In the Beginning...Was the Command Line
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- $169.00
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- $169.00
Descripción editorial
This is "the Word" -- one man's word, certainly -- about the art (and artifice) of the state of our computer-centric existence. And considering that the "one man" is Neal Stephenson, "the hacker Hemingway" (Newsweek) -- acclaimed novelist, pragmatist, seer, nerd-friendly philosopher, and nationally bestselling author of groundbreaking literary works (Snow Crash, Cryptonomicon, etc., etc.) -- the word is well worth hearing. Mostly well-reasoned examination and partial rant, Stephenson's In the Beginning... was the Command Line is a thoughtful, irreverent, hilarious treatise on the cyber-culture past and present; on operating system tyrannies and downloaded popular revolutions; on the Internet, Disney World, Big Bangs, not to mention the meaning of life itself.
PUBLISHERS WEEKLY
After reading this galvanizing essay, first intended as a feature for Wired magazine but never published there, readers are unlikely to look at their laptops in quite the same mutely complacent way. Stephenson, author of the novel Cryptonomicon, delivers a spirited commentary on the aesthetics and cultural import of computer operating systems. It's less an archeology of early machines than a critique of what Stephenson feels is the inherent fuzziness of graphical user interfaces--the readily intuitable "windows," "desktops" and "browsers" that we use to talk to our computers. Like Disney's distortion of complicated historical events, our operating systems, he argues, lull us into a reductive sense of reality. Instead of the visual metaphors handed to us by Apple and Microsoft, Stephenson advocates the purity of the command line interface, somewhat akin to the DOS prompt from which most people flee in a technophobic panic. Stephenson is an advocate of Linux, the hacker-friendly operating system distributed for free on the Internet, and of BeOS, a less-hyped paradigm for the bits-and-bytes future. Unlike a string of source code, this essay is user-friendly--occasionally to a fault. Stephenson's own set of extended metaphors can get a little hokey: Windows is a station wagon, while Macs are sleek Euro-sedans. And Unix is the Gilgamesh epic of the hacker subculture. Nonetheless, by pointing out how computers define who we are, Stephenson makes a strong case for elegance and intellectual freedom in computing.
