But by the early 1970s a shift was under way. 但到了20世纪70年代初期，人们的想法开始转变。

"Computing¹ went from being dismissed as a tool of bureaucratic² control to being embraced as a symbol of individual expression and liberation," “计算机从作为官僚机构的控制工具而被不屑一顾，变成了作为个人表达与自由解放的象征而被欣然接受。”

John Markoff wrote in his study of the counterculture's convergence with the computer industry, What the Dormouse Said. 约翰·马尔科夫在他研究反主流文化群体与计算机产业关系的书《睡鼠说了什么》中这样写道。

It was an ethos lyrically expressed in Richard Brautigan's 1967 poem, "All Watched Over by Machines of Loving Grace," 理查德·布劳提根在他 1967年创作的诗《慈爱的机器照看一切》中就描绘过这样的场景，

and the cyberdelic fusion³ was certified⁴ when Timothy Leary declared that 而当蒂莫西·利里宣称个人电脑已经成为了新的迷幻药，

personal computers had become the new LSD and years later revised his famous mantra to proclaim, "Turn on, boot up, jack⁵ in." 并将他那句著名言论改写成“开机，启动,接入”时，电脑致幻便得到了证实。

The musician Bono, who later became a friend of Jobs, 后来成为乔布斯朋友的音乐人波诺当时经常与他讨论，

often discussed with him why those immersed in the rock-drugs-rebel counterculture of the Bay Area ended up helping⁶ to create the personal computer industry. 为什么那些来自湾区的沉溺于摇滚乐和毒品的叛逆反主流文化分子，最终帮助创建了个人电脑产业。

"The people who invented the twenty- first century were pot-smoking, “那些开创了21世纪的人，都像史蒂夫一样，他们是来自西海岸、吸着大麻、

sandal-wearing hippies from the West Coast like Steve, because they saw differently," he said. 穿着凉鞋的嬉皮士，他们会从不同的角度去看问题。”他说，

"The hierarchical systems of the East Coast, England, Germany, and Japan do not encourage this different thinking. “东海岸、英格兰、德国以及日本的等级制度不鼓励这种与众不同的思考方式。

The sixties produced an anarchic mind-set that is great for imagining a world not yet in existence." 60年代孕育的这样一种无政府主义的思维模式，恰恰有助于人类对一个尚不存在的世界展开想象。”

One person who encouraged the denizens⁷ of the counterculture to make common cause with the hackers⁸ was Stewart Brand. 有一个人在推动反主流文化人群与黑客的联合中发挥了作用，他就是斯图尔特·布兰德。

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. 这个爱开玩笑的梦想家，在数十年间不断制造快乐和创意，参与了60年代初在帕洛奥图的迷幻药研究。

He joined with his fellow subject Ken⁹ Kesey to produce the acid-celebrating Trips Festival, 他与一同接受试验的肯·凯西创办了赞美迷幻药的“旅行节”，

appeared in the opening scene of Tom Wolfe's The Electric Kool-Aid Acid Test, 他还出现在汤姆·伍尔夫的《令人振奋的兴奋剂实验》的开头，

and worked with Doug Engelbart to create a seminal¹⁰ sound-and-light presentation of new technologies called the Mother of All Demos. 他与道格·恩格尔巴特合作创造了利用声光演示新技术的方法，并称其为“演示之母” 。

"Most of our generation scorned computers as the embodiment of centralized control," Brand later noted¹¹. “我们这一代的大多数人都将电脑看做集权控制的化身而蔑视它”，布兰德后来写道，

"But a tiny contingent—-later called hackers--embraced computers and set about transforming them into tools of liberation. “但有一小部分人--也就是后来被称做黑客的人--欣然接受了电脑并开始将它们转变成解放的工具。

That turned out to be the true royal road to the future." 这一举动后来被证明是通向未来的正确道路。”