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Jaron Lanier

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Jaron Lanier
Born (1960-05-03) May 3, 1960 (age 66)
New York City, U.S.
Occupation(s)Computer scientist, visual artist, author, technologist, futurist, composer
Known forPioneer of virtual reality; founder of VPL Research; author of "You Are Not a Gadget" and "Who Owns the Future?"

Jaron Zepel Lanier (born May 3, 1960) is an American expert in computer science, a visual artist, author specializing in computer philosophy, technologist, futurist, and a composer of contemporary classical music. Widely acknowledged as a pioneer of virtual reality, Lanier and Thomas G. Zimmerman departed from Atari in 1985 to create VPL Research, Inc., the pioneering firm that introduced the first commercially available VR headsets and wired gloves. During the late 1990s, he contributed to developments in Internet2 applications and held visiting scholar roles at Silicon Graphics as well as multiple academic institutions. Beginning in 2006, Lanier joined Microsoft and was appointed an Interdisciplinary Scientist at Microsoft Research in 2009.

Lanier is also known for his extensive collection of rare musical instruments, numbering between one and two thousand pieces. His 1994 acoustic album, Instruments of Change, showcases traditional Asian wind and string instruments such as the khene mouth organ, suling flute, and esraj. Additionally, he co-created the soundtrack for the documentary The Third Wave (2007) alongside Mario Grigorov.

Acknowledging his significant impact, Lanier was listed among the top 100 Public Intellectuals by Foreign Policy in 2005, featured in the TIME 100 most influential individuals in 2010, named one of the leading 50 World Thinkers by Prospect in 2014, and ranked within Wired’s top 25 most influential figures over a quarter-century of technological advancement in 2018.

Early life and education

Jaron Zepel Lanier was born in New York City and grew up in Mesilla, New Mexico. His mother survived a Nazi concentration camp in Vienna, while his father's family emigrated from Ukraine to escape pogroms. After losing his mother to a car accident at age nine, Lanier lived with his father in tents before assisting in the design and construction of a geodesic dome residence.

At just 13 years old, Lanier enrolled at New Mexico State University, undertaking graduate-level coursework. Supported by a grant from the National Science Foundation, he studied mathematical notation and acquired skills in computer programming. Between 1979 and 1980, his NSF-funded initiative concentrated on "digital graphical simulations for learning." During this time, he also attended art school in New York before returning to New Mexico to serve as an assistant to a midwife. Subsequently, he received a car as a gift from the father of a baby he helped deliver, which enabled his relocation to Santa Cruz.

Atari Labs, VPL Research (1983–1990)

Lanier created the game Moon Dust for Commodore systems, which led to employment at Atari Inc. in California where he connected with Thomas Zimmerman, inventor of the data glove. Following Atari's division in 1984, Lanier found himself unemployed and used this opportunity to focus on personal projects including VPL, a "post-symbolic" visual programming language. Together with Zimmerman, he established VPL Research with the goal of commercializing technologies related to virtual reality. The company initially experienced success but ultimately filed for bankruptcy in 1990. In 1999, virtual reality and graphics patents belonging to VPL were acquired by Sun Microsystems.

Internet2 and Visiting Scholar Roles (1997–2001)

Between 1997 and 2001, Lanier held the position of Chief Scientist at Advanced Network and Services, where he managed the Engineering Office for Internet2. During this period, he spearheaded the 'National Tele-immersion Initiative,' a collaborative effort among universities focused on pioneering advanced applications for Internet2. After three years of development, this initiative successfully introduced the earliest tele-immersion prototypes in 2000. From 2001 to 2004, Lanier worked as a visiting scientist at Silicon Graphics Inc., concentrating on fundamental issues in telepresence and tele-immersion technologies. Simultaneously, he was a visiting scholar at Columbia University's Computer Science Department (1997–2001), served as a visiting artist within New York University's Interactive Telecommunications Program, and contributed as a founding member of the International Institute for Evolution and the Brain.

Personal Life

Jaron Lanier and his spouse, Lena, are parents to one daughter.

"One-Half of a Manifesto" (2000)

In his work "One-Half a Manifesto," Lanier challenges futurists such as Ray Kurzweil and rejects the concept of "cybernetic totalism," which posits that superintelligent computers will ultimately control matter and life. He asserts that humans should not be considered biological computers and doubts that computers will economically replace humans in the near future. Although transistor counts increase according to Moore's law, overall computing advancements progress slowly due to limited improvements in software productivity and ongoing inefficiencies. Lanier observes, "Code can't keep up with processing power now, and it never will."

Post-symbolic Communication (2006)

In his April 2006 column for Discover, Lanier explores the concept of "post-symbolic communication," drawing attention to cephalopods like octopuses and squids that alter their skin color and texture to create intricate shapes. He interprets these transformations—particularly interactions between two octopuses—as direct manifestations of thought.

Wikipedia and Collective Wisdom’s Limitations (2006)

Lanier’s May 2006 essay on Edge, titled "Digital Maoism: The Hazards of the New Online Collectivism", critiques the assumption that collective wisdom is infallible, using Wikipedia as an example. He points out that Wikipedia’s article about him exaggerates his role as a film director. Lanier coins the term "digital Maoism" to describe this phenomenon, cautioning that placing too much trust in Internet-based authority diminishes recognition of individual content creators.

His critique addresses several issues:

  • The problematic belief in a singular authoritative source, whether from Wikipedia or algorithm-driven platforms,
  • The misleading legitimacy such systems convey,
  • The impersonal, formulaic style common in wiki entries that erases original authorship and nuance,
  • The inclination for collective authorship to reinforce dominant or institutional perspectives,
  • The risk of unaccountable groups editing content anonymously,
  • The potential rise of authoritarian structures rooted in mismanaged collectives that suppress individuality.

Lanier elaborates on these points during a Radio National The Philosopher's Zone interview, expressing regret over how collective authorship "removes the scent of people."

Later in December 2006, he expanded on these concerns in an Edge article titled "Beware the Online Collective," warning about online mobs influenced by human instincts and software design. He stresses that authentic information depends on identifiable individual authorship: "You have to have a chance to sense personality in order for language to have its full meaning." He underscores the shortcomings of encyclopedias created by loosely involved contributors as effective means of communication.

You Are Not a Gadget (2010)

In the 2010 publication You Are Not a Gadget, Lanier offers a critical examination of the collective mentality fostered by Web 2.0, labeling open source and open content movements as manifestations of "Digital Maoism." He asserts that these trends diminish the value of individual creativity by elevating the group over single contributors, using Wikipedia and Linux as primary examples. Lanier critiques Wikipedia for its "mob rule" dynamics, the prevalence of unscientific information, and its dismissive stance toward expert knowledge.

He argues that open source initiatives fall short in generating genuinely groundbreaking innovations, pointing out their failure to produce revolutionary products akin to the iPhone. Additionally, Lanier claims that Web 2.0 has led to complacency among search engines, weakened pioneering platforms such as Thinkquest, and restricted the spread of complex disciplines like mathematics.

Furthermore, he maintains that open source has undermined opportunities for middle-class creators to fund their work, consolidating wealth into the hands of a few dominant "lords of the clouds" who profit from controlling key data infrastructures. The book also offers a critique of the MIDI Standard used in musical instruments.

Who Owns the Future? (2013)

Lanier's 2013 book Who Owns the Future? discusses how digital economies marginalize the middle class by encouraging individuals to surrender valuable personal information in return for free online services. He designates major corporations that monopolize this data as "Siren Servers," entities that amass wealth without fairly compensating the original contributors.

For example, he points to Google's translation system, which utilizes user-submitted translations without remuneration, thereby increasing advertising profits. Lanier contrasts Kodak’s sizable workforce of 140,000 employees in 1988 during its dominance in digital imaging with its 2012 bankruptcy, a downfall linked to competition from photo-sharing services like Instagram that operated with only 13 staff members.

To address these issues, Lanier suggests adopting a web framework inspired by Ted Nelson's Project Xanadu—a bidirectional linking system designed to acknowledge original content sources and facilitate micropayments to fairly reward content creators.

Dawn of the New Everything (2017)

In his 2017 work Dawn of the New Everything: Encounters with Reality and Virtual Reality, Lanier combines memoir with technological insight, reflecting on his personal background, the progression of technology, and his experiences within Silicon Valley. The book underscores virtual reality’s adaptability and its promising future.

Lanier emphasizes VR’s distinctive capacity to actively involve users, setting it apart from more passive forms of media such as television or conventional video games. He recalls how earlier VR devices effectively revealed perceptual mechanisms, likening the VR experience to a magic performance where willing suspension of disbelief enhances enjoyment. He also highlights VR’s grounding in reality—often most impactful immediately following use—as exemplified by his laboratory’s practice of presenting flowers to users after headset sessions to amplify sensory perception.

Beyond entertainment applications, Lanier details VR’s role in treating PTSD, supporting intricate surgical procedures, allowing paraplegics to experience sensations of flight, and prototyping vehicles over two decades. The book features fifty-one definitions of virtual reality, demonstrating its varied applications and inherent challenges.

Ten Reasons to Delete Your Social Media Accounts Immediately (2018)

Lanier criticizes platforms such as Twitter and Facebook for encouraging tribalism, eroding empathy, and weakening users' spiritual well-being. He contends that social media transforms people into automated extensions of these networks, adversely influencing culture and political discourse.

There Is No A.I. (2023)

In April 2023, Lanier presented a contrarian view on Artificial Intelligence in an article for The New Yorker, asserting that A.I. is far less intelligent than its label and popular perception imply. His conclusion was: "Consider humans. Humans are the solution to the challenges posed by bits."

Evaluation of the Internet

Back in 1998, Lanier observed that the Internet serves as an accurate reflection of modern society,[1]

The Internet offers the most authentic representation of humanity to date. It is neither a synthesis crafted by social scientists nor a product of elite think tanks. Nor is it a glorified portrayal shaped by romantics or cynics. Instead, it reveals our true selves directly for the first time. Our collective curtains are drawn open. We witness the ordinary, greed, ugliness, perversity, loneliness, love, inspiration, chance encounters, and tenderness inherent in people. When seen in context, we can be reassured—we are fundamentally alright.

Opinions on Wikipedia

Lanier characterized Wikipedia’s community as composed of "exceptionally kind individuals" but acknowledged its constraints as a singular encyclopedic resource:

Musical Endeavors

Since the late 1970s, Lanier has been engaged in contemporary classical music as both a pianist and an expert in Asian wind and string instruments. His collection includes one of the most extensive assortments of rare instruments alongside a BACH.Bow, which allows polyphonic performance on stringed instruments. Lanier has collaborated with a wide range of musicians such as Philip Glass, Ornette Coleman, George Clinton, Vernon Reid, Terry Riley, Duncan Sheik, Pauline Oliveros, and Stanley Jordan. His discography features projects like an acoustic techno duet with Sean Lennon and joint recordings with flutist Robert Dick.

His compositional work spans chamber and orchestral music with commissions including an opera debuting in Busan, South Korea, and Symphony for Amelia, which premiered in Winter Park, Florida in 2010.[2] His previous commissions include works such as "Earthquake!" (a ballet), "Little Shimmers," "Daredevil," compositions celebrating Wrocław’s millennium anniversary, "The Navigator Tree" triple concerto commissioned by the National Endowment for the Arts and American Composers Forum, as well as "Mirror/Storm," a symphony commissioned by the St. Paul Chamber Orchestra. The PBS special Continental Harmony, which documented "The Navigator Tree," earned a CINE Golden Eagle Award.

In 1994, Lanier issued Instruments of Change via POINT Music/Philips/PolyGram Records,[3] described as a Western exploration into Asian musical traditions.[4] He is currently working on a book titled Technology and the Future of the Human Soul along with an album called Proof of Consciousness created with Mark Deutsch.[5]

His expertise with Asian instruments is prominently featured on the soundtrack for Three Seasons (1999), which received both Audience and Grand Jury Awards at Sundance. He co-composed the score for The Third Wave, which premiered at Sundance in 2007, and collaborates with Terry Riley on an opera named Bastard, the First.

Lanier was an early innovator in Virtual Reality applied to musical stage performances through his band Chromatophoria, which toured internationally at venues including the Montreux Jazz Festival. He integrates virtual elements with live instruments to conduct performances. In October 2010, he debuted "Symphony for Amelia" alongside Rollins College and John V. Sinclair's Bach Festival Choir and Orchestra.[6]

He contributed an afterword to Sound Unbound: Sampling Digital Music and Culture (MIT Press, 2008), edited by Paul D. Miller (DJ Spooky).

On May 9, 1999, Lanier published an opinion piece in The New York Times titled "Piracy is Your Friend," where he argued that record companies posed a greater risk to artists than piracy itself; he later followed this with "Pay Me for My Content" in 2007.

Most recently, on August 31st, 2023, Lanier performed as a pianist at San Francisco’s Great American Music Hall during John Zorn's 70th Birthday event alongside Bill Frisell, Laurie Anderson, Dave Lombardo, and Zorn.[7]

Memberships

Lanier has participated on several advisory boards, including the Board of Councilors at the University of Southern California, as well as Medical Media Systems—a medical visualization spin-off linked to Dartmouth College. He has also advised Microdisplay Corporation and NY3D, a company specializing in auto stereo display technology.

In 1997, he co-established the 'National Tele-Immersion Initiative,' which aims to leverage technology to simulate the sensation of physical presence over long distances. Additionally, Lanier is affiliated with the Global Business Network, a division within the Monitor Group.

In the media

Lanier’s presence has been noted in various documentaries such as Cyberpunk (1990), Computerbilleder – udfordring til virkeligheden (1992), Synthetic Pleasures (1995), Rage Against the Machines (2004), and the 2020 Netflix documentary The Social Dilemma. He also contributed to the 2002 movie Minority Report, assisting in the development of futuristic devices and concepts.

His television appearances include programs like The Colbert Report, Charlie Rose, and The Tavis Smiley Show. On June 19, 2018, he discussed his book Ten Arguments For Deleting Your Social Media Accounts Right Now during an interview on ABC's The View. In April 2020, Lanier was featured on the Radiolab podcast episode titled "The Cataclysm Sentence," followed by an interview with Andrew Yang on the "Yang Speaks" podcast in May 2020. He also appeared on the Lex Fridman podcast in September 2021, where he explored topics including AI, social media, virtual reality, and humanity’s future prospects. Furthermore, Lanier has delivered talks at Concordia University Wisconsin and University Temple United Methodist Church.

Awards

Western classical music

Video games

Books

  • Information Is an Alienated Experience, Basic Books, 2006
  • You Are Not a Gadget: A Manifesto, Alfred A. Knopf, 2010
  • Who Owns the Future?, Simon & Schuster (San Jose), Allen Lane (UK), 2013
  • Dawn of the New Everything: Encounters with Reality and Virtual Reality, Henry Holt and Co., 2017
  • Ten Arguments for Deleting Your Social Media Accounts Right Now, Henry Holt and Co., 2018

Additional reading

  • Rosenbaum, Ron, "The spy who came in from the cold 2.0," Smithsonian, January 2013
  • Dowd, Maureen, "Soothsayer in the Hills Sees Silicon Valley's Sinister Side," New York Times, November 8, 2017

External links

  1. ↑ Lanier, Jaron, "Taking stock: So, what's changed in the last five years?", Wired, January 1998, p. 60
  2. ↑ Lua error in Module:Citation/CS1/Configuration at line 2123: attempt to index field '?' (a nil value).
  3. ↑ Cite error: Invalid <ref> tag; no text was provided for refs named album
  4. ↑ Template:Cite episode
  5. ↑ Cite error: Invalid <ref> tag; no text was provided for refs named LanierMusic
  6. ↑ Lua error in Module:Citation/CS1/Configuration at line 2123: attempt to index field '?' (a nil value).
  7. ↑ Lua error in Module:Citation/CS1/Configuration at line 2123: attempt to index field '?' (a nil value).
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