William Gibson’s novel Spook Country, in which he first articulated the eversion of cyberspace, was published early in 2007. Set in 2006, its story is based on the confluence of augmented reality, locative art, viral marketing, pervasive surveillance, and the security state in the wake of 9/11 and the wars in Afghanistan and Iraq. Characters in the novel execute works of art (and engage in one direct-action protest) by leveraging the cellular data networks, GPS satellite data, and the mobile and wireless web to tag or annotate the physical world, overlaying locations with data of various kinds, including 3D artistic visualizations. (Everyone in the book still flips their cellphones open and closed, however, rather than poking at a multitouch interface, a telling detail that dates the writing to the just-pre-iPhone era.) The novel presents a media landscape in which the mundane has triumphed over the transcendent, but it is a mundane with a difference, and the difference is networked data. There is no cyberspace out there, because the network is down here, all around us.
来自：Steven E. Jones (2016), "The Emergence of the Digital Humanities (as the Network Is Everting)". Avaliable at: http://dhdebates.gc.cuny.edu/debates/text/52