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But by the early 1970s a shift was under way.
但到了20世紀70年代初期，人們的想法開始轉變。
"Computing went from being dismissed as a tool of bureaucratic control to being embraced as a symbol of individual expression and liberation,"
“計算機從作為官僚機構的控制工具而被不屑一顧，變成了作為個人表達與自由解放的象征而被欣然接受。”
John Markoff wrote in his study of the counterculture's convergence with the computer industry, What the Dormouse Said.
約翰·馬爾科夫在他研究反主流文化群體與計算機產業關系的書《睡鼠說了什么》中這樣寫道。
It was an ethos lyrically expressed in Richard Brautigan's 1967 poem, "All Watched Over by Machines of Loving Grace,"
理查德·布勞提根在他 1967年創作的詩《慈愛的機器照看一切》中就描繪過這樣的場景，
and the cyberdelic fusion was certified when Timothy Leary declared that
而當蒂莫西·利里宣稱個人電腦已經成為了新的迷幻藥，
personal computers had become the new LSD and years later revised his famous mantra to proclaim, "Turn on, boot up, jack in."
并將他那句著名言論改寫成“開機，啟動,接入”時，電腦致幻便得到了證實。
The musician Bono, who later became a friend of Jobs,
后來成為喬布斯朋友的音樂人波諾當時經常與他討論，
often discussed with him why those immersed in the rock-drugs-rebel counterculture of the Bay Area ended up helping to create the personal computer industry.
為什么那些來自灣區的沉溺于搖滾樂和毒品的叛逆反主流文化分子，最終幫助創建了個人電腦產業。
"The people who invented the twenty- first century were pot-smoking,
“那些開創了21世紀的人，都像史蒂夫一樣，他們是來自西海岸、吸著大麻、
sandal-wearing hippies from the West Coast like Steve, because they saw differently," he said.
穿著涼鞋的嬉皮士，他們會從不同的角度去看問題。”他說，
"The hierarchical systems of the East Coast, England, Germany, and Japan do not encourage this different thinking.
“東海岸、英格蘭、德國以及日本的等級制度不鼓勵這種與眾不同的思考方式。
The sixties produced an anarchic mind-set that is great for imagining a world not yet in existence."
60年代孕育的這樣一種無政府主義的思維模式，恰恰有助于人類對一個尚不存在的世界展開想象。”
One person who encouraged the denizens of the counterculture to make common cause with the hackers was Stewart Brand.
有一個人在推動反主流文化人群與黑客的聯合中發揮了作用，他就是斯圖爾特·布蘭德。
A puckish visionary who generated fun and ideas over many decades, Brand was a participant in one of the early sixties LSD studies in Palo Alto.
這個愛開玩笑的夢想家，在數十年間不斷制造快樂和創意，參與了60年代初在帕洛奧圖的迷幻藥研究。
He joined with his fellow subject Ken Kesey to produce the acid-celebrating Trips Festival,
他與一同接受試驗的肯·凱西創辦了贊美迷幻藥的“旅行節”，
appeared in the opening scene of Tom Wolfe's The Electric Kool-Aid Acid Test,
他還出現在湯姆·伍爾夫的《令人振奮的興奮劑實驗》的開頭，
and worked with Doug Engelbart to create a seminal sound-and-light presentation of new technologies called the Mother of All Demos.
他與道格·恩格爾巴特合作創造了利用聲光演示新技術的方法，并稱其為“演示之母” 。
"Most of our generation scorned computers as the embodiment of centralized control," Brand later noted.
“我們這一代的大多數人都將電腦看做集權控制的化身而蔑視它”，布蘭德后來寫道，
"But a tiny contingent—-later called hackers--embraced computers and set about transforming them into tools of liberation.
“但有一小部分人--也就是后來被稱做黑客的人--欣然接受了電腦并開始將它們轉變成解放的工具。
That turned out to be the true royal road to the future."
這一舉動后來被證明是通向未來的正確道路。”
