the summit. Raymond, who did go, says he argued for Stallman's inclusion to no avail. The snub rumor gained additional strength from the fact that O'Reilly, the event's host, had feuded publicly with Stallman over the issue of software-manual copyrights. Prior to the meeting, Stallman had argued that free software manuals should be as freely copyable and modifiable as free software programs. O'Reilly, meanwhile, argued that a value-added market for nonfree books increased the utility of free software by making it more accessible to a wider community. The two had also disputed the title of the event, with Stallman insisting on "Free Software" over the less politically laden "Freeware." + +Looking back, O'Reilly doesn't see the decision to leave Stallman's name off the invite list as a snub. "At that time, I had never met Richard in person, but in our email interactions, he'd been inflexible and unwilling to engage in dialogue. I wanted to make sure the GNU tradition was represented at the meeting, so I invited John Gilmore and Michael Tiemann, whom I knew personally, and whom I knew were passionate about the value of the GPL but seemed more willing to engage in a frank back-and-forth about the strengths and weaknesses of the various free software projects and traditions. Given all the later brouhaha, I do wish I'd invited Richard as well, but I certainly don't think that my failure to do so should be interpreted as a lack of respect for the GNU Project or for Richard personally." +={Gilmore, John;Tiemann, Michael+7} + +Snub or no snub, both O'Reilly and Raymond say the term "open source" won over just enough summit-goers to qualify as a success. The attendees shared ideas and experiences and brainstormed on how to improve free software's image. Of key concern was how to point out the successes of free software, particularly in the realm of Internet infrastructure, as opposed to playing up the GNU/Linux challenge to Microsoft Windows. But like the earlier meeting at VA, the discussion soon turned to the problems associated with the term "free software." O'Reilly, the summit host, remembers a particularly insightful comment from Torvalds, a summit attendee. + +"Linus had just moved to Silicon Valley at that point, and he explained how only recently that he had learned that the word `free' had two meanings-free as in `libre' and free as in `gratis'-in English." + +Michael Tiemann, founder of Cygnus, proposed an alternative to the troublesome "free software" term: sourceware. "Nobody got too excited about it," O'Reilly recalls. "That's when Eric threw out the term `open source.'" + +Although the term appealed to some, support for a change in official terminology was far from unanimous. At the end of the one-day conference, attendees put the three terms-free software, open source, or sourceware-to a vote. According to O'Reilly, 9 out of the 15 attendees voted for "open source." Although some still quibbled with the term, all attendees agreed to use it in future discussions with the press. "We wanted to go out with a solidarity message," O'Reilly says. + +The term didn't take long to enter the national lexicon. Shortly after the summit, O'Reilly shepherded summit attendees to a press conference attended by reporters from the New York Times, the Wall Street Journal, and other prominent publications. Within a few months, Torvalds' face was appearing on the cover of Forbes magazine, with the faces of Stallman, Perl creator Larry Wall, and Apache team leader Brian Behlendorf featured in the interior spread. Open source was open for business. +={Wall, Larry} + +% Larry Wall entry added + +For summit attendees such as Tiemann, the solidarity message was the most important thing. Although his company had achieved a fair amount of success selling free software tools and services, he sensed the difficulty other programmers and entrepreneurs faced. + +"There's no question that the use of the word free was confusing in a lot of situations," Tiemann says. "Open source positioned itself as being business friendly and business sensible. Free software positioned itself as morally righteous. For better or worse we figured it was more advantageous to align with the open source crowd. + +For Stallman, the response to the new "open source" term was slow in coming. Raymond says Stallman briefly considered adopting the term, only to discard it. "I know because I had direct personal conversations about it," Raymond says. + +By the end of 1998, Stallman had formulated a position: open source, while helpful in communicating the technical advantages of free software, also encouraged speakers to soft-pedal the issue of software freedom. Given this drawback, Stallman would stick with the term free software. + +Summing up his position at the 1999 LinuxWorld Convention and Expo, an event billed by Torvalds himself as a "coming out party" for the Linux community, Stallman implored his fellow hackers to resist the lure of easy compromise. +={LinuxWorld Conventions+2} + +"Because we've shown how much we can do, we don't have to be desperate to work with companies or compromise our goals," Stallman said during a panel discussion. "Let them offer and we'll accept. We don't have to change what we're doing to get them to help us. You can take a single step towards a goal, then another and then more and more and you'll actually reach your goal. Or, you can take a half measure that means you don't ever take another step and you'll never get there." + +Even before the LinuxWorld show, however, Stallman was showing an increased willingness to alienate his more conciliatory peers. A few months after the Freeware Summit, O'Reilly hosted its second annual Perl Conference. This time around, Stallman was in attendance. During a panel discussion lauding IBM's decision to employ the free software Apache web server in its commercial offerings, Stallman, taking advantage of an audience microphone, disrupted the proceedings with a tirade against panelist John Ousterhout, creator of the Tcl scripting language. Stallman branded Ousterhout a "parasite" on the free software community for marketing a proprietary version of Tcl via Ousterhout's startup company, Scriptics. "I don't think Scriptics is necessary for the continued existence of Tcl," Stallman said to hisses from the fellow audience members. ^98^ +={Apache web server;IBM:Apache web server and;Ousterhout, John;Tcl scripting language+1;Scriptics} + +"It was a pretty ugly scene," recalls Prime Time Freeware's Rich Morin. "John's done some pretty respectable things: Tcl, Tk, Sprite. He's a real contributor." +={Morin, Rich+1;Prime Time Freeware;Sprite} + +Despite his sympathies for Stallman and Stallman's position, Morin felt empathy for those troubled by Stallman's discordant behavior. + +Stallman's Perl Conference outburst would momentarily chase off another potential sympathizer, Bruce Perens. In 1998, Eric Raymond proposed launching the Open Source Initiative, or OSI, an organization that would police the use of the term "open source" and provide a definition for companies interested in making their own programs. Raymond recruited Perens to draft the definition.~{ See Bruce Perens et al., "The Open Source Definition," The Open Source Initiative (1998). +http://www.opensource.org/docs/definition.html }~ +={OSI (Open Source Initiative);Open Source Initiative (OSI);Perens, Bruce+1} + +Perens would later resign from the OSI, expressing regret that the organization had set itself up in opposition to Stallman and the FSF. Still, looking back on the need for a free software definition outside the Free Software Foundation's auspices, Perens understands why other hackers might still feel the need for distance. "I really like and admire Richard," says Perens. "I do think Richard would do his job better if Richard had more balance. That includes going away from free software for a couple of months." + +Stallman's monomaniacal energies would do little to counteract the public-relations momentum of open source proponents. In August of 1998, when chip-maker Intel purchased a stake in GNU/Linux vendor Red Hat, an accompanying New York Times article described the company as the product of a movement "known alternatively as free software and open source."~{ See Amy Harmon, "For Sale: Free Operating System," New York Times (September 28, 1998).
http://www.nytimes.com/library/tech/98/09/biztech/articles/28linux.html }~ Six months later, a John Markoff article on Apple Computer was proclaiming the company's adoption of the "open source" Apache server in the article headline.~{ See John Markoff, "Apple Adopts `Open Source' for its Server Computers," New York Times (March 17, 1999).
http://www.nytimes.com/library/tech/99/03/biztech/articles/17apple.html }~ +={Apache web server;Apple Computers:open source software and;Intel;Markoff, John;Red Hat Inc.:success of+1} + +Such momentum would coincide with the growing momentum of companies that actively embraced the "open source" term. By August of 1999, Red Hat, a company that now eagerly billed itself as "open source," was selling shares on Nasdaq. In December, VA Linux-formerly VA Research-was floating its own IPO to historical effect. Opening at $30 per share, the company's stock price exploded past the $300 mark in initial trading only to settle back down to the $239 level. Shareholders lucky enough to get in at the bottom and stay until the end experienced a 698% increase in paper wealth, a Nasdaq record. +={VA Linux+1;VA Research} + +% VA Research added to index + +Among those lucky shareholders was Eric Raymond, who, as a company board member since the Mozilla launch, had received 150,000 shares of VA Linux stock. Stunned by the realization that his essay contrasting the Stallman-Torvalds managerial styles had netted him $36 million in potential wealth, Raymond penned a follow-up essay. In it, Raymond mused on the relationship between the hacker ethic and monetary wealth: + +_1 Reporters often ask me these days if I think the open-source community will be corrupted by the influx of big money. I tell them what I believe, which is this: commercial demand for programmers has been so intense for so long that anyone who can be seriously distracted by money is already gone. Our community has been self-selected for caring about other things-accomplishment, pride, artistic passion, and each other.~{ See Eric Raymond, "Surprised by Wealth," Linux Today (December 10, 1999).
http://linuxtoday.com/news_story.php3?ltsn=1999-12-10-001-05-NW-LF }~ + +Whether or not such comments allayed suspicions that Raymond and other open source proponents had simply been in it for the money, they drove home the open source community's ultimate message: all you needed to sell the free software concept is a friendly face and a sensible message. Instead of fighting the marketplace head-on as Stallman had done, Raymond, Torvalds, and other new leaders of the hacker community had adopted a more relaxed approach-ignoring the marketplace in some areas, leveraging it in others. Instead of playing the role of high-school outcasts, they had played the game of celebrity, magnifying their power in the process. + +"On his worst days Richard believes that Linus Torvalds and I conspired to hijack his revolution," Raymond says. "Richard's rejection of the term open source and his deliberate creation of an ideological fissure in my view comes from an odd mix of idealism and territoriality. There are people out there who think it's all Richard's personal ego. I don't believe that. It's more that he so personally associates himself with the free software idea that he sees any threat to that as a threat to himself." + +Ironically, the success of open source and open source advocates such as Raymond would not diminish Stallman's role as a leader. If anything, it gave Stallman new followers to convert. Still, the Raymond territoriality charge is a damning one. There are numerous instances of Stallman sticking to his guns more out of habit than out of principle: his initial dismissal of the Linux kernel, for example, and his current unwillingness as a political figure to venture outside the realm of software issues. + +Then again, as the recent debate over open source also shows, in instances when Stallman has stuck to his guns, he's usually found a way to gain ground because of it. "One of Stallman's primary character traits is the fact he doesn't budge," says Ian Murdock. "He'll wait up to a decade for people to come around to his point of view if that's what it takes." + +Murdock, for one, finds that unbudgeable nature both refreshing and valuable. Stallman may no longer be the solitary leader of the free software movement, but he is still the polestar of the free software community. "You always know that he's going to be consistent in his views," Murdock says. "Most people aren't like that. Whether you agree with him or not, you really have to respect that." + +1~ Chapter 12 - A Brief Journey Through Hacker Hell + +Richard Stallman stares, unblinking, through the windshield of a rental car, waiting for the light to change as we make our way through downtown Kihei. +={Kihei (Hawaii)+15} + +The two of us are headed to the nearby town of Pa'ia, where we are scheduled to meet up with some software programmers and their wives for dinner in about an hour or so. +={Pa'ia (Hawaii)+2} + +It's about two hours after Stallman's speech at the Maui High Performance Center, and Kihei, a town that seemed so inviting before the speech, now seems profoundly uncooperative. Like most beach cities, Kihei is a one-dimensional exercise in suburban sprawl. Driving down its main drag, with its endless succession of burger stands, realty agencies, and bikini shops, it's hard not to feel like a steel-coated morsel passing through the alimentary canal of a giant commercial tapeworm. The feeling is exacerbated by the lack of side roads. With nowhere to go but forward, traffic moves in spring-like lurches. 200 yards ahead, a light turns green. By the time we are moving, the light is yellow again. + +For Stallman, a lifetime resident of the east coast, the prospect of spending the better part of a sunny Hawaiian afternoon trapped in slow traffic is enough to trigger an embolism. Even worse is the knowledge that, with just a few quick right turns a quarter mile back, this whole situation easily could have been avoided. Unfortunately, we are at the mercy of the driver ahead of us, a programmer from the lab who knows the way and who has decided to take us to Pa'ia via the scenic route instead of via the nearby Pilani Highway. + +"This is terrible," says Stallman between frustrated sighs. "Why didn't we take the other route?" + +Again, the light a quarter mile ahead of us turns green. Again, we creep forward a few more car lengths. This process continues for another 10 minutes, until we finally reach a major crossroad promising access to the adjacent highway. + +The driver ahead of us ignores it and continues through the intersection. + +"Why isn't he turning?" moans Stallman, throwing up his hands in frustration. "Can you believe this?" + +I decide not to answer either. I find the fact that I am sitting in a car with Stallman in the driver seat, in Maui no less, unbelievable enough. Until two hours ago, I didn't even know Stallman knew how to drive. Now, listening to Yo-Yo Ma's cello playing the mournful bass notes of "Appalachian Journey" on the car stereo and watching the sunset pass by on our left, I do my best to fade into the upholstery. + +When the next opportunity to turn finally comes up, Stallman hits his right turn signal in an attempt to cue the driver ahead of us. No such luck. Once again, we creep slowly through the intersection, coming to a stop a good 200 yards before the next light. By now, Stallman is livid. + +"It's like he's deliberately ignoring us," he says, gesturing and pantomiming like an air craft carrier landing-signals officer in a futile attempt to catch our guide's eye. The guide appears unfazed, and for the next five minutes all we see is a small portion of his head in the rearview mirror. + +I look out Stallman's window. Nearby Kahoolawe and Lanai Islands provide an ideal frame for the setting sun. It's a breathtaking view, the kind that makes moments like this a bit more bearable if you're a Hawaiian native, I suppose. I try to direct Stallman's attention to it, but Stallman, by now obsessed by the inattentiveness of the driver ahead of us, blows me off. +={Lanai Islands (Hawaii)} + +When the driver passes through another green light, completely ignoring a "Pilani Highway Next Right," I grit my teeth. I remember an early warning relayed to me by BSD programmer Keith Bostic. "Stallman does not suffer fools gladly," Bostic warned me. "If somebody says or does something stupid, he'll look them in the eye and say, `That's stupid.'" +={Bostic, Keith} + +Looking at the oblivious driver ahead of us, I realize that it's the stupidity, not the inconvenience, that's killing Stallman right now. + +"It's as if he picked this route with absolutely no thought on how to get there efficiently," Stallman says. + +The word "efficiently" hangs in the air like a bad odor. Few things irritate the hacker mind more than inefficiency. It was the inefficiency of checking the Xerox laser printer two or three times a day that triggered Stallman's initial inquiry into the printer source code. It was the inefficiency of rewriting software tools hijacked by commercial software vendors that led Stallman to battle Symbolics and to launch the GNU Project. If, as Jean Paul Sartre once opined, hell is other people, hacker hell is duplicating other people's stupid mistakes, and it's no exaggeration to say that Stallman's entire life has been an attempt to save mankind from these fiery depths. +={Sartre, Jean Paul} + +This hell metaphor becomes all the more apparent as we take in the slowly passing scenery. With its multitude of shops, parking lots, and poorly timed street lights, Kihei seems less like a city and more like a poorly designed software program writ large. Instead of rerouting traffic and distributing vehicles through side streets and expressways, city planners have elected to run everything through a single main drag. From a hacker perspective, sitting in a car amidst all this mess is like listening to a CD rendition of nails on a chalkboard at full volume. + +"Imperfect systems infuriate hackers," observes Steven Levy, another warning I should have listened to before climbing into the car with Stallman. "This is one reason why hackers generally hate driving cars-the system of randomly programmed red lights and oddly laid out one-way streets causes delays which are so goddamn unnecessary [Levy's emphasis] that the impulse is to rearrange signs, open up traffic-light control boxes . . . redesign the entire system."~{ See Steven Levy, Hackers (Penguin USA [paperback], 1984): 40. }~ + +% ={Hackers (Levy)} + +More frustrating, however, is the duplicity of our trusted guide. Instead of searching out a clever shortcut-as any true hacker would do on instinct-the driver ahead of us has instead chosen to play along with the city planners' game. Like Virgil in Dante's Inferno, our guide is determined to give us the full guided tour of this hacker hell whether we want it or not. + +Before I can make this observation to Stallman, the driver finally hits his right turn signal. Stallman's hunched shoulders relax slightly, and for a moment the air of tension within the car dissipates. The tension comes back, however, as the driver in front of us slows down. "Construction Ahead" signs line both sides of the street, and even though the Pilani Highway lies less than a quarter mile off in the distance, the two-lane road between us and the highway is blocked by a dormant bulldozer and two large mounds of dirt. + +It takes Stallman a few seconds to register what's going on as our guide begins executing a clumsy five-point U-turn in front of us. When he catches a glimpse of the bulldozer and the "No Through Access" signs just beyond, Stallman finally boils over. + +"Why, why, why?" he whines, throwing his head back. "You should have known the road was blocked. You should have known this way wouldn't work. You did this deliberately." + +The driver finishes the turn and passes us on the way back toward the main drag. As he does so, he shakes his head and gives us an apologetic shrug. Coupled with a toothy grin, the driver's gesture reveals a touch of mainlander frustration but is tempered with a protective dose of islander fatalism. Coming through the sealed windows of our rental car, it spells out a succinct message: "Hey, it's Maui; what are you gonna do?" + +Stallman can take it no longer. + +"Don't you fucking smile!" he shouts, fogging up the glass as he does so. "It's your fucking fault. This all could have been so much easier if we had just done it my way." + +Stallman accents the words "my way" by gripping the steering wheel and pulling himself towards it twice. The image of Stallman's lurching frame is like that of a child throwing a temper tantrum in a car seat, an image further underlined by the tone of Stallman's voice. Halfway between anger and anguish, Stallman seems to be on the verge of tears. + +Fortunately, the tears do not arrive. Like a summer cloudburst, the tantrum ends almost as soon as it begins. After a few whiny gasps, Stallman shifts the car into reverse and begins executing his own U-turn. By the time we are back on the main drag, his face is as impassive as it was when we left the hotel 30 minutes earlier. + +It takes less than five minutes to reach the next cross-street. This one offers easy highway access, and within seconds, we are soon speeding off toward Pa'ia at a relaxing rate of speed. The sun that once loomed bright and yellow over Stallman's left shoulder is now burning a cool orange-red in our rearview mirror. It lends its color to the gauntlet wili wili trees flying past us on both sides of the highway. +={Pa'ia (Hawaii)} + +For the next 20 minutes, the only sound in our vehicle, aside from the ambient hum of the car's engine and tires, is the sound of a cello and a violin trio playing the mournful strains of an Appalachian folk tune. + +1~ Chapter 13 - Continuing the Fight + +For Richard Stallman, time may not heal all wounds, but it does provide a convenient ally. + +Four years after " The Cathedral and the Bazaar," Stallman still chafes over the Raymond critique. He also grumbles over Linus Torvalds' elevation to the role of world's most famous hacker. He recalls a popular T-shirt that began showing at Linux tradeshows around 1999. Designed to mimic the original promotional poster for Star Wars, the shirt depicted Torvalds brandishing a lightsaber like Luke Skywalker, while Stallman's face rides atop R2D2. The shirt still grates on Stallmans nerves not only because it depicts him as a Torvalds' sidekick, but also because it elevates Torvalds to the leadership role in the free software/open source community, a role even Torvalds himself is loath to accept. "It's ironic," says Stallman mournfully. "Picking up that sword is exactly what Linus refuses to do. He gets everybody focusing on him as the symbol of the movement, and then he won't fight. What good is it?" +={Cathedral and the Bazaar, The (Raymond);Luke Skywalker;R2D2;Torvalds, Linus+1;Star Wars} + +Then again, it is that same unwillingness to "pick up the sword," on Torvalds part, that has left the door open for Stallman to bolster his reputation as the hacker community's ethical arbiter. Despite his grievances, Stallman has to admit that the last few years have been quite good, both to himself and to his organization. Relegated to the periphery by the unforeseen success of GNU/Linux, Stallman has nonetheless successfully recaptured the initiative. His speaking schedule between January 2000 and December 2001 included stops on six continents and visits to countries where the notion of software freedom carries heavy overtones-China and India, for example. + +Outside the bully pulpit, Stallman has also learned how to leverage his power as costeward of the GNU General Public License (GPL). During the summer of 2000, while the air was rapidly leaking out of the 1999 Linux IPO bubble, Stallman and the Free Software Foundation scored two major victories. In July, 2000, Troll Tech, a Norwegian software company and developer of Qt, a valuable suite of graphics tools for the GNU/Linux operating system, announced it was licensing its software under the GPL. A few weeks later, Sun Microsystems, a company that, until then, had been warily trying to ride the open source bandwagon without giving up total control of its software properties, finally relented and announced that it, too, was dual licensing its new OpenOffice application suite under the Lesser GNU Public License (LGPL) and the Sun Industry Standards Source License (SISSL). +={Free Software Foundation (FSF):QT graphic tools and;GNU General Public License:QT graphics tools and;Lesser GNU Public License (LGPL);OpenOffice application suite+4;Qt+1;Troll Tech+1;SISSL (Sun Industry Standards Source Licence);Sun Industry Standards Source License (SISSL);Sun Microsystems:OpenOffice application suite} + +Underlining each victory was the fact that Stallman had done little to fight for them. In the case of Troll Tech, Stallman had simply played the role of free software pontiff. In 1999, the company had come up with a license that met the conditions laid out by the Free Software Foundation, but in examining the license further, Stallman detected legal incompatibles that would make it impossible to bundle Qt with GPL-protected software programs. Tired of battling Stallman, Troll Tech management finally decided to split the Qt into two versions, one GPL-protected and one QPL-protected, giving developers a way around the compatibility issues cited by Stallman. + +In the case of Sun, they desired to play according to the Free Software Foundation's conditions. At the 1999 O'Reilly Open Source Conference, Sun Microsystems cofounder and chief scientist Bill Joy defended his company's "community source" license, essentially a watered-down compromise letting users copy and modify Sun-owned software but not charge a fee for said software without negotiating a royalty agreement with Sun. A year after Joy's speech, Sun Microsystems vice president Marco Boerries was appearing on the same stage spelling out the company's new licensing compromise in the case of OpenOffice, an office-application suite designed specifically for the GNU/Linux operating system. +={Boerries, Marco+2;community source, license of Sun Microsystems;Joy, Bill;O'Reilly & Associates:Open Source Conferences} + +% ={"community source" license of Sun Microsystems} would be sorted incorrectly + +"I can spell it out in three letters," said Boerries. "GPL." + +At the time, Boerries said his company's decision had little to do with Stallman and more to do with the momentum of GPL-protected programs. "What basically happened was the recognition that different products attracted different communities, and the license you use depends on what type of community you want to attract," said Boerries. "With [OpenOffice], it was clear we had the highest correlation with the GPL community."~{ See Marco Boerries, interview with author (July, 2000). }~ + +Such comments point out the under-recognized strength of the GPL and, indirectly, the political genius of man who played the largest role in creating it. "There isn't a lawyer on earth who would have drafted the GPL the way it is," says Eben Moglen, Columbia University law professor and Free Software Foundation general counsel. "But it works. And it works because of Richard's philosophy of design." +={Columbia University;Moglen, Eben+35} + +A former professional programmer, Moglen traces his pro bono work with Stallman back to 1990 when Stallman requested Moglen's legal assistance on a private affair. Moglen, then working with encryption expert Phillip Zimmerman during Zimmerman's legal battles with the National Security Administration, says he was honored by the request. "I told him I used Emacs every day of my life, and it would take an awful lot of lawyering on my part to pay off the debt." +={Zimmerman, Phillip;National Security Administration} + +Since then, Moglen, perhaps more than any other individual, has had the best chance to observe the crossover of Stallman's hacker philosophies into the legal realm. Moglen says the difference between Stallman's approach to legal code and software code are largely the same. "I have to say, as a lawyer, the idea that what you should do with a legal document is to take out all the bugs doesn't make much sense," Moglen says. "There is uncertainty in every legal process, and what most lawyers want to do is to capture the benefits of uncertainty for their client. Richard's goal is the complete opposite. His goal is to remove uncertainty, which is inherently impossible. It is inherently impossible to draft one license to control all circumstances in all legal systems all over the world. But if you were to go at it, you would have to go at it his way. And the resulting elegance, the resulting simplicity in design almost achieves what it has to achieve. And from there a little lawyering will carry you quite far." + +As the person charged with pushing the Stallman agenda, Moglen understands the frustration of would-be allies. "Richard is a man who does not want to compromise over matters that he thinks of as fundamental," Moglen says, "and he does not take easily the twisting of words or even just the seeking of artful ambiguity, which human society often requires from a lot of people." + +Because of the Free Software Foundation's unwillingness to weigh in on issues outside the purview of GNU development and GPL enforcement, Moglen has taken to devoting his excess energies to assisting the Electronic Frontier Foundation, the organization providing legal aid to recent copyright defendants such as Dmitri Skylarov. In 2000, Moglen also served as direct counsel to a collection of hackers that were joined together from circulating the DVD decryption program deCSS. Despite the silence of his main client in both cases, Moglen has learned to appreciate the value of Stallman's stubbornness. "There have been times over the years where I've gone to Richard and said, `We have to do this. We have to do that. Here's the strategic situation. Here's the next move. Here's what he have to do.' And Richard's response has always been, `We don't have to do anything.' Just wait. What needs doing will get done." +={Electronic Frontier Foundation;Skylarov, Dmitri} + +"And you know what?" Moglen adds. "Generally, he's been right." + +Such comments disavow Stallman's own self-assessment: "I'm not good at playing games," Stallman says, addressing the many unseen critics who see him as a shrewd strategist. "I'm not good at looking ahead and anticipating what somebody else might do. My approach has always been to focus on the foundation, to say `Let's make the foundation as strong as we can make it.'" + +The GPL's expanding popularity and continuing gravitational strength are the best tributes to the foundation laid by Stallman and his GNU colleagues. While no longer capable of billing himself as the "last true hacker," Stallman nevertheless can take sole credit for building the free software movement's ethical framework. Whether or not other modern programmers feel comfortable working inside that framework is immaterial. The fact that they even have a choice at all is Stallman's greatest legacy. + +Discussing Stallman's legacy at this point seems a bit premature. Stallman, 48 at the time of this writing, still has a few years left to add to or subtract from that legacy. Still, the autopilot nature of the free software movement makes it tempting to examine Stallman's life outside the day-to-day battles of the software industry and within a more august, historical setting. + +To his credit, Stallman refuses all opportunities to speculate. "I've never been able to work out detailed plans of what the future was going to be like," says Stallman, offering his own premature epitaph. "I just said `I'm going to fight. Who knows where I'll get?'" + +There's no question that in picking his fights, Stallman has alienated the very people who might otherwise have been his greatest champions. It is also a testament to his forthright, ethical nature that many of Stallman's erstwhile political opponents still manage to put in a few good words for him when pressed. The tension between Stallman the ideologue and Stallman the hacker genius, however, leads a biographer to wonder: how will people view Stallman when Stallman's own personality is no longer there to get in the way? + +In early drafts of this book, I dubbed this question the "100 year" question. Hoping to stimulate an objective view of Stallman and his work, I asked various software-industry luminaries to take themselves out of the current timeframe and put themselves in a position of a historian looking back on the free software movement 100 years in the future. From the current vantage point, it is easy to see similarities between Stallman and past Americans who, while somewhat marginal during their lifetime, have attained heightened historical importance in relation to their age. Easy comparisons include Henry David Thoreau, transcendentalist philosopher and author of On Civil Disobedience, and John Muir, founder of the Sierra Club and progenitor of the modern environmental movement. It is also easy to see similarities in men like William Jennings Bryan, a.k.a. "The Great Commoner," leader of the populist movement, enemy of monopolies, and a man who, though powerful, seems to have faded into historical insignificance. +={Bryan, Willliam Jennings;Muir, John;On Civil Disobedience (Thoreau);Thoreau, Henry David;Sierra Club} + +Although not the first person to view software as public property, Stallman is guaranteed a footnote in future history books thanks to the GPL. Given that fact, it seems worthwhile to step back and examine Richard Stallman's legacy outside the current time frame. Will the GPL still be something software programmers use in the year 2102, or will it have long since fallen by the wayside? Will the term "free software" seem as politically quaint as "free silver" does today, or will it seem eerily prescient in light of later political events? + +Predicting the future is risky sport, but most people, when presented with the question, seemed eager to bite. "One hundred years from now, Richard and a couple of other people are going to deserve more than a footnote," says Moglen. "They're going to be viewed as the main line of the story." + +The "couple other people" Moglen nominates for future textbook chapters include John Gilmore, Stallman's GPL advisor and future founder of the Electronic Frontier Foundation, and Theodor Holm Nelson, a.k.a. Ted Nelson, author of the 1982 book, Literary Machines. Moglen says Stallman, Nelson, and Gilmore each stand out in historically significant, nonoverlapping ways. He credits Nelson, commonly considered to have coined the term "hypertext," for identifying the predicament of information ownership in the digital age. Gilmore and Stallman, meanwhile, earn notable credit for identifying the negative political effects of information control and building organizations-the Electronic Frontier Foundation in the case of Gilmore and the Free Software Foundation in the case of Stallman-to counteract those effects. Of the two, however, Moglen sees Stallman's activities as more personal and less political in nature. +={Electronic Frontier Foundation;Gilmore, John;Nelson, Theodor Holm+2;Nelson Ted+2} + +"Richard was unique in that the ethical implications of unfree software were particularly clear to him at an early moment," says Moglen. "This has a lot to do with Richard's personality, which lots of people will, when writing about him, try to depict as epiphenomenal or even a drawback in Richard Stallman's own life work." + +Gilmore, who describes his inclusion between the erratic Nelson and the irascible Stallman as something of a "mixed honor," nevertheless seconds the Moglen argument. Writes Gilmore: + +_1 My guess is that Stallman's writings will stand up as well as Thomas Jefferson's have; he's a pretty clear writer and also clear on his principles . . . Whether Richard will be as influential as Jefferson will depend on whether the abstractions we call "civil rights" end up more important a hundred years from now than the abstractions that we call "software" or "technically imposed restrictions." +={Jefferson, Thomas} + +Another element of the Stallman legacy not to be overlooked, Gilmore writes, is the collaborative software-development model pioneered by the GNU Project. Although flawed at times, the model has nevertheless evolved into a standard within the software-development industry. All told, Gilmore says, this collaborative software-development model may end up being even more influential than the GNU Project, the GPL License, or any particular software program developed by Stallman: + +_1 Before the Internet, it was quite hard to collaborate over distance on software, even among teams that know and trust each other. Richard pioneered collaborative development of software, particularly by disorganized volunteers who seldom meet each other. Richard didn't build any of the basic tools for doing this (the TCP protocol, email lists, diff and patch, tar files, RCS or CVS or remote-CVS), but he used the ones that were available to form social groups of programmers who could effectively collaborate. + +Lawrence Lessig, Stanford law professor and author of the 2001 book, The Future of Ideas, is similarly bullish. Like many legal scholars, Lessig sees the GPL as a major bulwark of the current so-called "digital commons," the vast agglomeration of community-owned software programs, network and telecommunication standards that have triggered the Internet's exponential growth over the last three decades. Rather than connect Stallman with other Internet pioneers, men such as Vannevar Bush, Vinton Cerf, and J. C. R. Licklider who convinced others to see computer technology on a wider scale, Lessig sees Stallman's impact as more personal, introspective, and, ultimately, unique: +={Future of Ideas, The (Lessig)} + +_1 [Stallman] changed the debate from is to ought. He made people see how much was at stake, and he built a device to carry these ideals forward . . . That said, I don't quite know how to place him in the context of Cerf or Licklider. The innovation is different. It is not just about a certain kind of code, or enabling the Internet. [It's] much more about getting people to see the value in a certain kind of Internet. I don't think there is anyone else in that class, before or after. + +Not everybody sees the Stallman legacy as set in stone, of course. Eric Raymond, the open source proponent who feels that Stallman's leadership role has diminished significantly since 1996, sees mixed signals when looking into the 2102 crystal ball: + +_1 I think Stallman's artifacts (GPL, Emacs, GCC) will be seen as revolutionary works, as foundation-stones of the information world. I think history will be less kind to some of the theories from which RMS operated, and not kind at all to his personal tendency towards territorial, cult-leader behavior. + +As for Stallman himself, he, too, sees mixed signals: + +_1 What history says about the GNU Project, twenty years from now, will depend on who wins the battle of freedom to use public knowledge. If we lose, we will be just a footnote. If we win, it is uncertain whether people will know the role of the GNU operating system-if they think the system is "Linux," they will build a false picture of what happened and why. + +_1 But even if we win, what history people learn a hundred years from now is likely to depend on who dominates politically. + +Searching for his own 19th-century historical analogy, Stallman summons the figure of John Brown, the militant abolitionist regarded as a hero on one side of the Mason Dixon line and a madman on the other. + +John Brown's slave revolt never got going, but during his subsequent trial he effectively roused national demand for abolition. During the Civil War, John Brown was a hero; 100 years after, and for much of the 1900s, history textbooks taught that he was crazy. During the era of legal segregation, while bigotry was shameless, the US partly accepted the story that the South wanted to tell about itself, and history textbooks said many untrue things about the Civil War and related events. + +Such comparisons document both the self-perceived peripheral nature of Stallman's current work and the binary nature of his current reputation. Although it's hard to see Stallman's reputation falling to the level of infamy as Brown's did during the post-Reconstruction period-Stallman, despite his occasional war-like analogies, has done little to inspire violence-it's easy to envision a future in which Stallman's ideas wind up on the ash-heap. In fashioning the free software cause not as a mass movement but as a collection of private battles against the forces of proprietary temptation, Stallman seems to have created a unwinnable situation, especially for the many acolytes with the same stubborn will. + +Then again, it is that very will that may someday prove to be Stallman's greatest lasting legacy. Moglen, a close observer over the last decade, warns those who mistake the Stallman personality as counter-productive or epiphenomenal to the "artifacts" of Stallman's life. Without that personality, Moglen says, there would be precious few artifiacts to discuss. Says Moglen, a former Supreme Court clerk: + +_1 Look, the greatest man I ever worked for was Thurgood Marshall. I knew what made him a great man. I knew why he had been able to change the world in his possible way. I would be going out on a limb a little bit if I were to make a comparison, because they could not be more different. Thurgood Marshall was a man in society, representing an outcast society to the society that enclosed it, but still a man in society. His skill was social skills. But he was all of a piece, too. Different as they were in every other respect, that the person I most now compare him to in that sense, all of a piece, compact, made of the substance that makes stars, all the way through, is Stallman. +={Marshall, Thurgood} + +In an effort to drive that image home, Moglen reflects on a shared moment in the spring of 2000. The success of the VA Linux IPO was still resonating in the business media, and a half dozen free software-related issues were swimming through the news. Surrounded by a swirling hurricane of issues and stories each begging for comment, Moglen recalls sitting down for lunch with Stallman and feeling like a castaway dropped into the eye of the storm. For the next hour, he says, the conversation calmly revolved around a single topic: strengthening the GPL. +={VA Linux} + +"We were sitting there talking about what we were going to do about some problems in Eastern Europe and what we were going to do when the problem of the ownership of content began to threaten free software," Moglen recalls. "As we were talking, I briefly thought about how we must have looked to people passing by. Here we are, these two little bearded anarchists, plotting and planning the next steps. And, of course, Richard is plucking the knots from his hair and dropping them in the soup and behaving in his usual way. Anybody listening in on our conversation would have thought we were crazy, but I knew: I knew the revolution's right here at this table. This is what's making it happen. And this man is the person making it happen." + +Moglen says that moment, more than any other, drove home the elemental simplicity of the Stallman style. + +"It was funny," recalls Moglen. "I said to him, `Richard, you know, you and I are the two guys who didn't make any money out of this revolution.' And then I paid for the lunch, because I knew he didn't have the money to pay for it .'" + +1~ Chapter 14 - Epilogue: Crushing Loneliness + +Writing the biography of a living person is a bit like producing a play. The drama in front of the curtain often pales in comparison to the drama backstage. + +In The Autobiography of Malcolm X, Alex Haley gives readers a rare glimpse of that backstage drama. Stepping out of the ghostwriter role, Haley delivers the book's epilogue in his own voice. The epilogue explains how a freelance reporter originally dismissed as a "tool" and "spy" by the Nation of Islam spokesperson managed to work through personal and political barriers to get Malcolm X's life story on paper. +={Autobiography of Malcolm X, The (Haley)+1;Haley, Alex} + +While I hesitate to compare this book with The Autobiography of Malcolm X, I do owe a debt of gratitude to Haley for his candid epilogue. Over the last 12 months, it has served as a sort of instruction manual on how to deal with a biographical subject who has built an entire career on being disagreeable. From the outset, I envisioned closing this biography with a similar epilogue, both as an homage to Haley and as a way to let readers know how this book came to be. + +The story behind this story starts in an Oakland apartment, winding its way through the various locales mentioned in the book-Silicon Valley, Maui, Boston, and Cambridge. Ultimately, however, it is a tale of two cities: New York, New York, the book-publishing capital of the world, and Sebastopol, California, the book-publishing capital of Sonoma County. + +The story starts in April, 2000. At the time, I was writing stories for the ill-fated BeOpen web site ( http://www.beopen.com/ ). One of my first assignments was a phone interview with Richard M. Stallman. The interview went well, so well that Slashdot ( http://www.slashdot.org/ ), the popular "news for nerds" site owned by VA Software, Inc. (formerly VA Linux Systems and before that, VA Research), gave it a link in its daily list of feature stories. Within hours, the web servers at BeOpen were heating up as readers clicked over to the site. +={BeOpen.com+3;VA Linux;VA Research;VA Software, Inc.;Slashdot} + +For all intents and purposes, the story should have ended there. Three months after the interview, while attending the O'Reilly Open Source Conference in Monterey, California, I received the following email message from Tracy Pattison, foreign-rights manager at a large New York publishing house: +={Monterey (California);O'Reilly & Associates:Open Source Conferences;Pattison, Tracy} + +poem{ + +To: sam@BeOpen.com Subject: + +RMS InterviewDate: Mon, 10 Jul 2000 15:56:37 -0400Dear Mr. Williams, + +I read your interview with Richard Stallman on BeOpen with great +interest. I've been intrigued by RMS and his work for some time now +and was delighted to find your piece which I really think you did a +great job of capturing some of the spirit of what Stallman is trying +to do with GNU-Linux and the Free Software Foundation. + +What I'd love to do, however, is read more - and I don't think I'm +alone. Do you think there is more information and/or sources out there +to expand and update your interview and adapt it into more of a +profile of Stallman? Perhaps including some more anecdotal information +about his personality and background that might really interest and +enlighten readers outside the more hardcore programming scene? + +}poem + +The email asked that I give Tracy a call to discuss the idea further. I did just that. Tracy told me her company was launching a new electronic book line, and it wanted stories that appealed to an early-adopter audience. The e-book format was 30,000 words, about 100 pages, and she had pitched her bosses on the idea of profiling a major figure in the hacker community. Her bosses liked the idea, and in the process of searching for interesting people to profile, she had come across my BeOpen interview with Stallman. Hence her email to me. + +That's when Tracy asked me: would I be willing to expand the interview into a full-length feature profile? + +My answer was instant: yes. Before accepting it, Tracy suggested I put together a story proposal she could show her superiors. Two days later, I sent her a polished proposal. A week later, Tracy sent me a follow up email. Her bosses had given it the green light. + +I have to admit, getting Stallman to participate in an e-book project was an afterthought on my part. As a reporter who covered the open source beat, I knew Stallman was a stickler. I'd already received a half dozen emails at that point upbraiding me for the use of "Linux" instead of "GNU/Linux." + +Then again, I also knew Stallman was looking for ways to get his message out to the general public. Perhaps if I presented the project to him that way, he would be more receptive. If not, I could always rely upon the copious amounts of documents, interviews, and recorded online conversations Stallman had left lying around the Internet and do an unauthorized biography. + +During my research, I came across an essay titled "Freedom-Or Copyright?" Written by Stallman and published in the June, 2000, edition of the MIT Technology Review, the essay blasted e-books for an assortment of software sins. Not only did readers have to use proprietary software programs to read them, Stallman lamented, but the methods used to prevent unauthorized copying were overly harsh. Instead of downloading a transferable HTML or PDF file, readers downloaded an encrypted file. In essence, purchasing an e-book meant purchasing a nontransferable key to unscramble the encrypted content. Any attempt to open a book's content without an authorized key constituted a criminal violation of the Digital Millennium Copyright Act, the 1998 law designed to bolster copyright enforcement on the Internet. Similar penalties held for readers who converted a book's content into an open file format, even if their only intention was to read the book on a different computer in their home. Unlike a normal book, the reader no longer held the right to lend, copy, or resell an e-book. They only had the right to read it on an authorized machine, warned Stallman: +={Digital Millennium Copyright Act} + +% additional reference to the Digital Millenium Copyright Act + +_1 We still have the same old freedoms in using paper books. But if e-books replace printed books, that exception will do little good. With "electronic ink," which makes it possible to download new text onto an apparently printed piece of paper, even newspapers could become ephemeral. Imagine: no more used book stores; no more lending a book to your friend; no more borrowing one from the public library-no more "leaks" that might give someone a chance to read without paying. (And judging from the ads for Microsoft Reader, no more anonymous purchasing of books either.) This is the world publishers have in mind for us.~{ See "Safari Tech Books Online; Subscriber Agreement: Terms of Service."
http://safari.oreilly.com/mainhlp.asp?help=service }~ + +Needless to say, the essay caused some concern. Neither Tracy nor I had discussed the software her company would use nor had we discussed the type of copyright that would govern the e-book's usage. I mentioned the Technology Review article and asked if she could give me information on her company's e-book policies. Tracy promised to get back to me. + +Eager to get started, I decided to call Stallman anyway and mention the book idea to him. When I did, he expressed immediate interest and immediate concern. "Did you read my essay on e-books?" he asked. + +When I told him, yes, I had read the essay and was waiting to hear back from the publisher, Stallman laid out two conditions: he didn't want to lend support to an e-book licensing mechanism he fundamentally opposed, and he didn't want to come off as lending support. "I don't want to participate in anything that makes me look like a hypocrite," he said. + +For Stallman, the software issue was secondary to the copyright issue. He said he was willing to ignore whatever software the publisher or its third-party vendors employed just so long as the company specified within the copyright that readers were free to make and distribute verbatim copies of the e-book's content. Stallman pointed to Stephen King's /{The Plant}/ as a possible model. In June, 2000, King announced on his official web site that he was self-publishing /{The Plant}/ in serial form. According to the announcement, the book's total cost would be $13, spread out over a series of $1 installments. As long as at least 75% of the readers paid for each chapter, King promised to continue releasing new installments. By August, the plan seemed to be working, as King had published the first two chapters with a third on the way. +={King, Stephen;open source+4;Plant, The (King)} + +"I'd be willing to accept something like that," Stallman said. "As long as it also permitted verbatim copying." + +I forwarded the information to Tracy. Feeling confident that she and I might be able to work out an equitable arrangement, I called up Stallman and set up the first interview for the book. Stallman agreed to the interview without making a second inquiry into the status issue. Shortly after the first interview, I raced to set up a second interview (this one in Kihei), squeezing it in before Stallman headed off on a 14-day vacation to Tahiti. + +% ={Kihei (Hawaii)} + +It was during Stallman's vacation that the bad news came from Tracy. Her company's legal department didn't want to adjust its copyright notice on the e-books. Readers who wanted to make their books transferable would either have to crack the encryption code or convert the book to an open format such as HTML. Either way, the would be breaking the law and facing criminal penalties. + +With two fresh interviews under my belt, I didn't see any way to write the book without resorting to the new material. I quickly set up a trip to New York to meet with my agent and with Tracy to see if there was a compromise solution. + +When I flew to New York, I met my agent, Henning Guttman. It was our first face-to-face meeting, and Henning seemed pessimistic about our chances of forcing a compromise, at least on the publisher's end. The large, established publishing houses already viewed the e-book format with enough suspicion and weren't in the mood to experiment with copyright language that made it easier for readers to avoid payment. As an agent who specialized in technology books, however, Henning was intrigued by the novel nature of my predicament. I told him about the two interviews I'd already gathered and the promise not to publish the book in a way that made Stallman "look like a hypocrite." Agreeing that I was in an ethical bind, Henning suggested we make that our negotiating point. +={Guttman, Henning} + +Barring that, Henning said, we could always take the carrot-and-stick approach. The carrot would be the publicity that came with publishing an e-book that honored the hacker community's internal ethics. The stick would be the risks associated with publishing an e-book that didn't. Nine months before Dmitri Skylarov became an Internet cause cÈlËbre, we knew it was only a matter of time before an enterprising programmer revealed how to hack e-books. We also knew that a major publishing house releasing an encryption-protected e-book on Richard M. Stallman was the software equivalent of putting "Steal This E-Book" on the cover. +={Skylarov, Dmitri} + +After my meeting with Henning, I put a call into Stallman. Hoping to make the carrot more enticing, I discussed a number of potential compromises. What if the publisher released the book's content under a split license, something similar to what Sun Microsystems had done with Open Office, the free software desktop applications suite? The publisher could then release commercial versions of the e-book under a normal format, taking advantage of all the bells and whistles that went with the e-book software, while releasing the copyable version under a less aesthetically pleasing HTML format. + +Stallman told me he didn't mind the split-license idea, but he did dislike the idea of making the freely copyable version inferior to the restricted version. Besides, he said, the idea was too cumbersome. Split licenses worked in the case of Sun's Open Office only because he had no control over the decision making. In this case, Stallman said, he did have a way to control the outcome. He could refuse to cooperate. + +I made a few more suggestions with little effect. About the only thing I could get out of Stallman was a concession that the e-book's copyright restrict all forms of file sharing to "noncommercial redistribution." + +Before I signed off, Stallman suggested I tell the publisher that I'd promised Stallman that the work would be free. I told Stallman I couldn't agree to that statement but that I did view the book as unfinishable without his cooperation. Seemingly satisfied, Stallman hung up with his usual sign-off line: "Happy hacking." + +Henning and I met with Tracy the next day. Tracy said her company was willing to publish copyable excerpts in a unencrypted format but would limit the excerpts to 500 words. Henning informed her that this wouldn't be enough for me to get around my ethical obligation to Stallman. Tracy mentioned her own company's contractual obligation to online vendors such as Amazon.com. Even if the company decided to open up its e-book content this one time, it faced the risk of its partners calling it a breach of contract. Barring a change of heart in the executive suite or on the part of Stallman, the decision was up to me. I could use the interviews and go against my earlier agreement with Stallman, or I could plead journalistic ethics and back out of the verbal agreement to do the book. +={Amazon.com} + +Following the meeting, my agent and I relocated to a pub on Third Ave. I used his cell phone to call Stallman, leaving a message when nobody answered. Henning left for a moment, giving me time to collect my thoughts. When he returned, he was holding up the cell phone. + +"It's Stallman," Henning said. + +The conversation got off badly from the start. I relayed Tracy's comment about the publisher's contractual obligations. + +"So," Stallman said bluntly. "Why should I give a damn about their contractual obligations?" + +Because asking a major publishing house to risk a legal battle with its vendors over a 30,000 word e-book is a tall order, I suggested. + +"Don't you see?" Stallman said. "That's exactly why I'm doing this. I want a signal victory. I want them to make a choice between freedom and business as usual." + +As the words "signal victory" echoed in my head, I felt my attention wander momentarily to the passing foot traffic on the sidewalk. Coming into the bar, I had been pleased to notice that the location was less than half a block away from the street corner memorialized in the 1976 Ramones song, "53rd and 3rd," a song I always enjoyed playing in my days as a musician. Like the perpetually frustrated street hustler depicted in that song, I could feel things falling apart as quickly as they had come together. The irony was palpable. After weeks of gleefully recording other people's laments, I found myself in the position of trying to pull off the rarest of feats: a Richard Stallman compromise. + +When I continued hemming and hawing, pleading the publisher's position and revealing my growing sympathy for it, Stallman, like an animal smelling blood, attacked. + +"So that's it? You're just going to screw me? You're just going to bend to their will?" + +I brought up the issue of a dual-copyright again. + +"You mean license," Stallman said curtly. + +"Yeah, license. Copyright. Whatever," I said, feeling suddenly like a wounded tuna trailing a rich plume of plasma in the water. + +"Aw, why didn't you just fucking do what I told you to do!" he shouted. + +I must have been arguing on behalf of the publisher to the very end, because in my notes I managed to save a final Stallman chestnut: "I don't care. What they're doing is evil. I can't support evil. Good-bye." + +As soon as I put the phone down, my agent slid a freshly poured Guinness to me. "I figured you might need this," he said with a laugh. "I could see you shaking there towards the end." + +I was indeed shaking. The shaking wouldn't stop until the Guinness was more than halfway gone. It felt weird, hearing myself characterized as an emissary of "evil." It felt weirder still, knowing that three months before, I was sitting in an Oakland apartment trying to come up with my next story idea. Now, I was sitting in a part of the world I'd only known through rock songs, taking meetings with publishing executives and drinking beer with an agent I'd never even laid eyes on until the day before. It was all too surreal, like watching my life reflected back as a movie montage. + +About that time, my internal absurdity meter kicked in. The initial shaking gave way to convulsions of laughter. To my agent, I must have looked like a another fragile author undergoing an untimely emotional breakdown. To me, I was just starting to appreciate the cynical beauty of my situation. Deal or no deal, I already had the makings of a pretty good story. It was only a matter of finding a place to tell it. When my laughing convulsions finally subsided, I held up my drink in a toast. + +"Welcome to the front lines, my friend," I said, clinking pints with my agent. "Might as well enjoy it." + +If this story really were a play, here's where it would take a momentary, romantic interlude. Disheartened by the tense nature of our meeting, Tracy invited Henning and I to go out for drinks with her and some of her coworkers. We left the bar on Third Ave., headed down to the East Village, and caught up with Tracy and her friends. + +Once there, I spoke with Tracy, careful to avoid shop talk. Our conversation was pleasant, relaxed. Before parting, we agreed to meet the next night. Once again, the conversation was pleasant, so pleasant that the Stallman e-book became almost a distant memory. + +When I got back to Oakland, I called around to various journalist friends and acquaintances. I recounted my predicament. Most upbraided me for giving up too much ground to Stallman in the preinterview negotiation. A former j-school professor suggested I ignore Stallman's "hypocrite" comment and just write the story. Reporters who knew of Stallman's media-savviness expressed sympathy but uniformly offered the same response: it's your call. + +I decided to put the book on the back burner. Even with the interviews, I wasn't making much progress. Besides, it gave me a chance to speak with Tracy without running things past Henning first. By Christmas we had traded visits: she flying out to the west coast once, me flying out to New York a second time. The day before New Year's Eve, I proposed. Deciding which coast to live on, I picked New York. By February, I packed up my laptop computer and all my research notes related to the Stallman biography, and we winged our way to JFK Airport. Tracy and I were married on May 11. So much for failed book deals. + +During the summer, I began to contemplate turning my interview notes into a magazine article. Ethically, I felt in the clear doing so, since the original interview terms said nothing about traditional print media. To be honest, I also felt a bit more comfortable writing about Stallman after eight months of radio silence. Since our telephone conversation in September, I'd only received two emails from Stallman. Both chastised me for using "Linux" instead of "GNU/Linux" in a pair of articles for the web magazine /{Upside Today}/. Aside from that, I had enjoyed the silence. In June, about a week after the New York University speech, I took a crack at writing a 5,000-word magazine-length story about Stallman. This time, the words flowed. The distance had helped restore my lost sense of emotional perspective, I suppose. +={Upside Today web magazine} + +In July, a full year after the original email from Tracy, I got a call from Henning. He told me that O'Reilly & Associates, a publishing house out of Sebastopol, California, was interested in the running the Stallman story as a biography. The news pleased me. Of all the publishing houses in the world, O'Reilly, the same company that had published Eric Raymond's The Cathedral and the Bazaar, seemed the most sensitive to the issues that had killed the earlier e-book. As a reporter, I had relied heavily on the O'Reilly book Open Sources as a historical reference. I also knew that various chapters of the book, including a chapter written by Stallman, had been published with copyright notices that permitted redistribution. Such knowledge would come in handy if the issue of electronic publication ever came up again. +={Cathedral and the Bazaar, The (Raymond);O'Reilly & Associates;Open Sources (DiBona, et al)+2;Raymond, Eric} + +Sure enough, the issue did come up. I learned through Henning that O'Reilly intended to publish the biography both as a book and as part of its new Safari Tech Books Online subscription service. The Safari user license would involve special restrictions,1 Henning warned, but O'Reilly was willing to allow for a copyright that permitted users to copy and share and the book's text regardless of medium. Basically, as author, I had the choice between two licenses: the Open Publication License or the GNU Free Documentation License. +={Open Publication License (OPL)+8;OPL (Open Publication License)+8;Safari Tech Books Online subscription service} + +I checked out the contents and background of each license. The Open Publication License (OPL)~{ See "The Open Publication License: Draft v1.0" (June 8, 1999).
http://opencontent.org/openpub/ }~ gives readers the right to reproduce and distribute a work, in whole or in part, in any medium "physical or electronic," provided the copied work retains the Open Publication License. It also permits modification of a work, provided certain conditions are met. Finally, the Open Publication License includes a number of options, which, if selected by the author, can limit the creation of "substantively modified" versions or book-form derivatives without prior author approval. + +The GNU Free Documentation License (GFDL),~{ See "The GNU Free Documentation License: Version 1.1" (March, 2000).
http://www.gnu.org/copyleft/fdl.html }~ meanwhile, permits the copying and distribution of a document in any medium, provided the resulting work carries the same license. It also permits the modification of a document provided certain conditions. Unlike the OPL, however, it does not give authors the option to restrict certain modifications. It also does not give authors the right to reject modifications that might result in a competitive book product. It does require certain forms of front- and back-cover information if a party other than the copyright holder wishes to publish more than 100 copies of a protected work, however. +={GFDL (GNU Free Documentation License)+1;GNU Free Documentation License (GFDL)+1} + +In the course of researching the licenses, I also made sure to visit the GNU Project web page titled "Various Licenses and Comments About Them."~{ See http://www.gnu.org/philosophy/license-list.html }~ On that page, I found a Stallman critique of the Open Publication License. Stallman's critique related to the creation of modified works and the ability of an author to select either one of the OPL's options to restrict modification. If an author didn't want to select either option, it was better to use the GFDL instead, Stallman noted, since it minimized the risk of the nonselected options popping up in modified versions of a document. + +The importance of modification in both licenses was a reflection of their original purpose-namely, to give software-manual owners a chance to improve their manuals and publicize those improvements to the rest of the community. Since my book wasn't a manual, I had little concern about the modification clause in either license. My only concern was giving users the freedom to exchange copies of the book or make copies of the content, the same freedom they would have enjoyed if they purchased a hardcover book. Deeming either license suitable for this purpose, I signed the O'Reilly contract when it came to me. + +Still, the notion of unrestricted modification intrigued me. In my early negotiations with Tracy, I had pitched the merits of a GPL-style license for the e-book's content. At worst, I said, the license would guarantee a lot of positive publicity for the e-book. At best, it would encourage readers to participate in the book-writing process. As an author, I was willing to let other people amend my work just so long as my name always got top billing. Besides, it might even be interesting to watch the book evolve. I pictured later editions looking much like online versions of the Talmud, my original text in a central column surrounded by illuminating, third-party commentary in the margins. + +My idea drew inspiration from Project Xanadu ( http://www.xanadu.com/ ), the legendary software concept originally conceived by Ted Nelson in 1960. During the O'Reilly Open Source Conference in 1999, I had seen the first demonstration of the project's open source offshoot Udanax and had been wowed by the result. In one demonstration sequence, Udanax displayed a parent document and a derivative work in a similar two-column, plain-text format. With a click of the button, the program introduced lines linking each sentence in the parent to its conceptual offshoot in the derivative. An e-book biography of Richard M. Stallman didn't have to be Udanax-enabled, but given such technological possibilities, why not give users a chance to play around?~{ Anybody willing to "port" this book over to Udanax, the free software version of Xanadu, will receive enthusiastic support from me. To find out more about this intriguing technology, visit http://www.udanax.com/. }~ +={Nelson, Ted;O'Reilly & Associates:Open Source Conferences;Project Xanadu;Udanax} + +When Laurie Petrycki, my editor at O'Reilly, gave me a choice between the OPL or the GFDL, I indulged the fantasy once again. By September of 2001, the month I signed the contract, e-books had become almost a dead topic. Many publishing houses, Tracy's included, were shutting down their e-book imprints for lack of interest. I had to wonder. If these companies had treated e-books not as a form of publication but as a form of community building, would those imprints have survived? +={GFDL (GNU Free Documentation License)+1;GNU Free Documentation License (GFDL)+1;Petrycki, Laurie} + +After I signed the contract, I notified Stallman that the book project was back on. I mentioned the choice O'Reilly was giving me between the Open Publication License and the GNU Free Documentation License. I told him I was leaning toward the OPL, if only for the fact I saw no reason to give O'Reilly's competitors a chance to print the same book under a different cover. Stallman wrote back, arguing in favor of the GFDL, noting that O'Reilly had already used it several times in the past. Despite the events of the past year, I suggested a deal. I would choose the GFDL if it gave me the possibility to do more interviews and if Stallman agreed to help O'Reilly publicize the book. Stallman agreed to participate in more interviews but said that his participation in publicity-related events would depend on the content of the book. Viewing this as only fair, I set up an interview for December 17, 2001 in Cambridge. + +I set up the interview to coincide with a business trip my wife Tracy was taking to Boston. Two days before leaving, Tracy suggested I invite Stallman out to dinner. + +"After all," she said, "he is the one who brought us together." + +I sent an email to Stallman, who promptly sent a return email accepting the offer. When I drove up to Boston the next day, I met Tracy at her hotel and hopped the T to head over to MIT. When we got to Tech Square, I found Stallman in the middle of a conversation just as we knocked on the door. + +"I hope you don't mind," he said, pulling the door open far enough so that Tracy and I could just barely hear Stallman's conversational counterpart. It was a youngish woman, mid-20s I'd say, named Sarah. + +"I took the liberty of inviting somebody else to have dinner with us," Stallman said, matter-of-factly, giving me the same cat-like smile he gave me back in that Palo Alto restaurant. + +To be honest, I wasn't too surprised. The news that Stallman had a new female friend had reached me a few weeks before, courtesy of Stallman's mother. "In fact, they both went to Japan last month when Richard went over to accept the Takeda Award," Lippman told me at the time.~{ Alas, I didn't find out about the Takeda Foundation's decision to award Stallman, along with Linus Torvalds and Ken Sakamura, with its first-ever award for "Techno-Entrepreneurial Achievement for Social/Economic Well-Being" until after Stallman had made the trip to Japan to accept the award. For more information about the award and its accompanying $1 million prize, visit the Takeda site, http://www.takeda-foundation.jp/ }~ +={Takeda Awards} + +On the way over to the restaurant, I learned the circumstances of Sarah and Richard's first meeting. Interestingly, the circumstances were very familiar. Working on her own fictional book, Sarah said she heard about Stallman and what an interesting character he was. She promptly decided to create a character in her book on Stallman and, in the interests of researching the character, set up an interview with Stallman. Things quickly went from there. The two had been dating since the beginning of 2001, she said. + +"I really admired the way Richard built up an entire political movement to address an issue of profound personal concern," Sarah said, explaining her attraction to Stallman. + +My wife immediately threw back the question: "What was the issue?" + +"Crushing loneliness." + +During dinner, I let the women do the talking and spent most of the time trying to detect clues as to whether the last 12 months had softened Stallman in any significant way. I didn't see anything to suggest they had. Although more flirtatious than I remembered-a flirtatiousness spoiled somewhat by the number of times Stallman's eyes seemed to fixate on my wife's chest-Stallman retained the same general level of prickliness. At one point, my wife uttered an emphatic "God forbid" only to receive a typical Stallman rebuke. + +"I hate to break it to you, but there is no God," Stallman said. + +Afterwards, when the dinner was complete and Sarah had departed, Stallman seemed to let his guard down a little. As we walked to a nearby bookstore, he admitted that the last 12 months had dramatically changed his outlook on life. "I thought I was going to be alone forever," he said. "I'm glad I was wrong." + +Before parting, Stallman handed me his "pleasure card," a business card listing Stallman's address, phone number, and favorite pastimes ("sharing good books, good food and exotic music and dance") so that I might set up a final interview. + +{free_as_in_freedom_04_rms_pleasure_card.png 355x207 "Stallman's 'pleasure' card, handed to me the night of our dinner." }http://en.wikipedia.org/wiki/Richard_stallman + +The next day, over another meal of dim sum, Stallman seemed even more lovestruck than the night before. Recalling his debates with Currier House dorm maters over the benefits and drawbacks of an immortality serum, Stallman expressed hope that scientists might some day come up with the key to immortality. "Now that I'm finally starting to have happiness in my life, I want to have more," he said. + +When I mentioned Sarah's "crushing loneliness" comment, Stallman failed to see a connection between loneliness on a physical or spiritual level and loneliness on a hacker level. "The impulse to share code is about friendship but friendship at a much lower level," he said. Later, however, when the subject came up again, Stallman did admit that loneliness, or the fear of perpetual loneliness, had played a major role in fueling his determination during the earliest days of the GNU Project. + +"My fascination with computers was not a consequence of anything else," he said. "I wouldn't have been less fascinated with computers if I had been popular and all the women flocked to me. However, it's certainly true the experience of feeling I didn't have a home, finding one and losing it, finding another and having it destroyed, affected me deeply. The one I lost was the dorm. The one that was destroyed was the AI Lab. The precariousness of not having any kind of home or community was very powerful. It made me want to fight to get it back." + +After the interview, I couldn't help but feel a certain sense of emotional symmetry. Hearing Sarah describe what attracted her to Stallman and hearing Stallman himself describe the emotions that prompted him to take up the free software cause, I was reminded of my own reasons for writing this book. Since July, 2000, I have learned to appreciate both the seductive and the repellent sides of the Richard Stallman persona. Like Eben Moglen before me, I feel that dismissing that persona as epiphenomenal or distracting in relation to the overall free software movement would be a grievous mistake. In many ways the two are so mutually defining as to be indistinguishable. + +While I'm sure not every reader feels the same level of affinity for Stallman-indeed, after reading this book, some might feel zero affinity-I'm sure most will agree. Few individuals offer as singular a human portrait as Richard M. Stallman. It is my sincere hope that, with this initial portrait complete and with the help of the GFDL, others will feel a similar urge to add their own perspective to that portrait. + +1~appendix_a Appendix A - Terminology + +For the most part, I have chosen to use the term GNU/Linux in reference to the free software operating system and Linux when referring specifically to the kernel that drives the operating system. The most notable exception to this rule comes in Chapter 9. In the final part of that chapter, I describe the early evolution of Linux as an offshoot of Minix. It is safe to say that during the first two years of the project's development, the operating system Torvalds and his colleagues were working on bore little similarity to the GNU system envisioned by Stallman, even though it gradually began to share key components, such as the GNU C Compiler and the GNU Debugger. + +This decision further benefits from the fact that, prior to 1993, Stallman saw little need to insist on credit. + +Some might view the decision to use GNU/Linux for later versions of the same operating system as arbitrary. I would like to point out that it was in no way a prerequisite for gaining Stallman's cooperation in the making of this book. I came to it of my own accord, partly because of the operating system's modular nature and the community surrounding it, and partly because of the apolitical nature of the Linux name. Given that this is a biography of Richard Stallman, it seemed inappropriate to define the operating system in apolitical terms. + +In the final phases of the book, when it became clear that O'Reilly & Associates would be the book's publisher, Stallman did make it a condition that I use "GNU/Linux" instead of Linux if O'Reilly expected him to provide promotional support for the book after publication. When informed of this, I relayed my earlier decision and left it up to Stallman to judge whether the resulting book met this condition or not. At the time of this writing, I have no idea what Stallman's judgment will be. + +A similar situation surrounds the terms "free software" and "open source." Again, I have opted for the more politically laden "free software" term when describing software programs that come with freely copyable and freely modifiable source code. Although more popular, I have chosen to use the term "open source" only when referring to groups and businesses that have championed its usage. But for a few instances, the terms are completely interchangeable, and in making this decision I have followed the advice of Christine Peterson, the person generally credited with coining the term. "The `free software' term should still be used in circumstances where it works better," Peterson writes. "[`Open source'] caught on mainly because a new term was greatly needed, not because it's ideal." +={Peterson, Christine} + +1~appendix_b Appendix B - Hack, Hackers, and Hacking +={hackers+18} + +To understand the full meaning of the word " hacker," it helps to examine the word's etymology over the years. + +/{The New Hacker Dictionary}/, an online compendium of software-programmer jargon, officially lists nine different connotations of the word "hack" and a similar number for "hacker." Then again, the same publication also includes an accompanying essay that quotes Phil Agre, an MIT hacker who warns readers not to be fooled by the word's perceived flexibility. "Hack has only one meaning," argues Agre. "An extremely subtle and profound one which defies articulation." +={Agre, Phil;New Hacker Dictionary, The} + +Regardless of the width or narrowness of the definition, most modern hackers trace the word back to MIT, where the term bubbled up as popular item of student jargon in the early 1950s. In 1990 the MIT Museum put together a journal documenting the hacking phenomenon. According to the journal, students who attended the institute during the fifties used the word "hack" the way a modern student might use the word "goof." Hanging a jalopy out a dormitory window was a "hack," but anything harsh or malicious-e.g., egging a rival dorm's windows or defacing a campus statue-fell outside the bounds. Implicit within the definition of "hack" was a spirit of harmless, creative fun. +={MIT Museum} + +This spirit would inspire the word's gerund form: "hacking." A 1950s student who spent the better part of the afternoon talking on the phone or dismantling a radio might describe the activity as "hacking." Again, a modern speaker would substitute the verb form of "goof"-"goofing" or "goofing off"-to describe the same activity. + +As the 1950s progressed, the word "hack" acquired a sharper, more rebellious edge. The MIT of the 1950s was overly competitive, and hacking emerged as both a reaction to and extension of that competitive culture. Goofs and pranks suddenly became a way to blow off steam, thumb one's nose at campus administration, and indulge creative thinking and behavior stifled by the Institute's rigorous undergraduate curriculum. With its myriad hallways and underground steam tunnels, the Institute offered plenty of exploration opportunities for the student undaunted by locked doors and "No Trespassing" signs. Students began to refer to their off-limits explorations as "tunnel hacking." Above ground, the campus phone system offered similar opportunities. Through casual experimentation and due diligence, students learned how to perform humorous tricks. Drawing inspiration from the more traditional pursuit of tunnel hacking, students quickly dubbed this new activity "phone hacking." + +The combined emphasis on creative play and restriction-free exploration would serve as the basis for the future mutations of the hacking term. The first self-described computer hackers of the 1960s MIT campus originated from a late 1950s student group called the Tech Model Railroad Club. A tight clique within the club was the Signals and Power (S&P) Committee-the group behind the railroad club's electrical circuitry system. The system was a sophisticated assortment of relays and switches similar to the kind that controlled the local campus phone system. To control it, a member of the group simply dialed in commands via a connected phone and watched the trains do his bidding. +={Tech Model Railroad Club;S&P (Signals and Power) Committee+2;Signals and Power (S&P) Committee+2} + +The nascent electrical engineers responsible for building and maintaining this system saw their activity as similar in spirit to phone hacking. Adopting the hacking term, they began refining it even further. From the S&P hacker point of view, using one less relay to operate a particular stretch of track meant having one more relay for future play. Hacking subtly shifted from a synonym for idle play to a synonym for idle play that improved the overall performance or efficiency of the club's railroad system at the same time. Soon S&P committee members proudly referred to the entire activity of improving and reshaping the track's underlying circuitry as "hacking" and to the people who did it as "hackers." + +Given their affinity for sophisticated electronics-not to mention the traditional MIT-student disregard for closed doors and "No Trespassing" signs-it didn't take long before the hackers caught wind of a new machine on campus. Dubbed the TX-0, the machine was one of the first commercially marketed computers. By the end of the 1950s, the entire S&P clique had migrated en masse over to the TX-0 control room, bringing the spirit of creative play with them. The wide-open realm of computer programming would encourage yet another mutation in etymology. "To hack" no longer meant soldering unusual looking circuits, but cobbling together software programs with little regard to "official" methods or software-writing procedures. It also meant improving the efficiency and speed of already-existing programs that tended to hog up machine resources. True to the word's roots, it also meant writing programs that served no other purpose than to amuse or entertain. +={TX-0 computer} + +A classic example of this expanded hacking definition is the game Spacewar, the first interactive video game. Developed by MIT hackers in the early 1960s, Spacewar had all the traditional hacking definitions: it was goofy and random, serving little useful purpose other than providing a nightly distraction for the dozen or so hackers who delighted in playing it. From a software perspective, however, it was a monumental testament to innovation of programming skill. It was also completely free. Because hackers had built it for fun, they saw no reason to guard their creation, sharing it extensively with other programmers. By the end of the 1960s, Spacewar had become a favorite diversion for mainframe programmers around the world. + +This notion of collective innovation and communal software ownership distanced the act of computer hacking in the 1960s from the tunnel hacking and phone hacking of the 1950s. The latter pursuits tended to be solo or small-group activities. Tunnel and phone hackers relied heavily on campus lore, but the off-limits nature of their activity discouraged the open circulation of new discoveries. Computer hackers, on the other hand, did their work amid a scientific field biased toward collaboration and the rewarding of innovation. Hackers and "official" computer scientists weren't always the best of allies, but in the rapid evolution of the field, the two species of computer programmer evolved a cooperative-some might say symbiotic-relationship. + +It is a testament to the original computer hackers' prodigious skill that later programmers, including Richard M. Stallman, aspired to wear the same hacker mantle. By the mid to late 1970s, the term "hacker" had acquired elite connotations. In a general sense, a computer hacker was any person who wrote software code for the sake of writing software code. In the particular sense, however, it was a testament to programming skill. Like the term "artist," the meaning carried tribal overtones. To describe a fellow programmer as hacker was a sign of respect. To describe oneself as a hacker was a sign of immense personal confidence. Either way, the original looseness of the computer-hacker appellation diminished as computers became more common. + +As the definition tightened, "computer" hacking acquired additional semantic overtones. To be a hacker, a person had to do more than write interesting software; a person had to belong to the hacker "culture" and honor its traditions the same way a medieval wine maker might pledge membership to a vintners' guild. The social structure wasn't as rigidly outlined as that of a guild, but hackers at elite institutions such as MIT, Stanford, and Carnegie Mellon began to speak openly of a "hacker ethic": the yet-unwritten rules that governed a hacker's day-to-day behavior. In the 1984 book Hackers, author Steven Levy, after much research and consultation, codified the hacker ethic as five core hacker tenets. +={Hackers (Levy)+1} + +% ={Carnegie Mellon University} + +In many ways, the core tenets listed by Levy continue to define the culture of computer hacking. Still, the guild-like image of the hacker community was undermined by the overwhelmingly populist bias of the software industry. By the early 1980s, computers were popping up everywhere, and programmers who once would have had to travel to top-rank institutions or businesses just to gain access to a machine suddenly had the ability to rub elbows with major-league hackers via the ARPAnet. The more these programmers rubbed elbows, the more they began to appropriate the anarchic philosophies of the hacker culture in places like MIT. Lost within the cultural transfer, however, was the native MIT cultural taboo against malicious behavior. As younger programmers began employing their computer skills to harmful ends-creating and disseminating computer viruses, breaking into military computer systems, deliberately causing machines such as MIT Oz, a popular ARPAnet gateway, to crash-the term "hacker" acquired a punk, nihilistic edge. When police and businesses began tracing computer-related crimes back to a few renegade programmers who cited convenient portions of the hacking ethic in defense of their activities, the word "hacker" began appearing in newspapers and magazine stories in a negative light. Although books like Hackers did much to document the original spirit of exploration that gave rise to the hacking culture, for most news reporters, "computer hacker" became a synonym for "electronic burglar." +={ARPAnet} + +Although hackers have railed against this perceived misusage for nearly two decades, the term's rebellious connotations dating back to the 1950s make it hard to discern the 15-year-old writing software programs that circumvent modern encryption programs from the 1960s college student, picking locks and battering down doors to gain access to the lone, office computer terminal. One person's creative subversion of authority is another person's security headache, after all. Even so, the central taboo against malicious or deliberately harmful behavior remains strong enough that most hackers prefer to use the term "cracker"-i.e., a person who deliberately cracks a computer security system to steal or vandalize data-to describe the subset of hackers who apply their computing skills maliciously. +={crackers} + +This central taboo against maliciousness remains the primary cultural link between the notion of hacking in the early 21st century and hacking in the 1950s. It is important to note that, as the idea of computer hacking has evolved over the last four decades, the original notion of hacking-i.e., performing pranks or exploring underground tunnels-remains intact. In the fall of 2000, the MIT Museum paid tradition to the Institute's age-old hacking tradition with a dedicated exhibit, the Hall of Hacks. The exhibit includes a number of photographs dating back to the 1920s, including one involving a mock police cruiser. In 1993, students paid homage to the original MIT notion of hacking by placing the same police cruiser, lights flashing, atop the Institute's main dome. The cruiser's vanity license plate read IHTFP, a popular MIT acronym with many meanings. The most noteworthy version, itself dating back to the pressure-filled world of MIT student life in the 1950s, is "I hate this fucking place." In 1990, however, the Museum used the acronym as a basis for a journal on the history of hacks. Titled, The Institute for Hacks Tomfoolery and Pranks, the journal offers an adept summary of the hacking. +={Hall of Hacks} + +"In the culture of hacking, an elegant, simple creation is as highly valued as it is in pure science," writes /{Boston Globe}/ reporter Randolph Ryan in a 1993 article attached to the police car exhibit. "A Hack differs from the ordinary college prank in that the event usually requires careful planning, engineering and finesse, and has an underlying wit and inventiveness," Ryan writes. "The unwritten rule holds that a hack should be good-natured, non-destructive and safe. In fact, hackers sometimes assist in dismantling their own handiwork." +={Boston Globe;Ryan, Randolph} + +The urge to confine the culture of computer hacking within the same ethical boundaries is well-meaning but impossible. Although most software hacks aspire to the same spirit of elegance and simplicity, the software medium offers less chance for reversibility. Dismantling a police cruiser is easy compared with dismantling an idea, especially an idea whose time has come. Hence the growing distinction between "black hat" and "white hat"-i.e., hackers who turn new ideas toward destructive, malicious ends versus hackers who turn new ideas toward positive or, at the very least, informative ends. + +Once a vague item of obscure student jargon, the word "hacker" has become a linguistic billiard ball, subject to political spin and ethical nuances. Perhaps this is why so many hackers and journalists enjoy using it. Where that ball bounces next, however, is anybody's guess. + +1~appendix_c Appendix C - GNU Free Documentation License (GFDL) +={GFDL (GNU Free Documentation License)+64;GNU Free Documentation License (GFDL)+64} + +GNU Free Documentation License Version 1.1, March 2000 Copyright (C) 2000 Free Software Foundation, Inc. 51 Franklin Street, Fifth Floor, Boston, MA 02110-1301,~{ FSF address changed from: 59 Temple Place, Suite 330, Boston, MA 02111-1307 USA }~ USA Everyone is permitted to copy and distribute verbatim copies of this license document, but changing it is not allowed. + +!_ PREAMBLE + +The purpose of this License is to make a manual, textbook, or other written document "free" in the sense of freedom: to assure everyone the effective freedom to copy and redistribute it, with or without modifying it, either commercially or noncommercially. Secondarily, this License preserves for the author and publisher a way to get credit for their work, while not being considered responsible for modifications made by others. + +This License is a kind of "copyleft," which means that derivative works of the document must themselves be free in the same sense. It complements the GNU General Public License, which is a copyleft license designed for free software. + +We have designed this License in order to use it for manuals for free software, because free software needs free documentation: a free program should come with manuals providing the same freedoms that the software does. But this License is not limited to software manuals; it can be used for any textual work, regardless of subject matter or whether it is published as a printed book. We recommend this License principally for works whose purpose is instruction or reference. + +!_ APPLICABILITY AND DEFINITIONS + +This License applies to any manual or other work that contains a notice placed by the copyright holder saying it can be distributed under the terms of this License. The "Document", below, refers to any such manual or work. Any member of the public is a licensee, and is addressed as "you." + +A "Modified Version" of the Document means any work containing the Document or a portion of it, either copied verbatim, or with modifications and/or translated into another language. + +A "Secondary Section" is a named appendix or a front-matter section of the Document that deals exclusively with the relationship of the publishers or authors of the Document to the Document's overall subject (or to related matters) and contains nothing that could fall directly within that overall subject. (For example, if the Document is in part a textbook of mathematics, a Secondary Section may not explain any mathematics.) The relationship could be a matter of historical connection with the subject or with related matters, or of legal, commercial, philosophical, ethical or political position regarding them. + +The "Invariant Sections" are certain Secondary Sections whose titles are designated, as being those of Invariant Sections, in the notice that says that the Document is released under this License. + +The "Cover Texts" are certain short passages of text that are listed, as Front-Cover Texts or Back-Cover Texts, in the notice that says that the Document is released under this License. + +A "Transparent" copy of the Document means a machine-readable copy, represented in a format whose specification is available to the general public, whose contents can be viewed and edited directly and straightforwardly with generic text editors or (for images composed of pixels) generic paint programs or (for drawings) some widely available drawing editor, and that is suitable for input to text formatters or for automatic translation to a variety of formats suitable for input to text formatters. A copy made in an otherwise Transparent file format whose markup has been designed to thwart or discourage subsequent modification by readers is not Transparent. A copy that is not "Transparent" is called "Opaque." + +Examples of suitable formats for Transparent copies include plain ASCII without markup, Texinfo input format, LaTeX input format, SGML or XML using a publicly available DTD, and standard-conforming simple HTML designed for human modification. Opaque formats include PostScript, PDF, proprietary formats that can be read and edited only by proprietary word processors, SGML or XML for which the DTD and/or processing tools are not generally available, and the machine-generated HTML produced by some word processors for output purposes only. + +The "Title Page" means, for a printed book, the title page itself, plus such following pages as are needed to hold, legibly, the material this License requires to appear in the title page. For works in formats which do not have any title page as such, "Title Page" means the text near the most prominent appearance of the work's title, preceding the beginning of the body of the text. + +!_ VERBATIM COPYING + +You may copy and distribute the Document in any medium, either commercially or noncommercially, provided that this License, the copyright notices, and the license notice saying this License applies to the Document are reproduced in all copies, and that you add no other conditions whatsoever to those of this License. You may not use technical measures to obstruct or control the reading or further copying of the copies you make or distribute. However, you may accept compensation in exchange for copies. If you distribute a large enough number of copies you must also follow the conditions in section 3. + +You may also lend copies, under the same conditions stated above, and you may publicly display copies. + +!_ COPYING IN QUANTITY + +If you publish printed copies of the Document numbering more than 100, and the Document's license notice requires Cover Texts, you must enclose the copies in covers that carry, clearly and legibly, all these Cover Texts: Front-Cover Texts on the front cover, and Back-Cover Texts on the back cover. Both covers must also clearly and legibly identify you as the publisher of these copies. The front cover must present the full title with all words of the title equally prominent and visible. You may add other material on the covers in addition. Copying with changes limited to the covers, as long as they preserve the title of the Document and satisfy these conditions, can be treated as verbatim copying in other respects. + +If the required texts for either cover are too voluminous to fit legibly, you should put the first ones listed (as many as fit reasonably) on the actual cover, and continue the rest onto adjacent pages. + +If you publish or distribute Opaque copies of the Document numbering more than 100, you must either include a machine-readable Transparent copy along with each Opaque copy, or state in or with each Opaque copy a publicly-accessible computer-network location containing a complete Transparent copy of the Document, free of added material, which the general network-using public has access to download anonymously at no charge using public-standard network protocols. If you use the latter option, you must take reasonably prudent steps, when you begin distribution of Opaque copies in quantity, to ensure that this Transparent copy will remain thus accessible at the stated location until at least one year after the last time you distribute an Opaque copy (directly or through your agents or retailers) of that edition to the public. + +It is requested, but not required, that you contact the authors of the Document well before redistributing any large number of copies, to give them a chance to provide you with an updated version of the Document. + +!_ MODIFICATIONS + +You may copy and distribute a Modified Version of the Document under the conditions of sections 2 and 3 above, provided that you release the Modified Version under precisely this License, with the Modified Version filling the role of the Document, thus licensing distribution and modification of the Modified Version to whoever possesses a copy of it. In addition, you must do these things in the Modified Version: + +_1 1. Use in the Title Page (and on the covers, if any) a title distinct from that of the Document, and from those of previous versions (which should, if there were any, be listed in the History section of the Document). You may use the same title as a previous version if the original publisher of that version gives permission. + +_1 2. List on the Title Page, as authors, one or more persons or entities responsible for authorship of the modifications in the Modified Version, together with at least five of the principal authors of the Document (all of its principal authors, if it has less than five). + +_1 3. State on the Title page the name of the publisher of the Modified Version, as the publisher. + +_1 4. Preserve all the copyright notices of the Document. + +_1 5. Add an appropriate copyright notice for your modifications adjacent to the other copyright notices. + +_1 6. Include, immediately after the copyright notices, a license notice giving the public permission to use the Modified Version under the terms of this License, in the form shown in the Addendum below. + +_1 7. Preserve in that license notice the full lists of Invariant Sections and required Cover Texts given in the Document's license notice. + +_1 8. Include an unaltered copy of this License. + +_1 9. Preserve the section entitled "History," and its title, and add to it an item stating at least the title, year, new authors, and publisher of the Modified Version as given on the Title Page. If there is no section entitled "History" in the Document, create one stating the title, year, authors, and publisher of the Document as given on its Title Page, then add an item describing the Modified Version as stated in the previous sentence. + +_1 10. Preserve the network location, if any, given in the Document for public access to a Transparent copy of the Document, and likewise the network locations given in the Document for previous versions it was based on. These may be placed in the "History" section. You may omit a network location for a work that was published at least four years before the Document itself, or if the original publisher of the version it refers to gives permission. + +_1 11. In any section entitled "Acknowledgements" or "Dedications," preserve the section's title, and preserve in the section all the substance and tone of each of the contributor acknowledgements and/or dedications given therein. + +_1 12. Preserve all the Invariant Sections of the Document, unaltered in their text and in their titles. Section numbers or the equivalent are not considered part of the section titles. + +_1 13. Delete any section entitled "Endorsements." Such a section may not be included in the Modified Version. + +_1 14. Do not retitle any existing section as "Endorsements" or to conflict in title with any Invariant Section. + +If the Modified Version includes new front-matter sections or appendices that qualify as Secondary Sections and contain no material copied from the Document, you may at your option designate some or all of these sections as invariant. To do this, add their titles to the list of Invariant Sections in the Modified Version's license notice. These titles must be distinct from any other section titles. + +You may add a section entitled "Endorsements," provided it contains nothing but endorsements of your Modified Version by various parties-for example, statements of peer review or that the text has been approved by an organization as the authoritative definition of a standard. + +You may add a passage of up to five words as a Front-Cover Text, and a passage of up to 25 words as a Back-Cover Text, to the end of the list of Cover Texts in the Modified Version. Only one passage of Front-Cover Text and one of Back-Cover Text may be added by (or through arrangements made by) any one entity. If the Document already includes a cover text for the same cover, previously added by you or by arrangement made by the same entity you are acting on behalf of, you may not add another; but you may replace the old one, on explicit permission from the previous publisher that added the old one. + +The author(s) and publisher(s) of the Document do not by this License give permission to use their names for publicity for or to assert or imply endorsement of any Modified Version. + +!_ COMBINING DOCUMENTS + +You may combine the Document with other documents released under this License, under the terms defined in section 4 above for modified versions, provided that you include in the combination all of the Invariant Sections of all of the original documents, unmodified, and list them all as Invariant Sections of your combined work in its license notice. + +The combined work need only contain one copy of this License, and multiple identical Invariant Sections may be replaced with a single copy. If there are multiple Invariant Sections with the same name but different contents, make the title of each such section unique by adding at the end of it, in parentheses, the name of the original author or publisher of that section if known, or else a unique number. Make the same adjustment to the section titles in the list of Invariant Sections in the license notice of the combined work. + +In the combination, you must combine any sections entitled "History" in the various original documents, forming one section entitled "History"; likewise combine any sections entitled "Acknowledgements," and any sections entitled "Dedications." You must delete all sections entitled "Endorsements." + +!_ COLLECTIONS OF DOCUMENTS + +You may make a collection consisting of the Document and other documents released under this License, and replace the individual copies of this License in the various documents with a single copy that is included in the collection, provided that you follow the rules of this License for verbatim copying of each of the documents in all other respects. + +You may extract a single document from such a collection, and distribute it individually under this License, provided you insert a copy of this License into the extracted document, and follow this License in all other respects regarding verbatim copying of that document. + +!_ AGGREGATION WITH INDEPENDENT WORKS + +A compilation of the Document or its derivatives with other separate and independent documents or works, in or on a volume of a storage or distribution medium, does not as a whole count as a Modified Version of the Document, provided no compilation copyright is claimed for the compilation. Such a compilation is called an "aggregate," and this License does not apply to the other self-contained works thus compiled with the Document, on account of their being thus compiled, if they are not themselves derivative works of the Document. + +If the Cover Text requirement of section 3 is applicable to these copies of the Document, then if the Document is less than one quarter of the entire aggregate, the Document's Cover Texts may be placed on covers that surround only the Document within the aggregate. Otherwise they must appear on covers around the whole aggregate. + +!_ TRANSLATION + +Translation is considered a kind of modification, so you may distribute translations of the Document under the terms of section 4. Replacing Invariant Sections with translations requires special permission from their copyright holders, but you may include translations of some or all Invariant Sections in addition to the original versions of these Invariant Sections. You may include a translation of this License provided that you also include the original English version of this License. In case of a disagreement between the translation and the original English version of this License, the original English version will prevail. + +!_ TERMINATION + +You may not copy, modify, sublicense, or distribute the Document except as expressly provided for under this License. Any other attempt to copy, modify, sublicense or distribute the Document is void, and will automatically terminate your rights under this License. However, parties who have received copies, or rights, from you under this License will not have their licenses terminated so long as such parties remain in full compliance. + +!_ FUTURE REVISIONS OF THIS LICENSE + +The Free Software Foundation may publish new, revised versions of the GNU Free Documentation License from time to time. Such new versions will be similar in spirit to the present version, but may differ in detail to address new problems or concerns. See http://www.gnu.org/copyleft/ + +Each version of the License is given a distinguishing version number. If the Document specifies that a particular numbered version of this License "or any later version" applies to it, you have the option of following the terms and conditions either of that specified version or of any later version that has been published (not as a draft) by the Free Software Foundation. If the Document does not specify a version number of this License, you may choose any version ever published (not as a draft) by the Free Software Foundation. + +!_ ADDENDUM: How to Use This License for Your Documents + +To use this License in a document you have written, include a copy of the License in the document and put the following copyright and license notices just after the title page: + +_1 Copyright (C) YEAR YOUR NAME.Permission is granted to copy, distribute and/or modify this document under the terms of the GNU Free Documentation License, Version 1.1 or any later version published by the Free Software Foundation; with the Invariant Sections being LIST THEIR TITLES, with the Front-Cover Texts being LIST, and with the Back-Cover Texts being LIST. A copy of the license is included in the section entitled "GNU Free Documentation License". + +If you have no Invariant Sections, write "with no Invariant Sections" instead of saying which ones are invariant. If you have no Front-Cover Texts, write "no Front-Cover Texts" instead of "Front-Cover Texts being LIST"; likewise for Back-Cover Texts. + +If your document contains nontrivial examples of program code, we recommend releasing these examples in parallel under your choice of free software license, such as the GNU General Public License, to permit their use in free software. + +%% SiSU markup sample Notes: +% SiSU http://www.jus.uio.no/sisu +% SiSU markup for 0.16 and later: +% 0.20.4 header 0~links +% 0.22 may drop image dimensions (rmagick) +% 0.23 utf-8 ß +% 0.38 or later, may use alternative notation for headers, e.g. @title: (instead of 0~title) +% 0.38 document structure alternative markup, experimental (rad) A,B,C,1,2,3 maps to 1,2,3,4,5,6 +% Output: http://www.jus.uio.no/sisu/free_as_in_freedom.richard_stallman_crusade_for_free_software.sam_williams/sisu_manifest.html +% SiSU 0.38 experimental (alternative structure) markup used for this document -- cgit v1.2.3 From 1f97ff66064c2b5226f3625a7d9114d58bf756bd Mon Sep 17 00:00:00 2001 From: Ralph Amissah Date: Sat, 6 Feb 2010 11:44:49 -0500 Subject: sync content with sisu package --- .../samples/_sisu/skin/dir/skin_sisu.rb | 14 +++++--------- .../sisu_markup_samples/samples/_sisu/skin/doc/skin_gnu.rb | 2 +- .../samples/_sisu/skin/doc/skin_gutenberg.rb | 6 +++--- .../samples/_sisu/skin/site/skin_sisu.rb | 14 +++++--------- 4 files changed, 14 insertions(+), 22 deletions(-) diff --git a/data/v1/sisu_markup_samples/samples/_sisu/skin/dir/skin_sisu.rb b/data/v1/sisu_markup_samples/samples/_sisu/skin/dir/skin_sisu.rb index 6dbc2c4..ad1d42a 100644 --- a/data/v1/sisu_markup_samples/samples/_sisu/skin/dir/skin_sisu.rb +++ b/data/v1/sisu_markup_samples/samples/_sisu/skin/dir/skin_sisu.rb @@ -57,7 +57,7 @@ module SiSU_Viz end #% text def text_hp - ' SiSU' + ' SiSU' end def text_home 'SiSU' @@ -71,7 +71,7 @@ module SiSU_Viz end #% banner def banner_home_button - %{
#{png_home}
\n} + %{
#{png_home}
\n} end def banner_home_and_index_buttons %{
#{png_home}#{table_close}
 This text sub- 
 Table of Contents #{table_close}		 #{table_close}} @@ -79,20 +79,16 @@ module SiSU_Viz def banner_band %{
#{png_home}#{table_close}} end - #% stamp - def stamp_stmp - "\\copyright Ralph Amissah; license GPL 3 or later \\\\\n ralph@amissah.com \\\\\n www.jus.uio.no/sisu/" - end end class TeX def header_center - "\\chead{\\href{#{@vz.url_site}/}{www.jus.uio.no/sisu/}}" + "\\chead{\\href{#{@vz.url_site}/}{www.jus.uio.no/sisu/}}" end def home_url - "\\href{#{@vz.url_site}/}{www.jus.uio.no/sisu/}" + "\\href{#{@vz.url_site}/}{www.jus.uio.no/sisu/}" end def home - "\\href{#{@vz.url_site}/}{Ralph Amissah}" + "\\href{#{@vz.url_site}/}{Ralph Amissah}" end def owner_chapter 'Document owner details' diff --git a/data/v1/sisu_markup_samples/samples/_sisu/skin/doc/skin_gnu.rb b/data/v1/sisu_markup_samples/samples/_sisu/skin/doc/skin_gnu.rb index a5ea67e..e998624 100644 --- a/data/v1/sisu_markup_samples/samples/_sisu/skin/doc/skin_gnu.rb +++ b/data/v1/sisu_markup_samples/samples/_sisu/skin/doc/skin_gnu.rb @@ -46,7 +46,7 @@ module SiSU_Viz end #% txt def txt_hp - 'Free Software Foundation' + 'Free Software Foundation' end def txt_home # this should be the name of the site eg. Lex Mercatoria or if you prefer to see a url the url in text form copy & ... #"www.jus.uio.no/sisu/" diff --git a/data/v1/sisu_markup_samples/samples/_sisu/skin/doc/skin_gutenberg.rb b/data/v1/sisu_markup_samples/samples/_sisu/skin/doc/skin_gutenberg.rb index 379fcce..47d2d28 100644 --- a/data/v1/sisu_markup_samples/samples/_sisu/skin/doc/skin_gutenberg.rb +++ b/data/v1/sisu_markup_samples/samples/_sisu/skin/doc/skin_gutenberg.rb @@ -56,13 +56,13 @@ module SiSU_Viz end class TeX def header_center - "\\chead{\\href{#{@vz.url_home}}{www.gutenberg.net}}" + "\\chead{\\href{#{@vz.url_home}}{www.gutenberg.net}}" end def home_url - "\\href{#{@vz.url_home}}{www.gutenberg.net}" + "\\href{#{@vz.url_home}}{www.gutenberg.net}" end def home - "\\href{#{@vz.url_home}}{Gutenberg Project}" + "\\href{#{@vz.url_home}}{Gutenberg Project}" end def owner_chapter "Document owner details" diff --git a/data/v1/sisu_markup_samples/samples/_sisu/skin/site/skin_sisu.rb b/data/v1/sisu_markup_samples/samples/_sisu/skin/site/skin_sisu.rb index 6dbc2c4..ad1d42a 100644 --- a/data/v1/sisu_markup_samples/samples/_sisu/skin/site/skin_sisu.rb +++ b/data/v1/sisu_markup_samples/samples/_sisu/skin/site/skin_sisu.rb @@ -57,7 +57,7 @@ module SiSU_Viz end #% text def text_hp - ' SiSU' + ' SiSU' end def text_home 'SiSU' @@ -71,7 +71,7 @@ module SiSU_Viz end #% banner def banner_home_button - %{
#{png_home}
\n} + %{
#{png_home}
\n} end def banner_home_and_index_buttons %{
#{png_home}#{table_close}
 This text sub- 
 Table of Contents #{table_close}		 #{table_close}} @@ -79,20 +79,16 @@ module SiSU_Viz def banner_band %{
#{png_home}#{table_close}} end - #% stamp - def stamp_stmp - "\\copyright Ralph Amissah; license GPL 3 or later \\\\\n ralph@amissah.com \\\\\n www.jus.uio.no/sisu/" - end end class TeX def header_center - "\\chead{\\href{#{@vz.url_site}/}{www.jus.uio.no/sisu/}}" + "\\chead{\\href{#{@vz.url_site}/}{www.jus.uio.no/sisu/}}" end def home_url - "\\href{#{@vz.url_site}/}{www.jus.uio.no/sisu/}" + "\\href{#{@vz.url_site}/}{www.jus.uio.no/sisu/}" end def home - "\\href{#{@vz.url_site}/}{Ralph Amissah}" + "\\href{#{@vz.url_site}/}{Ralph Amissah}" end def owner_chapter 'Document owner details' -- cgit v1.2.3 From b1c360c2187e42ca09cfada3166b733115cef27b Mon Sep 17 00:00:00 2001 From: Ralph Amissah Date: Sat, 6 Feb 2010 11:45:41 -0500 Subject: include gpl, update yml list & promo --- .../image/Gnu_Debian_Linux_Ruby_Better_Way.png | Bin 33396 -> 0 bytes .../image/Gnu_Debian_Linux_Ruby_Way_Better.png | Bin 0 -> 37629 bytes .../samples/_sisu/skin/yml/list.yml | 23 ++ .../samples/_sisu/skin/yml/promo.yml | 142 ++++++++++ data/v1/sisu_markup_samples/samples/gpl2.fsf.sst | 165 ++++++++++++ data/v1/sisu_markup_samples/samples/gpl3.fsf.sst | 292 +++++++++++++++++++++ .../samples/sisu_output_overview.ssi | 61 +++++ 7 files changed, 683 insertions(+) delete mode 100644 data/v1/sisu_markup_samples/samples/_sisu/image/Gnu_Debian_Linux_Ruby_Better_Way.png create mode 100644 data/v1/sisu_markup_samples/samples/_sisu/image/Gnu_Debian_Linux_Ruby_Way_Better.png create mode 100644 data/v1/sisu_markup_samples/samples/_sisu/skin/yml/list.yml create mode 100644 data/v1/sisu_markup_samples/samples/_sisu/skin/yml/promo.yml create mode 100644 data/v1/sisu_markup_samples/samples/gpl2.fsf.sst create mode 100644 data/v1/sisu_markup_samples/samples/gpl3.fsf.sst create mode 100644 data/v1/sisu_markup_samples/samples/sisu_output_overview.ssi diff --git a/data/v1/sisu_markup_samples/samples/_sisu/image/Gnu_Debian_Linux_Ruby_Better_Way.png b/data/v1/sisu_markup_samples/samples/_sisu/image/Gnu_Debian_Linux_Ruby_Better_Way.png deleted file mode 100644 index ce5b883..0000000 Binary files a/data/v1/sisu_markup_samples/samples/_sisu/image/Gnu_Debian_Linux_Ruby_Better_Way.png and /dev/null differ diff --git a/data/v1/sisu_markup_samples/samples/_sisu/image/Gnu_Debian_Linux_Ruby_Way_Better.png b/data/v1/sisu_markup_samples/samples/_sisu/image/Gnu_Debian_Linux_Ruby_Way_Better.png new file mode 100644 index 0000000..0f3f4a1 Binary files /dev/null and b/data/v1/sisu_markup_samples/samples/_sisu/image/Gnu_Debian_Linux_Ruby_Way_Better.png differ diff --git a/data/v1/sisu_markup_samples/samples/_sisu/skin/yml/list.yml b/data/v1/sisu_markup_samples/samples/_sisu/skin/yml/list.yml new file mode 100644 index 0000000..1deded8 --- /dev/null +++ b/data/v1/sisu_markup_samples/samples/_sisu/skin/yml/list.yml @@ -0,0 +1,23 @@ +sisu: + site: + - sisu +open_society: + site: + - twon + - fc + - faif +# - ffa + - catb +sisu_icon: + site: + - sisu_icon +fsf: + site: + - fsf +gpl: + site: + - gpl +sample_search: + search: + - sample + diff --git a/data/v1/sisu_markup_samples/samples/_sisu/skin/yml/promo.yml b/data/v1/sisu_markup_samples/samples/_sisu/skin/yml/promo.yml new file mode 100644 index 0000000..88497d4 --- /dev/null +++ b/data/v1/sisu_markup_samples/samples/_sisu/skin/yml/promo.yml @@ -0,0 +1,142 @@ +# Author: Ralph@Amissah.com +site: + sisu_icon: + url: SiSU + image: sisu.png + blurb: ~ + sisu: + title: SiSU + url: index.html + blurb: ~ + links: + - + title: What does SiSU do? Summary + url: SiSU/1.html#summary + - + title: SiSU Book Samples and Markup Examples + url: SiSU/2.html + - + title: SiSU Download + url: SiSU/download.html + - + title: SiSU Changelog + url: SiSU/changelog.html + blurb: ~ + - + title: Wikipedia entry + url: http://en.wikipedia.org/wiki/SiSU + blurb: ~ + - + title: Freshmeat + url: http://freshmeat.net/projects/sisu/ + - + title: Ruby Application Archive + url: http://raa.ruby-lang.org/project/sisu/ + twon: + title: The Wealth of Networks + subtitle: How Social Production Transforms Markets and Freedom + author: Yochai Benkler + year: 2006 + url: the_wealth_of_networks.yochai_benkler + links: + - + title: Wikipedia entry + url: http://en.wikipedia.org/wiki/The_Wealth_of_Networks + - + title: Source Wiki + url: http://www.benkler.org/wealth_of_networks/index.php/Main_Page + fc: + title: Free Culture + subtitle: How Big Media Uses Technology and the Law to Lock Down Culture and Control Creativity + author: Lawrence Lessig + year: 2004 + url: free_culture.lawrence_lessig + links: + - + title: Wikipedia entry + url: http://en.wikipedia.org/wiki/Free_Culture_%28book%29 + - + title: Creative Commons + url: http://creativecommons.org/ + - + title: Source + url: http://www.free-culture.cc/ + faif: + title: Free As In Freedom + subtitle: Richard Stallman's Crusade for Free Software + author: Sam Williams + year: 2002 + url: free_as_in_freedom.richard_stallman_crusade_for_free_software.sam_williams + links: + - + title: Wikipedia entry + url: http://en.wikipedia.org/wiki/Free_as_in_Freedom:_Richard_Stallman%27s_Crusade_for_Free_Software + - + title: Source + url: http://faifzilla.org/ + - + title: FSF + url: http://www.fsf.org/ + - + title: FSF Wikipedia + url: http://en.wikipedia.org/wiki/Free_Software_Foundation + - + title: GPL + url: http://www.gnu.org/copyleft/gpl.html + - + title: GPL Wikipedia + url: http://en.wikipedia.org/wiki/GNU_General_Public_License + ffa: + title: Free For All + subtitle: How Linux and the Free Software Movement Undercut the High Tech Titans + author: Peter Wayner + year: 2002 + url: free_for_all.peter_wayner + links: + - + title: Source + url: http://www.wayner.org/books/ffa/ + catb: + title: The Cathedral & the Bazaar + subtitle: Musings on Linux and Open Source by an Accidental Revolutionary + author: Erik S. Raymond + year: 1999 + url: the_cathedral_and_the_bazaar.eric_s_raymond + links: + - + title: Wikipedia entry + url: http://en.wikipedia.org/wiki/Cathedral_and_the_bazaar + - + title: Source + url: http://www.catb.org/~esr/writings/cathedral-bazaar/cathedral-bazaar/ + fsf: + title: Free Software Foundation + subtitle: FSF + url: http://www.fsf.org/ + links: + - + title: Wikipedia entry + url: http://en.wikipedia.org/wiki/Free_Software_Foundation + - + title: GPL + subtitle: GNU General Public License + url: http://www.gnu.org/copyleft/gpl.html + gpl: + title: GNU General Public License + subtitle: GPL + url: http://www.gnu.org/copyleft/gpl.html + links: + - + title: Wikipedia entry + url: http://en.wikipedia.org/wiki/GNU_General_Public_License + - + title: GPL 3 + url: http://gplv3.fsf.org/ + - + title: Software License List + url: http://www.fsf.org/licensing/licenses/ +search: + sample: + action: http://search.sisudoc.org + target: _top + db: sisu diff --git a/data/v1/sisu_markup_samples/samples/gpl2.fsf.sst b/data/v1/sisu_markup_samples/samples/gpl2.fsf.sst new file mode 100644 index 0000000..b091616 --- /dev/null +++ b/data/v1/sisu_markup_samples/samples/gpl2.fsf.sst @@ -0,0 +1,165 @@ +% SiSU 0.38 + +@title: GNU GENERAL PUBLIC LICENSE v2 + +@author: Free Software Foundation + +@rights: Copyright Copyright 1989, 1991 Free Software Foundation, Inc. 51 Franklin Street, Fifth Floor, Boston, MA 02110-1301, USA. Everyone is permitted to copy and distribute verbatim copies of this license document, but changing it is not allowed. + +@date: 1991 + +@topic_register: GPL;Software:license;GNU/Linux:License:GPL + +@links: {Free Software Foundation}http://www.fsf.org +{GPL @ SiSU}http://www.jus.uio.no/sisu/gpl2.fsf +{Markup}http://www.jus.uio.no/sisu/sample/markup/gpl2.fsf.sst +{Syntax}http://www.jus.uio.no/sisu/sample/syntax/gpl2.fsf.sst.html +{ Free as In Freedom - Richard Stallman's Crusade for Free Software }http://www.jus.uio.no/sisu/free_as_in_freedom.richard_stallman_crusade_for_free_software.sam_williams + +@skin: skin_gnu + +% @promo: sisu_icon, fsf, open_society, sisu + +:A~ GNU GENERAL PUBLIC LICENSE + +:B~ Version 2, June 1991 + +1~ [note] -# + +Copyright (C) 1989, 1991 Free Software Foundation, Inc. 51 Franklin Street, Fifth Floor, Boston, MA 02110-1301, USA + +Everyone is permitted to copy and distribute verbatim copies of this license document, but changing it is not allowed. + +1~ Preamble + +The licenses for most software are designed to take away your freedom to share +and change it. By contrast, the GNU General Public License is intended to guarantee your freedom to share and change free software--to make sure the software is free for all its users. This General Public License applies to most of the Free Software Foundation's software and to any other program whose authors commit to using it. (Some other Free Software Foundation software is covered by the GNU Library General Public License instead.) You can apply it to your programs, too. + +When we speak of free software, we are referring to freedom, not price. Our General Public Licenses are designed to make sure that you have the freedom to distribute copies of free software (and charge for this service if you wish), that you receive source code or can get it if you want it, that you can change the software or use pieces of it in new free programs; and that you know you can do these things. + +To protect your rights, we need to make restrictions that forbid anyone to deny you these rights or to ask you to surrender the rights. These restrictions translate to certain responsibilities for you if you distribute copies of the software, or if you modify it. + +For example, if you distribute copies of such a program, whether gratis or for a fee, you must give the recipients all the rights that you have. You must make sure that they, too, receive or can get the source code. And you must show them these terms so they know their rights. + +We protect your rights with two steps: (1) copyright the software, and (2) offer you this license which gives you legal permission to copy, distribute and/or modify the software. + +Also, for each author's protection and ours, we want to make certain that everyone understands that there is no warranty for this free software. If the software is modified by someone else and passed on, we want its recipients to know that what they have is not the original, so that any problems introduced by others will not reflect on the original authors' reputations. + +Finally, any free program is threatened constantly by software patents. We wish to avoid the danger that redistributors of a free program will individually obtain patent licenses, in effect making the program proprietary. To prevent this, we have made it clear that any patent must be licensed for everyone's free use or not licensed at all. + +The precise terms and conditions for copying, distribution and modification follow. + +:C~ GNU GENERAL PUBLIC LICENSE + +1~ TERMS AND CONDITIONS FOR COPYING, DISTRIBUTION AND MODIFICATION + +0. This License applies to any program or other work which contains a notice placed by the copyright holder saying it may be distributed under the terms of this General Public License. The "Program", below, refers to any such program or work, and a "work based on the Program" means either the Program or any derivative work under copyright law: that is to say, a work containing the Program or a portion of it, either verbatim or with modifications and/or translated into another language. (Hereinafter, translation is included without limitation in the term "modification".) Each licensee is addressed as "you". + +Activities other than copying, distribution and modification are not covered by this License; they are outside its scope. The act of running the Program is not restricted, and the output from the Program is covered only if its contents constitute a work based on the Program (independent of having been made by running the Program). Whether that is true depends on what the Program does. + +1. You may copy and distribute verbatim copies of the Program's source code as you receive it, in any medium, provided that you conspicuously and appropriately publish on each copy an appropriate copyright notice and disclaimer of warranty; keep intact all the notices that refer to this License and to the absence of any warranty; and give any other recipients of the Program a copy of this License along with the Program. + +You may charge a fee for the physical act of transferring a copy, and you may at your option offer warranty protection in exchange for a fee. + +2. You may modify your copy or copies of the Program or any portion of it, thus forming a work based on the Program, and copy and distribute such modifications or work under the terms of Section 1 above, provided that you also meet all of these conditions: + +a) You must cause the modified files to carry prominent notices stating that you changed the files and the date of any change. + +b) You must cause any work that you distribute or publish, that in whole or in part contains or is derived from the Program or any part thereof, to be licensed as a whole at no charge to all third parties under the terms of this License. + +c) If the modified program normally reads commands interactively when run, you must cause it, when started running for such interactive use in the most ordinary way, to print or display an announcement including an appropriate copyright notice and a notice that there is no warranty (or else, saying that you provide a warranty) and that users may redistribute the program under these conditions, and telling the user how to view a copy of this License. (Exception: if the Program itself is interactive but does not normally print such an announcement, your work based on the Program is not required to print an announcement.) + +These requirements apply to the modified work as a whole. If identifiable sections of that work are not derived from the Program, and can be reasonably considered independent and separate works in themselves, then this License, and its terms, do not apply to those sections when you distribute them as separate works. But when you distribute the same sections as part of a whole which is a work based on the Program, the distribution of the whole must be on the terms of this License, whose permissions for other licensees extend to the entire whole, and thus to each and every part regardless of who wrote it. + +Thus, it is not the intent of this section to claim rights or contest your rights to work written entirely by you; rather, the intent is to exercise the right to control the distribution of derivative or collective works based on the Program. + +In addition, mere aggregation of another work not based on the Program with the Program (or with a work based on the Program) on a volume of a storage or distribution medium does not bring the other work under the scope of this License. + +3. You may copy and distribute the Program (or a work based on it, under Section 2) in object code or executable form under the terms of Sections 1 and 2 above provided that you also do one of the following: + +a) Accompany it with the complete corresponding machine-readable source code, which must be distributed under the terms of Sections 1 and 2 above on a medium customarily used for software interchange; or, + +b) Accompany it with a written offer, valid for at least three years, to give any third party, for a charge no more than your cost of physically performing source distribution, a complete machine-readable copy of the corresponding source code, to be distributed under the terms of Sections 1 and 2 above on a medium customarily used for software interchange; or, + +c) Accompany it with the information you received as to the offer to distribute corresponding source code. (This alternative is allowed only for noncommercial distribution and only if you received the program in object code or executable form with such an offer, in accord with Subsection b above.) + +The source code for a work means the preferred form of the work for making modifications to it. For an executable work, complete source code means all the source code for all modules it contains, plus any associated interface definition files, plus the scripts used to control compilation and installation of the executable. However, as a special exception, the source code distributed need not include anything that is normally distributed (in either source or binary form) with the major components (compiler, kernel, and so on) of the operating system on which the executable runs, unless that component itself accompanies the executable. + +If distribution of executable or object code is made by offering access to copy from a designated place, then offering equivalent access to copy the source code from the same place counts as distribution of the source code, even though third parties are not compelled to copy the source along with the object code. + +4. You may not copy, modify, sublicense, or distribute the Program except as expressly provided under this License. Any attempt otherwise to copy, modify, sublicense or distribute the Program is void, and will automatically terminate your rights under this License. However, parties who have received copies, or rights, from you under this License will not have their licenses terminated so long as such parties remain in full compliance. + +5. You are not required to accept this License, since you have not signed it. However, nothing else grants you permission to modify or distribute the Program or its derivative works. These actions are prohibited by law if you do not accept this License. Therefore, by modifying or distributing the Program (or any work based on the Program), you indicate your acceptance of this License to do so, and all its terms and conditions for copying, distributing or modifying the Program or works based on it. + +6. Each time you redistribute the Program (or any work based on the Program), the recipient automatically receives a license from the original licensor to copy, distribute or modify the Program subject to these terms and conditions. You may not impose any further restrictions on the recipients' exercise of the rights granted herein. You are not responsible for enforcing compliance by third parties to this License. + +7. If, as a consequence of a court judgment or allegation of patent infringement or for any other reason (not limited to patent issues), conditions are imposed on you (whether by court order, agreement or otherwise) that contradict the conditions of this License, they do not excuse you from the conditions of this License. If you cannot distribute so as to satisfy simultaneously your obligations under this License and any other pertinent obligations, then as a consequence you may not distribute the Program at all. For example, if a patent license would not permit royalty-free redistribution of the Program by all those who receive copies directly or indirectly through you, then the only way you could satisfy both it and this License would be to refrain entirely from distribution of the Program. + +If any portion of this section is held invalid or unenforceable under any particular circumstance, the balance of the section is intended to apply and the section as a whole is intended to apply in other circumstances. + +It is not the purpose of this section to induce you to infringe any patents or other property right claims or to contest validity of any such claims; this section has the sole purpose of protecting the integrity of the free software distribution system, which is implemented by public license practices. Many people have made generous contributions to the wide range of software distributed through that system in reliance on consistent application of that system; it is up to the author/donor to decide if he or she is willing to distribute software through any other system and a licensee cannot impose that choice. + +This section is intended to make thoroughly clear what is believed to be a consequence of the rest of this License. + +8. If the distribution and/or use of the Program is restricted in certain countries either by patents or by copyrighted interfaces, the original copyright holder who places the Program under this License may add an explicit geographical distribution limitation excluding those countries, so that distribution is permitted only in or among countries not thus excluded. In such case, this License incorporates the limitation as if written in the body of this License. + +9. The Free Software Foundation may publish revised and/or new versions of the General Public License from time to time. Such new versions will be similar in spirit to the present version, but may differ in detail to address new problems or concerns. + +Each version is given a distinguishing version number. If the Program specifies a version number of this License which applies to it and "any later version", you have the option of following the terms and conditions either of that version or of any later version published by the Free Software Foundation. If the Program does not specify a version number of this License, you may choose any version ever published by the Free Software Foundation. + +10. If you wish to incorporate parts of the Program into other free programs whose distribution conditions are different, write to the author to ask for permission. For software which is copyrighted by the Free Software Foundation, write to the Free Software Foundation; we sometimes make exceptions for this. Our decision will be guided by the two goals of preserving the free status of all derivatives of our free software and of promoting the sharing and reuse of software generally. + +2~ NO WARRANTY + +11. BECAUSE THE PROGRAM IS LICENSED FREE OF CHARGE, THERE IS NO WARRANTY FOR THE PROGRAM, TO THE EXTENT PERMITTED BY APPLICABLE LAW. EXCEPT WHEN OTHERWISE STATED IN WRITING THE COPYRIGHT HOLDERS AND/OR OTHER PARTIES PROVIDE THE PROGRAM "AS IS" WITHOUT WARRANTY OF ANY KIND, EITHER EXPRESSED OR IMPLIED, INCLUDING, BUT NOT LIMITED TO, THE IMPLIED WARRANTIES OF MERCHANTABILITY AND FITNESS FOR A PARTICULAR PURPOSE. THE ENTIRE RISK AS TO THE QUALITY AND PERFORMANCE OF THE PROGRAM IS WITH YOU. SHOULD THE PROGRAM PROVE DEFECTIVE, YOU ASSUME THE COST OF ALL NECESSARY SERVICING, REPAIR OR CORRECTION. + +12. IN NO EVENT UNLESS REQUIRED BY APPLICABLE LAW OR AGREED TO IN WRITING WILL ANY COPYRIGHT HOLDER, OR ANY OTHER PARTY WHO MAY MODIFY AND/OR REDISTRIBUTE THE PROGRAM AS PERMITTED ABOVE, BE LIABLE TO YOU FOR DAMAGES, INCLUDING ANY GENERAL, SPECIAL, INCIDENTAL OR CONSEQUENTIAL DAMAGES ARISING OUT OF THE USE OR INABILITY TO USE THE PROGRAM (INCLUDING BUT NOT LIMITED TO LOSS OF DATA OR DATA BEING RENDERED INACCURATE OR LOSSES SUSTAINED BY YOU OR THIRD PARTIES OR A FAILURE OF THE PROGRAM TO OPERATE WITH ANY OTHER PROGRAMS), EVEN IF SUCH HOLDER OR OTHER PARTY HAS BEEN ADVISED OF THE POSSIBILITY OF SUCH DAMAGES. + +:C~ END OF TERMS AND CONDITIONS + +1~ How to Apply These Terms to Your New Programs + +If you develop a new program, and you want it to be of the greatest possible use to the public, the best way to achieve this is to make it free software which everyone can redistribute and change under these terms. + +To do so, attach the following notices to the program. It is safest to attach them to the start of each source file to most effectively convey the exclusion of warranty; and each file should have at least the "copyright" line and a pointer to where the full notice is found. + +<one line to give the program's name and a brief idea of what it does.> + +Copyright (C) <year > <name of author> + +This program is free software; you can redistribute it and/or modify it under the terms of the GNU General Public License as published by the Free Software Foundation; either version 2 of the License, or (at your option) any later version. + +This program is distributed in the hope that it will be useful, but WITHOUT ANY WARRANTY; without even the implied warranty of MERCHANTABILITY or FITNESS FOR A PARTICULAR PURPOSE. See the GNU General Public License for more details. + +You should have received a copy of the GNU General Public License along with this program; if not, write to the Free Software Foundation, Inc., 51 Franklin Street, Fifth Floor, Boston, MA 02110-1301, USA~{ FSF address changed from: 59 Temple Place, Suite 330, Boston, MA 02111-1307 USA }~ + +Also add information on how to contact you by electronic and paper mail. + +If the program is interactive, make it output a short notice like this when it starts in an interactive mode: + +Gnomovision version 69, Copyright (C) year name of author + +Gnomovision comes with ABSOLUTELY NO WARRANTY; for details type 'show w'. This is free software, and you are welcome to redistribute it under certain conditions; type 'show c' for details. + +The hypothetical commands 'show w' and 'show c' should show the appropriate parts of the General Public License. Of course, the commands you use may be called something other than 'show w' and 'show c'; they could even be mouse-clicks or menu items--whatever suits your program. + +You should also get your employer (if you work as a programmer) or your school, if any, to sign a "copyright disclaimer" for the program, if necessary. Here is a sample; alter the names: + +Yoyodyne, Inc., hereby disclaims all copyright interest in the program 'Gnomovision' (which makes passes at compilers) written by James Hacker. + +<signature of Ty Coon>, 1 April 1989 + +Ty Coon, President of Vice + +This General Public License does not permit incorporating your program into proprietary programs. If your program is a subroutine library, you may consider it more useful to permit linking proprietary applications with the library. If this is what you want to do, use the GNU Library General Public License instead of this License. + +%% SiSU markup sample Notes: +% SiSU http://www.jus.uio.no/sisu +% SiSU markup for 0.16 and later: +% 0.20.4 header 0~links +% 0.22 may drop image dimensions (rmagick) +% 0.23 utf-8 ß +% 0.38 or later, may use alternative notation for headers, e.g. @title: (instead of 0~title) +% 0.38 document structure alternative markup, experimental (rad) A,B,C,1,2,3 maps to 1,2,3,4,5,6 +% Output: http://www.jus.uio.no/sisu/gpl2.fsf/sisu_manifest.html +% SiSU 0.38 experimental (alternative structure) markup used for this document diff --git a/data/v1/sisu_markup_samples/samples/gpl3.fsf.sst b/data/v1/sisu_markup_samples/samples/gpl3.fsf.sst new file mode 100644 index 0000000..10889ac --- /dev/null +++ b/data/v1/sisu_markup_samples/samples/gpl3.fsf.sst @@ -0,0 +1,292 @@ +SiSU 0.52 + +@title: GNU GENERAL PUBLIC LICENSE v3 + +@author: Free Software Foundation + +@rights: Copyright (C) 2007 Free Software Foundation, Inc. http://fsf.org/ Everyone is permitted to copy and distribute verbatim copies of this license document, but changing it is not allowed. + +@topic_register: GPL;Software:license + +@date: 2007-06-29 + +@date.available: 2007-06-29 + +@date.valid: 2007-06-29 + +@publisher: SiSU on behalf of the Free Software Foundation + +@links: {Free Software Foundation}http://www.fsf.org +{GPL3 @ FSF}http://gplv3.fsf.org/ +{GPL @ SiSU}http://www.jus.uio.no/sisu/gpl3.fsf +{GPL3 source text}http://www.gnu.org/licenses/gpl-3.0.txt +{ Free as In Freedom - Richard Stallman's Crusade for Free Software }http://www.jus.uio.no/sisu/free_as_in_freedom.richard_stallman_crusade_for_free_software.sam_williams + +@skin: skin_gnu + +% @promo: sisu_icon, fsf, open_society, sisu + +:A~ GNU GENERAL PUBLIC LICENSE + +:B~ Version 3, 29 June 2007 + +:C~ Copyright (C) 2007 Free Software Foundation, Inc. http://fsf.org/ Everyone is permitted to copy and distribute verbatim copies of this license document, but changing it is not allowed. + +1~ Preamble + +The GNU General Public License is a free, copyleft license for software and other kinds of works. + +The licenses for most software and other practical works are designed to take away your freedom to share and change the works. By contrast, the GNU General Public License is intended to guarantee your freedom to share and change all versions of a program--to make sure it remains free software for all its users. We, the Free Software Foundation, use the GNU General Public License for most of our software; it applies also to any other work released this way by its authors. You can apply it to your programs, too. + +When we speak of free software, we are referring to freedom, not price. Our General Public Licenses are designed to make sure that you have the freedom to distribute copies of free software (and charge for them if you wish), that you receive source code or can get it if you want it, that you can change the software or use pieces of it in new free programs, and that you know you can do these things. + +To protect your rights, we need to prevent others from denying you these rights or asking you to surrender the rights. Therefore, you have certain responsibilities if you distribute copies of the software, or if you modify it: responsibilities to respect the freedom of others. + +For example, if you distribute copies of such a program, whether gratis or for a fee, you must pass on to the recipients the same freedoms that you received. You must make sure that they, too, receive or can get the source code. And you must show them these terms so they know their rights. + +Developers that use the GNU GPL protect your rights with two steps: (1) assert copyright on the software, and (2) offer you this License giving you legal permission to copy, distribute and/or modify it. + +For the developers' and authors' protection, the GPL clearly explains that there is no warranty for this free software. For both users' and authors' sake, the GPL requires that modified versions be marked as changed, so that their problems will not be attributed erroneously to authors of previous versions. + +Some devices are designed to deny users access to install or run modified versions of the software inside them, although the manufacturer can do so. This is fundamentally incompatible with the aim of protecting users' freedom to change the software. The systematic pattern of such abuse occurs in the area of products for individuals to use, which is precisely where it is most unacceptable. Therefore, we have designed this version of the GPL to prohibit the practice for those products. If such problems arise substantially in other domains, we stand ready to extend this provision to those domains in future versions of the GPL, as needed to protect the freedom of users. + +Finally, every program is threatened constantly by software patents. States should not allow patents to restrict development and use of software on general-purpose computers, but in those that do, we wish to avoid the special danger that patents applied to a free program could make it effectively proprietary. To prevent this, the GPL assures that patents cannot be used to render the program non-free. + +The precise terms and conditions for copying, distribution and modification follow. + +:C~ TERMS AND CONDITIONS + +1~0 0. Definitions. + +"This License" refers to version 3 of the GNU General Public License. + +"Copyright" also means copyright-like laws that apply to other kinds of works, such as semiconductor masks. + +"The Program" refers to any copyrightable work licensed under this License. Each licensee is addressed as "you". "Licensees" and "recipients" may be individuals or organizations. + +To "modify" a work means to copy from or adapt all or part of the work in a fashion requiring copyright permission, other than the making of an exact copy. The resulting work is called a "modified version" of the earlier work or a work "based on" the earlier work. + +A "covered work" means either the unmodified Program or a work based on the Program. + +To "propagate" a work means to do anything with it that, without permission, would make you directly or secondarily liable for infringement under applicable copyright law, except executing it on a computer or modifying a private copy. Propagation includes copying, distribution (with or without modification), making available to the public, and in some countries other activities as well. + +To "convey" a work means any kind of propagation that enables other parties to make or receive copies. Mere interaction with a user through a computer network, with no transfer of a copy, is not conveying. + +An interactive user interface displays "Appropriate Legal Notices" to the extent that it includes a convenient and prominently visible feature that (1) displays an appropriate copyright notice, and (2) tells the user that there is no warranty for the work (except to the extent that warranties are provided), that licensees may convey the work under this License, and how to view a copy of this License. If the interface presents a list of user commands or options, such as a menu, a prominent item in the list meets this criterion. + +1~1 1. Source Code. + +The "source code" for a work means the preferred form of the work for making modifications to it. "Object code" means any non-source form of a work. + +A "Standard Interface" means an interface that either is an official standard defined by a recognized standards body, or, in the case of interfaces specified for a particular programming language, one that is widely used among developers working in that language. + +The "System Libraries" of an executable work include anything, other than the work as a whole, that (a) is included in the normal form of packaging a Major Component, but which is not part of that Major Component, and (b) serves only to enable use of the work with that Major Component, or to implement a Standard Interface for which an implementation is available to the public in source code form. A "Major Component", in this context, means a major essential component (kernel, window system, and so on) of the specific operating system (if any) on which the executable work runs, or a compiler used to produce the work, or an object code interpreter used to run it. + +The "Corresponding Source" for a work in object code form means all the source code needed to generate, install, and (for an executable work) run the object code and to modify the work, including scripts to control those activities. However, it does not include the work's System Libraries, or general-purpose tools or generally available free programs which are used unmodified in performing those activities but which are not part of the work. For example, Corresponding Source includes interface definition files associated with source files for the work, and the source code for shared libraries and dynamically linked subprograms that the work is specifically designed to require, such as by intimate data communication or control flow between those subprograms and other parts of the work. + +The Corresponding Source need not include anything that users can regenerate automatically from other parts of the Corresponding Source. + +The Corresponding Source for a work in source code form is that same work. + +1~2 2. Basic Permissions. + +All rights granted under this License are granted for the term of copyright on the Program, and are irrevocable provided the stated conditions are met. This License explicitly affirms your unlimited permission to run the unmodified Program. The output from running a covered work is covered by this License only if the output, given its content, constitutes a covered work. This License acknowledges your rights of fair use or other equivalent, as provided by copyright law. + +You may make, run and propagate covered works that you do not convey, without conditions so long as your license otherwise remains in force. You may convey covered works to others for the sole purpose of having them make modifications exclusively for you, or provide you with facilities for running those works, provided that you comply with the terms of this License in conveying all material for which you do not control copyright. Those thus making or running the covered works for you must do so exclusively on your behalf, under your direction and control, on terms that prohibit them from making any copies of your copyrighted material outside their relationship with you. + +Conveying under any other circumstances is permitted solely under the conditions stated below. Sublicensing is not allowed; section 10 makes it unnecessary. + +1~3 3. Protecting Users' Legal Rights From Anti-Circumvention Law. + +No covered work shall be deemed part of an effective technological measure under any applicable law fulfilling obligations under article 11 of the WIPO copyright treaty adopted on 20 December 1996, or similar laws prohibiting or restricting circumvention of such measures. + +When you convey a covered work, you waive any legal power to forbid circumvention of technological measures to the extent such circumvention is effected by exercising rights under this License with respect to the covered work, and you disclaim any intention to limit operation or modification of the work as a means of enforcing, against the work's users, your or third parties' legal rights to forbid circumvention of technological measures. + +1~4 4. Conveying Verbatim Copies. + +You may convey verbatim copies of the Program's source code as you receive it, in any medium, provided that you conspicuously and appropriately publish on each copy an appropriate copyright notice; keep intact all notices stating that this License and any non-permissive terms added in accord with section 7 apply to the code; keep intact all notices of the absence of any warranty; and give all recipients a copy of this License along with the Program. + +You may charge any price or no price for each copy that you convey, and you may offer support or warranty protection for a fee. + +1~5 5. Conveying Modified Source Versions. + +You may convey a work based on the Program, or the modifications to produce it from the Program, in the form of source code under the terms of section 4, provided that you also meet all of these conditions: + +_1 a) The work must carry prominent notices stating that you modified it, and giving a relevant date. + +_1 b) The work must carry prominent notices stating that it is released under this License and any conditions added under section 7. This requirement modifies the requirement in section 4 to "keep intact all notices". + +_1 c) You must license the entire work, as a whole, under this License to anyone who comes into possession of a copy. This License will therefore apply, along with any applicable section 7 additional terms, to the whole of the work, and all its parts, regardless of how they are packaged. This License gives no permission to license the work in any other way, but it does not invalidate such permission if you have separately received it. + +_1 d) If the work has interactive user interfaces, each must display Appropriate Legal Notices; however, if the Program has interactive interfaces that do not display Appropriate Legal Notices, your work need not make them do so. + +A compilation of a covered work with other separate and independent works, which are not by their nature extensions of the covered work, and which are not combined with it such as to form a larger program, in or on a volume of a storage or distribution medium, is called an "aggregate" if the compilation and its resulting copyright are not used to limit the access or legal rights of the compilation's users beyond what the individual works permit. Inclusion of a covered work in an aggregate does not cause this License to apply to the other parts of the aggregate. + +1~6 6. Conveying Non-Source Forms. + +You may convey a covered work in object code form under the terms of sections 4 and 5, provided that you also convey the machine-readable Corresponding Source under the terms of this License, in one of these ways: + +_1 a) Convey the object code in, or embodied in, a physical product (including a physical distribution medium), accompanied by the Corresponding Source fixed on a durable physical medium customarily used for software interchange. + +_1 b) Convey the object code in, or embodied in, a physical product (including a physical distribution medium), accompanied by a written offer, valid for at least three years and valid for as long as you offer spare parts or customer support for that product model, to give anyone who possesses the object code either (1) a copy of the Corresponding Source for all the software in the product that is covered by this License, on a durable physical medium customarily used for software interchange, for a price no more than your reasonable cost of physically performing this conveying of source, or (2) access to copy the Corresponding Source from a network server at no charge. + +_1 c) Convey individual copies of the object code with a copy of the written offer to provide the Corresponding Source. This alternative is allowed only occasionally and noncommercially, and only if you received the object code with such an offer, in accord with subsection 6b. + +_1 d) Convey the object code by offering access from a designated place (gratis or for a charge), and offer equivalent access to the Corresponding Source in the same way through the same place at no further charge. You need not require recipients to copy the Corresponding Source along with the object code. If the place to copy the object code is a network server, the Corresponding Source may be on a different server (operated by you or a third party) that supports equivalent copying facilities, provided you maintain clear directions next to the object code saying where to find the Corresponding Source. Regardless of what server hosts the Corresponding Source, you remain obligated to ensure that it is available for as long as needed to satisfy these requirements. + +_1 e) Convey the object code using peer-to-peer transmission, provided you inform other peers where the object code and Corresponding Source of the work are being offered to the general public at no charge under subsection 6d. + +A separable portion of the object code, whose source code is excluded from the Corresponding Source as a System Library, need not be included in conveying the object code work. + +A "User Product" is either (1) a "consumer product", which means any tangible personal property which is normally used for personal, family, or household purposes, or (2) anything designed or sold for incorporation into a dwelling. In determining whether a product is a consumer product, doubtful cases shall be resolved in favor of coverage. For a particular product received by a particular user, "normally used" refers to a typical or common use of that class of product, regardless of the status of the particular user or of the way in which the particular user actually uses, or expects or is expected to use, the product. A product is a consumer product regardless of whether the product has substantial commercial, industrial or non-consumer uses, unless such uses represent the only significant mode of use of the product. + +"Installation Information" for a User Product means any methods, procedures, authorization keys, or other information required to install and execute modified versions of a covered work in that User Product from a modified version of its Corresponding Source. The information must suffice to ensure that the continued functioning of the modified object code is in no case prevented or interfered with solely because modification has been made. + +If you convey an object code work under this section in, or with, or specifically for use in, a User Product, and the conveying occurs as part of a transaction in which the right of possession and use of the User Product is transferred to the recipient in perpetuity or for a fixed term (regardless of how the transaction is characterized), the Corresponding Source conveyed under this section must be accompanied by the Installation Information. But this requirement does not apply if neither you nor any third party retains the ability to install modified object code on the User Product (for example, the work has been installed in ROM). + +The requirement to provide Installation Information does not include a requirement to continue to provide support service, warranty, or updates for a work that has been modified or installed by the recipient, or for the User Product in which it has been modified or installed. Access to a network may be denied when the modification itself materially and adversely affects the operation of the network or violates the rules and protocols for communication across the network. + +Corresponding Source conveyed, and Installation Information provided, in accord with this section must be in a format that is publicly documented (and with an implementation available to the public in source code form), and must require no special password or key for unpacking, reading or copying. + +1~7 7. Additional Terms. + +"Additional permissions" are terms that supplement the terms of this License by making exceptions from one or more of its conditions. Additional permissions that are applicable to the entire Program shall be treated as though they were included in this License, to the extent that they are valid under applicable law. If additional permissions apply only to part of the Program, that part may be used separately under those permissions, but the entire Program remains governed by this License without regard to the additional permissions. + +When you convey a copy of a covered work, you may at your option remove any additional permissions from that copy, or from any part of it. (Additional permissions may be written to require their own removal in certain cases when you modify the work.) You may place additional permissions on material, added by you to a covered work, for which you have or can give appropriate copyright permission. + +Notwithstanding any other provision of this License, for material you add to a covered work, you may (if authorized by the copyright holders of that material) supplement the terms of this License with terms: + +_1 a) Disclaiming warranty or limiting liability differently from the terms of sections 15 and 16 of this License; or + +_1 b) Requiring preservation of specified reasonable legal notices or author attributions in that material or in the Appropriate Legal Notices displayed by works containing it; or + +_1 c) Prohibiting misrepresentation of the origin of that material, or requiring that modified versions of such material be marked in reasonable ways as different from the original version; or + +_1 d) Limiting the use for publicity purposes of names of licensors or authors of the material; or + +_1 e) Declining to grant rights under trademark law for use of some trade names, trademarks, or service marks; or + +_1 f) Requiring indemnification of licensors and authors of that material by anyone who conveys the material (or modified versions of it) with contractual assumptions of liability to the recipient, for any liability that these contractual assumptions directly impose on those licensors and authors. + +All other non-permissive additional terms are considered "further restrictions" within the meaning of section 10. If the Program as you received it, or any part of it, contains a notice stating that it is governed by this License along with a term that is a further restriction, you may remove that term. If a license document contains a further restriction but permits relicensing or conveying under this License, you may add to a covered work material governed by the terms of that license document, provided that the further restriction does not survive such relicensing or conveying. + +If you add terms to a covered work in accord with this section, you must place, in the relevant source files, a statement of the additional terms that apply to those files, or a notice indicating where to find the applicable terms. + +Additional terms, permissive or non-permissive, may be stated in the form of a separately written license, or stated as exceptions; the above requirements apply either way. + +1~8 8. Termination. + +You may not propagate or modify a covered work except as expressly provided under this License. Any attempt otherwise to propagate or modify it is void, and will automatically terminate your rights under this License (including any patent licenses granted under the third paragraph of section 11). + +However, if you cease all violation of this License, then your license from a particular copyright holder is reinstated (a) provisionally, unless and until the copyright holder explicitly and finally terminates your license, and (b) permanently, if the copyright holder fails to notify you of the violation by some reasonable means prior to 60 days after the cessation. + +Moreover, your license from a particular copyright holder is reinstated permanently if the copyright holder notifies you of the violation by some reasonable means, this is the first time you have received notice of violation of this License (for any work) from that copyright holder, and you cure the violation prior to 30 days after your receipt of the notice. + +Termination of your rights under this section does not terminate the licenses of parties who have received copies or rights from you under this License. If your rights have been terminated and not permanently reinstated, you do not qualify to receive new licenses for the same material under section 10. + +1~9 9. Acceptance Not Required for Having Copies. + +You are not required to accept this License in order to receive or run a copy of the Program. Ancillary propagation of a covered work occurring solely as a consequence of using peer-to-peer transmission to receive a copy likewise does not require acceptance. However, nothing other than this License grants you permission to propagate or modify any covered work. These actions infringe copyright if you do not accept this License. Therefore, by modifying or propagating a covered work, you indicate your acceptance of this License to do so. + +1~10 10. Automatic Licensing of Downstream Recipients. + +Each time you convey a covered work, the recipient automatically receives a license from the original licensors, to run, modify and propagate that work, subject to this License. You are not responsible for enforcing compliance by third parties with this License. + +An "entity transaction" is a transaction transferring control of an organization, or substantially all assets of one, or subdividing an organization, or merging organizations. If propagation of a covered work results from an entity transaction, each party to that transaction who receives a copy of the work also receives whatever licenses to the work the party's predecessor in interest had or could give under the previous paragraph, plus a right to possession of the Corresponding Source of the work from the predecessor in interest, if the predecessor has it or can get it with reasonable efforts. + +You may not impose any further restrictions on the exercise of the rights granted or affirmed under this License. For example, you may not impose a license fee, royalty, or other charge for exercise of rights granted under this License, and you may not initiate litigation (including a cross-claim or counterclaim in a lawsuit) alleging that any patent claim is infringed by making, using, selling, offering for sale, or importing the Program or any portion of it. + +1~11 11. Patents. + +A "contributor" is a copyright holder who authorizes use under this License of the Program or a work on which the Program is based. The work thus licensed is called the contributor's "contributor version". + +A contributor's "essential patent claims" are all patent claims owned or controlled by the contributor, whether already acquired or hereafter acquired, that would be infringed by some manner, permitted by this License, of making, using, or selling its contributor version, but do not include claims that would be infringed only as a consequence of further modification of the contributor version. For purposes of this definition, "control" includes the right to grant patent sublicenses in a manner consistent with the requirements of this License. + +Each contributor grants you a non-exclusive, worldwide, royalty-free patent license under the contributor's essential patent claims, to make, use, sell, offer for sale, import and otherwise run, modify and propagate the contents of its contributor version. + +In the following three paragraphs, a "patent license" is any express agreement or commitment, however denominated, not to enforce a patent (such as an express permission to practice a patent or covenant not to sue for patent infringement). To "grant" such a patent license to a party means to make such an agreement or commitment not to enforce a patent against the party. + +If you convey a covered work, knowingly relying on a patent license, and the Corresponding Source of the work is not available for anyone to copy, free of charge and under the terms of this License, through a publicly available network server or other readily accessible means, then you must either (1) cause the Corresponding Source to be so available, or (2) arrange to deprive yourself of the benefit of the patent license for this particular work, or (3) arrange, in a manner consistent with the requirements of this License, to extend the patent license to downstream recipients. "Knowingly relying" means you have actual knowledge that, but for the patent license, your conveying the covered work in a country, or your recipient's use of the covered work in a country, would infringe one or more identifiable patents in that country that you have reason to believe are valid. + +If, pursuant to or in connection with a single transaction or arrangement, you convey, or propagate by procuring conveyance of, a covered work, and grant a patent license to some of the parties receiving the covered work authorizing them to use, propagate, modify or convey a specific copy of the covered work, then the patent license you grant is automatically extended to all recipients of the covered work and works based on it. + +A patent license is "discriminatory" if it does not include within the scope of its coverage, prohibits the exercise of, or is conditioned on the non-exercise of one or more of the rights that are specifically granted under this License. You may not convey a covered work if you are a party to an arrangement with a third party that is in the business of distributing software, under which you make payment to the third party based on the extent of your activity of conveying the work, and under which the third party grants, to any of the parties who would receive the covered work from you, a discriminatory patent license (a) in connection with copies of the covered work conveyed by you (or copies made from those copies), or (b) primarily for and in connection with specific products or compilations that contain the covered work, unless you entered into that arrangement, or that patent license was granted, prior to 28 March 2007. + +Nothing in this License shall be construed as excluding or limiting any implied license or other defenses to infringement that may otherwise be available to you under applicable patent law. + +1~12 12. No Surrender of Others' Freedom. + +If conditions are imposed on you (whether by court order, agreement or otherwise) that contradict the conditions of this License, they do not excuse you from the conditions of this License. If you cannot convey a covered work so as to satisfy simultaneously your obligations under this License and any other pertinent obligations, then as a consequence you may not convey it at all. For example, if you agree to terms that obligate you to collect a royalty for further conveying from those to whom you convey the Program, the only way you could satisfy both those terms and this License would be to refrain entirely from conveying the Program. + +1~13 13. Use with the GNU Affero General Public License. + +Notwithstanding any other provision of this License, you have permission to link or combine any covered work with a work licensed under version 3 of the GNU Affero General Public License into a single combined work, and to convey the resulting work. The terms of this License will continue to apply to the part which is the covered work, but the special requirements of the GNU Affero General Public License, section 13, concerning interaction through a network will apply to the combination as such. + +1~14 14. Revised Versions of this License. + +The Free Software Foundation may publish revised and/or new versions of the GNU General Public License from time to time. Such new versions will be similar in spirit to the present version, but may differ in detail to address new problems or concerns. + +Each version is given a distinguishing version number. If the Program specifies that a certain numbered version of the GNU General Public License "or any later version" applies to it, you have the option of following the terms and conditions either of that numbered version or of any later version published by the Free Software Foundation. If the Program does not specify a version number of the GNU General Public License, you may choose any version ever published by the Free Software Foundation. + +If the Program specifies that a proxy can decide which future versions of the GNU General Public License can be used, that proxy's public statement of acceptance of a version permanently authorizes you to choose that version for the Program. + +Later license versions may give you additional or different permissions. However, no additional obligations are imposed on any author or copyright holder as a result of your choosing to follow a later version. + +1~15 15. Disclaimer of Warranty. + +THERE IS NO WARRANTY FOR THE PROGRAM, TO THE EXTENT PERMITTED BY APPLICABLE LAW. EXCEPT WHEN OTHERWISE STATED IN WRITING THE COPYRIGHT HOLDERS AND/OR OTHER PARTIES PROVIDE THE PROGRAM "AS IS" WITHOUT WARRANTY OF ANY KIND, EITHER EXPRESSED OR IMPLIED, INCLUDING, BUT NOT LIMITED TO, THE IMPLIED WARRANTIES OF MERCHANTABILITY AND FITNESS FOR A PARTICULAR PURPOSE. THE ENTIRE RISK AS TO THE QUALITY AND PERFORMANCE OF THE PROGRAM IS WITH YOU. SHOULD THE PROGRAM PROVE DEFECTIVE, YOU ASSUME THE COST OF ALL NECESSARY SERVICING, REPAIR OR CORRECTION. + +1~16 16. Limitation of Liability. + +IN NO EVENT UNLESS REQUIRED BY APPLICABLE LAW OR AGREED TO IN WRITING WILL ANY COPYRIGHT HOLDER, OR ANY OTHER PARTY WHO MODIFIES AND/OR CONVEYS THE PROGRAM AS PERMITTED ABOVE, BE LIABLE TO YOU FOR DAMAGES, INCLUDING ANY GENERAL, SPECIAL, INCIDENTAL OR CONSEQUENTIAL DAMAGES ARISING OUT OF THE USE OR INABILITY TO USE THE PROGRAM (INCLUDING BUT NOT LIMITED TO LOSS OF DATA OR DATA BEING RENDERED INACCURATE OR LOSSES SUSTAINED BY YOU OR THIRD PARTIES OR A FAILURE OF THE PROGRAM TO OPERATE WITH ANY OTHER PROGRAMS), EVEN IF SUCH HOLDER OR OTHER PARTY HAS BEEN ADVISED OF THE POSSIBILITY OF SUCH DAMAGES. + +1~17 17. Interpretation of Sections 15 and 16. + +If the disclaimer of warranty and limitation of liability provided above cannot be given local legal effect according to their terms, reviewing courts shall apply local law that most closely approximates an absolute waiver of all civil liability in connection with the Program, unless a warranty or assumption of liability accompanies a copy of the Program in return for a fee. + +!_ END OF TERMS AND CONDITIONS + +1~ How to Apply These Terms to Your New Programs + +If you develop a new program, and you want it to be of the greatest possible use to the public, the best way to achieve this is to make it free software which everyone can redistribute and change under these terms. + +To do so, attach the following notices to the program. It is safest to attach them to the start of each source file to most effectively state the exclusion of warranty; and each file should have at least the "copyright" line and a pointer to where the full notice is found. + +poem{ + + \ + Copyright (C) \ \ + + This program is free software: you can redistribute it and/or modify + it under the terms of the GNU General Public License as published by + the Free Software Foundation, either version 3 of the License, or + (at your option) any later version. + + This program is distributed in the hope that it will be useful, + but WITHOUT ANY WARRANTY; without even the implied warranty of + MERCHANTABILITY or FITNESS FOR A PARTICULAR PURPOSE. See the + GNU General Public License for more details. + + You should have received a copy of the GNU General Public License + along with this program. If not, see http://www.gnu.org/licenses/. + +}poem + +Also add information on how to contact you by electronic and paper mail. + +If the program does terminal interaction, make it output a short notice like this when it starts in an interactive mode: + +poem{ + + \ Copyright (C) \ \ + This program comes with ABSOLUTELY NO WARRANTY; for details type `show w'. + This is free software, and you are welcome to redistribute it + under certain conditions; type 'show c' for details. + +}poem + +The hypothetical commands 'show w' and 'show c' should show the appropriate parts of the General Public License. Of course, your program's commands might be different; for a GUI interface, you would use an "about box". + +You should also get your employer (if you work as a programmer) or school, if any, to sign a "copyright disclaimer" for the program, if necessary. For more information on this, and how to apply and follow the GNU GPL, see http://www.gnu.org/licenses/. + +The GNU General Public License does not permit incorporating your program into proprietary programs. If your program is a subroutine library, you may consider it more useful to permit linking proprietary applications with the library. If this is what you want to do, use the GNU Lesser General Public License instead of this License. But first, please read http://www.gnu.org/philosophy/why-not-lgpl.html. diff --git a/data/v1/sisu_markup_samples/samples/sisu_output_overview.ssi b/data/v1/sisu_markup_samples/samples/sisu_output_overview.ssi new file mode 100644 index 0000000..e2c9052 --- /dev/null +++ b/data/v1/sisu_markup_samples/samples/sisu_output_overview.ssi @@ -0,0 +1,61 @@ +% @title: SiSU overview of status of features available in various outputs + +% @date.created: 2005-10-31 + +% @date.available: 2006-10-31 + +% @date.modified: 2006-01-23 + +% @date: 2006-01-23 + +% :A~? SiSU overview of status of features available in various outputs + +!_ A Checklist of Output Features + +This table gives an indication of the features that are available +for various forms of output of SiSU.~{ updated for sisu-0.36.6 on 2006-01-23 }~ + +{t~h} +feature |txt|ltx/pdf|HTML|XHTML|XML/s|XML/d|ODF|SQLite|pgSQL +headings | * | * | * | * | * | * | * | * | * +footnotes | * | * | * | * | * | * | * | * | * +bold, underscore, italics | . | * | * | * | * | * | * | * | * +strikethrough | . | * | * | * | * | * | * | | +superscript, subscript | . | * | * | * | * | * | * | | +extended ascii set (utf-8)| * | * | * | * | * | * | * | | * +indents | * | * | * | * | * | * | * | | +bullets | . | * | * | * | * | * | . | | +groups | | | | | | | | | +* tables | | * | * | . | . | . | . | . | . +* poem | * | * | * | . | . | . | * | . | . +* code | * | * | * | . | . | . | * | . | . +url | * | * | * | * | * | * | * | . | . +links | * | * | * | * | * | * | * | . | . +images | - | * | * | T | T | T | * | T | T +image caption | - | * | * | | | | | | +table of contents | | * | * | * | * | * | . | | +page header/footer? | - | * | * | * | * | * | t | | +line break | * | * | * | * | * | * | * | | +page break | | * | | | | | * | | +segments | | | * | | | | | | +skins | * | * | * | * | * | * | | | +ocn | . | * | * | * | * | * | -?| * | * +auto-heading numbers | * | * | * | * | * | * | * | * | * +minor list numbering | * | * | * | * | * | * | * | * | * +special characters | . | . | . | | | | | | + +group{ + + Done + * yes/done + . partial + + - not available/appropriate + + Not Done + T task todo + t lesser task/todo + not done + +}group + -- cgit v1.2.3