CHAPTER FIVE

第五章

THE APPLE I

Apple I

Turn On, Boot Up, Jack In . . .

開機(jī)，啟動(dòng)，接入

Machines of Loving Grace

慈愛的機(jī)器

In San Francisco and the Santa Clara Valley during the late 1960s, various cultural currents flowed together. There was the technology revolution that began with the growth of military contractors and soon included electronics firms, microchip makers, video game designers, and computer companies. There was a hacker subculture—filled with wireheads, phreakers, cyberpunks, hobbyists, and just plain geeks—that included engineers who didn’t conform to the HP mold and their kids who weren’t attuned to the wavelengths of the subdivisions. There were quasi-academic groups doing studies on the effects of LSD; participants included Doug Engelbart of the Augmentation Research Center in Palo Alto, who later helped develop the computer mouse and graphical user interfaces, and Ken Kesey, who celebrated the drug with music-and-light shows featuring a house band that became the Grateful Dead. There was the hippie movement, born out of the Bay Area’s beat generation, and the rebellious political activists, born out of the Free Speech Movement at Berkeley. Overlaid on it all were various self-fulfillment movements pursuing paths to personal enlightenment: Zen and Hinduism, meditation and yoga, primal scream and sensory deprivation, Esalen and est.

20世紀(jì)60年代末，各種文化潮流在舊金山和硅谷交匯。技術(shù)革命伴隨著軍事承包商的發(fā)展而興起，并迅速擴(kuò)展到電子公司、微芯片制造商、視頻游戲軟件設(shè)計(jì)師和計(jì)算機(jī)公司。這里出現(xiàn)了黑客的亞文化群——云集于此的有資深玩家、電話飛客、電子朋克、業(yè)余愛好者以及純粹的極客——包括那些不愿遵照惠普模式行事的工程師和他們不合群的孩子們。這里有準(zhǔn)學(xué)術(shù)性的團(tuán)體在研究迷幻藥的效果，參與者包括來自帕洛奧圖增強(qiáng)研究中心（AugmentationResearchCenter）的道格·恩格爾巴特（DougEngdbart），他后來參與發(fā)明了電腦鼠標(biāo)以及圖形用戶界面；還有肯·凱西（KenKesey），他為了歌頌毒品舉行了一場聲光盛宴，請來了一支樂隊(duì)表演，而這支樂隊(duì)就是后來的“感恩而死”。在這里，灣區(qū)垮掉的一代發(fā)起了嬉皮士運(yùn)動(dòng)，伯克利的言論自由運(yùn)動(dòng)誕生了一批叛逆的政治活躍分子。在此基礎(chǔ)上，一系列實(shí)現(xiàn)自我、追求心靈啟迪的行為風(fēng)靡一時(shí)——禪宗和印度教，冥想和瑜伽，原始尖叫和感覺剝奪，伊莎蘭治療法①和電擊休克治療法。

This fusion of flower power and processor power, enlightenment and technology, was embodied by Steve Jobs as he meditated in the mornings, audited physics classes at Stanford, worked nights at Atari, and dreamed of starting his own business. “There was just something going on here,” he said, looking back at the time and place. “The best music came from here—the Grateful Dead, Jefferson Airplane, Joan Baez, Janis Joplin—and so did the integrated circuit, and things like the Whole Earth Catalog.”

嬉皮士信仰與計(jì)算機(jī)力量的交融，思想與科技的結(jié)合，都在史蒂夫·喬布斯的身上得到了體現(xiàn)，他早晨冥想，然后去斯坦福旁聽物理學(xué)課程，晚上在雅達(dá)利工作，并夢想著能創(chuàng)辦自己的事業(yè)?！坝行┢婷畹氖虑檎谶@里上演”，回首彼時(shí)彼處，他說道，“最好的音樂來源于此——感恩而死、杰弗遜飛船樂隊(duì)（JeffersonAirplane）、瓊·貝茲（JoanBaez）、詹尼斯·喬普林（JanisJoplin），集成電路以及《全球概覽》（TheWholeEarthCatalog）之類的事物也在這里誕生。”

Initially the technologists and the hippies did not interface well. Many in the counterculture saw computers as ominous and Orwellian, the province of the Pentagon and the power structure. In The Myth of the Machine, the historian Lewis Mumford warned that computers were sucking away our freedom and destroying “l(fā)ife-enhancing values.” An injunction on punch cards of the period—“Do not fold, spindle or mutilate”—became an ironic phrase of the antiwar Left.

起初，技術(shù)人員和嬉皮士們并沒有多少交集。很多反主流文化的人認(rèn)為電腦是不祥的，是奧威爾式的專制統(tǒng)治工具，應(yīng)該為五角大樓和統(tǒng)治階層所獨(dú)有。在《機(jī)器神話》（TheMythoftheMachine）一書中，歷史學(xué)家劉易斯·芒福德（LewisMumford）警告說，電腦正在一點(diǎn)一點(diǎn)吞嗤我們的自由，損害“有益人生的價(jià)值觀”。那一時(shí)期穿孔卡片上的一條警告語——“請勿折疊、卷曲或損壞”——成為了左派反戰(zhàn)人士的諷刺用語。

But by the early 1970s a shift was under way. “Computing went from being dismissed as a tool of bureaucratic control to being embraced as a symbol of individual expression and liberation,” John Markoff wrote in his study of the counterculture’s convergence with the computer industry, What the Dormouse Said. It was an ethos lyrically expressed in Richard Brautigan’s 1967 poem, “All Watched Over by Machines of Loving Grace,” and the cyberdelic fusion was certified when Timothy Leary declared that personal computers had become the new LSD and years later revised his famous mantra to proclaim, “Turn on, boot up, jack in.” The musician Bono, who later became a friend of Jobs, 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. “The people who invented the twenty-first century were pot-smoking, sandal-wearing hippies from the West Coast like Steve, because they saw differently,” he said. “The hierarchical systems of the East Coast, England, Germany, and Japan do not encourage this different thinking. The sixties produced an anarchic mind-set that is great for imagining a world not yet in existence.”

但到了20世紀(jì)70年代初期，人們的想法開始轉(zhuǎn)變?！坝?jì)算機(jī)從作為官僚機(jī)構(gòu)的控制工具而被不屑一顧，變成了作為個(gè)人表達(dá)與自由解放的象征而被欣然接受?！奔s翰·馬爾科夫（JohnMarkoff）在他研究反主流文化群體與計(jì)算機(jī)產(chǎn)業(yè)關(guān)系的書《睡鼠說了什么》（WhattheDormouseSaid）中這樣寫道。理查德·布勞提根（RichardBrautigan）在他1967年創(chuàng)作的詩《慈愛的機(jī)器照看一切》（AllWatchedOverByMachinesofLovingGrace）中就描繪過這樣的場景，而當(dāng)?shù)倌鳌だ镄Q個(gè)人電腦已經(jīng)成為了新的迷幻藥，并將他那句著名言論②改寫成“開機(jī)，啟動(dòng)，接入”（turnon,bootup,jackin）時(shí)，電腦致幻便得到了證實(shí)。后來成為喬布斯朋友的音樂人波諾當(dāng)時(shí)經(jīng)常與他討論，為什么那些來自灣區(qū)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(chuàng)建了個(gè)人電腦產(chǎn)業(yè)?！澳切╅_創(chuàng)了21世紀(jì)的人，都像史蒂夫一樣，他們是來自西海岸、吸著大麻、穿著涼鞋的嬉皮士，他們會(huì)從不同的角度去看問題?！彼f，“東海岸、英格蘭、德國以及日本的等級制度不鼓勵(lì)這種與眾不同的思考方式。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(gè)尚不存在的世界展開想象?！?/span>

One person who encouraged the denizens of the counterculture to make common cause with the hackers was Stewart Brand. 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. He joined with his fellow subject Ken Kesey to produce the acid-celebrating Trips Festival, appeared in the opening scene of Tom Wolfe’s The Electric Kool-Aid Acid Test, and worked with Doug Engelbart to create a seminal sound-and-light presentation of new technologies called the Mother of All Demos. “Most of our generation scorned computers as the embodiment of centralized control,” Brand later noted. “But a tiny contingent—later called hackers—embraced computers and set about transforming them into tools of liberation. That turned out to be the true royal road to the future.”

有一個(gè)人在推動(dòng)反主流文化人群與黑客的聯(lián)合中發(fā)揮了作用，他就是斯圖爾特·布蘭德（StewartBrand）。這個(gè)愛開玩笑的夢想家，在數(shù)十年間不斷制造快樂和創(chuàng)意，參與了60年代初在帕洛奧圖的迷幻藥研究。他與一同接受試驗(yàn)的肯·凱西創(chuàng)辦了贊美迷幻藥的“旅行節(jié)”，他還出現(xiàn)在湯姆·伍爾夫（TomWolfe）的《令人振奮的興奮劑實(shí)驗(yàn)》（TheElectricKool-AidAcidTest）的開頭，他與道格·恩格爾巴特合作創(chuàng)造了利用聲光演示新技術(shù)的方法，并稱其為“演示之母”?！拔覀冞@一代的大多數(shù)人都將電腦看做集權(quán)控制的化身而蔑視它”，布蘭德后來寫道，“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(zhuǎn)變成解放的工具。這一舉動(dòng)后來被證明是通向未來的正確道路。”