By Dani Cavallaro
Cyberpunk is the fiction of a tradition saturated through digital know-how. Its vocabulary is the language of cybernetics, biotechnology, corporational greed and concrete subcultures. hugely capable in either publication and movie shape, cyberpunk has redefined not just modern technology fiction but in addition, via its potential to count on "technology" and its cultural influence, analytical paintings within the social technology and arts. this article explores the paintings of a variety of writers, surroundings their paintings within the context of technological know-how fiction, different literary genres, style cinema and modern paintings at the tradition of know-how. Seven major subject matters are addressed: the effect of digital applied sciences on id, house and group; the interaction of technological and mythological motifs; reconfigurations of the physique initiated by way of technoscience; problems with gender and sexuality; the siginificance of the sprawling megacity; cyberpunk's Gothic characteristics of monstrosity, transgresison and social unrest; and the enhancing of background and reminiscence.
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Additional resources for Cyberpunk and Cyberculture: Science Fiction and the Work of William Gibson
18 Another postmodernist narrative that in some ways anticipates cyberpunk is Don DeLillo’s White Noise (1984). This novel comments on the dystopian connotations of late capitalism by highlighting the precariousness of the apparently safe and idyllic life of small-town North America. The material security of consumer society is punctured through DeLillo’s introduction of two disturbing events: an industrial accident leading to the possibility of large-scale toxic contamination; and unlicensed drug experiments meant to cure the fear of death, which lead to violence and psychological mayhem.
He’d taken some Black Star before turning in his cab for the weekend. That was an hour? Or two hours ago? The digits on his watch winked at him, meaningless little sticks. 28 In some of his work, Sterling takes the idea of body invasion so far as to present worlds in which human beings have become obsolete and their bodies have been replaced by ‘a variety of posthuman species’. In Schismatrix (1985) and in ‘Twenty Evocations’ (1988), the Earth and humankind are remote vestiges of bygone ages. 29 ‘Twenty Evocations’ traces the life trajectory of Nikolai Leng from childhood to death, through twenty brief passages containing snippets of dialogue and descriptive detail.
These aim at establishing harmonizing systems and structures able to account for the relationship between matter and energy throughout the cosmos. In her novel, Winterson intimates that the GUTs’ objectives and the Ship’s project are analogous, for both deal with a universe in which the search for meaning is always a pursuit of the unfathomable: SHIP OF FOOLS: A mediaeval conceit. 2 There may, paradoxically, be a modicum of sanity in a quest that knows its object to be unattainable. There is also a sense in which the Ship’s legendary destiny could be read as a reward for its foolish undertakings.