E r i k
D a v i s

Culture critic, independent scholar and TechGnostic.

 

Erik Davis is a San Franciso-based writer, culture critic, and independent scholar. His book TechGnosis: Myth, Magic, and Mysticism in the Age of Information was released by Harmony Books in the fall of 1998. It has been translated into five languages, and has achieved, in certain circles, the vaguely enviable status of a "cult classic." His most recent book, perhaps destined for a similar fate, is Led Zeppelin IV (Continuum). His essays have appeared in over half a dozen books, including Zig Zag Zen: Buddhism and Psychedelics (Chronicle), The Disinformation Book of Lies (Disinfo), Prefiguring Cyberculture (MIT Press) and Paul "DJ Spooky" Miller's Sound Unbound (MIT). He has contributed articles and essays to a wide variety of publications, including Bookforum, The Wire, ArtByte, the LA Weekly, Gnosis, and the Village Voice. His articles have been translated for publication in countries ranging from Japan to Brazil to Hungary.

Davis has taught at the California Institute of Integral Studies, the New York Open Center, and Esalen, and was one of the organizers of Planetwork, a conference on information technology and global ecology held in San Francisco in 2000. He has been interviewed by CNN, has popped up on radio shows internationally, and appeared prominently in Craig Baldwin's underground film, the SciFi media critique Specters of the Spectrum. His in-depth studies of the science fiction author Philip K. Dick have been acknowledged by the New Yorker. Davis has also lectured internationally on topics relating to media arts, contemporary electronic music, and spirituality in the postmodern world.

Davis is a fifth-generation Californian, and is currently working with the photographer Michael Rauner on California Visions, a photo-essay travelogue through the Golden State's landscape of alternative spirituality.


"If the relentless vector of technological development embodies a heroic narrative of power, mastery, and self-definition, what does it mean that this ultimately phallic quest now finds itself in a chaotic postmodern techno-jungle characterized by the massive and impossibly tangled intersection of networks? The networks that have come to dominate so many technological, scientific, and cultural discourses and practices — communication webs, cognitive neural nets, interlinked computers, parallel processors, complex institutional frameworks, transnational circuits of production and trade — are not linear vectors or stable expressions of control. They are complex weavings, criss-crossed webworks, complex fabrics of unpredictable and semi-autonomous threads. The network is a matrix, a womb, the mother-matter that spawns us all. But the matrix was always wired. Despite its biological roots, the word itself came to denote a host of technological tools and practices: a metal mold or die; a binding substance, like cement in concrete, or the principle metal in an alloy; a plate used for casting typefaces; a rectangular grid of mathematical quantities treated as a single algebraic entity; of and, of course, the dense pattern of connections that link up computer systems. The matrix forms the context for emergence; it is the medium, the motherboard, through which events, objects, and new linkages are grown. ."

 

- excerpt from TechGnosis: Myth,
Magic, and Mysticism in the
Age of Information

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