Relevant bibliographies by topics / Cyberpunk

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Cyberpunk'

Author: Grafiati
Published: 4 June 2021
Last updated: 30 July 2024

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Journal articles on the topic "Cyberpunk"

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Lemos, André. "Apropriação, desvio e despesa na cibercultura." Revista FAMECOS 8, no. 15 (April 10, 2008): 44. http://dx.doi.org/10.15448/1980-3729.2001.15.3119.

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Este artigo trata do imaginário cyberpunk, que condiciona a cibercultura, fazendo o resgate das origens e das associações do termo e da sua relação com os cyberpunks e com o underground da informática.
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Lucas, Ricardo Jorge De Lucena, and Lucas Bernardo Reis. "O cyberpunk ocidental e oriental: as distâncias textuais entre Blade Runner e Tetsuo." Revista Memorare 8, no. 1 (July 21, 2021): 160. http://dx.doi.org/10.19177/memorare.v1e12021160-177.

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O presente artigo busca estudar as diferenciações entre o cyberpunk ocidental e oriental no cinema e nas artes visuais. Para isso, procuramos relações entre a história em quadrinhos “The Long Tomorrow” e o filme Blade Runner, e a arte ero-guro e o filme Tetsuo. Buscamos responder quais aspectos tornam essas obras particulares e distintas entre si. Para tal, revisitamos alguns preceitos canônicos do cyberpunk e de suas particularidades nas culturas norteamericana e japonesa a partir das influências transtextuais de algumas obras que lhes são anteriores. Os resultados parciais demonstraram que há cyberpunks distintos nesses países, mas que sofrem influências transtextuais de produções anteriores, e criam novos caminhos a partir dessa relação.
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Lucas, Ricardo Jorge De Lucena, and Lucas Bernardo Reis. "O cyberpunk ocidental e oriental: as distâncias textuais entre Blade Runner e Tetsuo." Revista Memorare 8, no. 1 (July 21, 2021): 160. http://dx.doi.org/10.19177/memorare.v8e12021160-177.

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O presente artigo busca estudar as diferenciações entre o cyberpunk ocidental e oriental no cinema e nas artes visuais. Para isso, procuramos relações entre a história em quadrinhos “The Long Tomorrow” e o filme Blade Runner, e a arte ero-guro e o filme Tetsuo. Buscamos responder quais aspectos tornam essas obras particulares e distintas entre si. Para tal, revisitamos alguns preceitos canônicos do cyberpunk e de suas particularidades nas culturas norteamericana e japonesa a partir das influências transtextuais de algumas obras que lhes são anteriores. Os resultados parciais demonstraram que há cyberpunks distintos nesses países, mas que sofrem influências transtextuais de produções anteriores, e criam novos caminhos a partir dessa relação.
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Klatt, Jöran. "Cyberpunk." Indes 3, no. 1 (March 2014): 75–83. http://dx.doi.org/10.13109/inde.2014.3.1.75.

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Myerson, Sasha. "Global cyberpunk." Science Fiction Film & Television 13, no. 3 (October 1, 2020): 363–86. http://dx.doi.org/10.3828/sfftv.2020.21.

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This article examines the connections between 1960s student protests, particularly the occupation of the University of Tokyo in 1968-9, and 1980s cyberpunk film in Japan. I argue that these films, while critical of the student movement, aim to reclaim and transform the utopian spirit that motivated them. Using the global 1960s framework, I situate Japanese cyberpunk film within the wider debates of this decade, particularly those concerning personal liberation and affluence. Using Tom Moylan’s concept of the critical dystopia, I demonstrate that utopian thinking does not disappear after 1968 in Japan but undergoes metamorphosis in these films.
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Gerry Canavan. "Superseding Cyberpunk." Science Fiction Studies 40, no. 1 (2013): 169. http://dx.doi.org/10.5621/sciefictstud.40.1.0169.

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Rebecca Holden. "Feminist Cyberpunk." Science Fiction Studies 40, no. 3 (2013): 555. http://dx.doi.org/10.5621/sciefictstud.40.3.0555.

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Abbott, Carl. "Cyberpunk Cities." Journal of Planning Education and Research 27, no. 2 (December 2007): 122–31. http://dx.doi.org/10.1177/0739456x07305795.

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Chen, Zhixiu, and Huiying Luo. "Research on the Enhancement of Chongqing Cyberpunk Cultural Tourism Experience under the Background of Culture and Tourism Integration." Proceedings of Business and Economic Studies 7, no. 3 (July 10, 2024): 140–48. http://dx.doi.org/10.26689/pbes.v7i3.7482.

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As a new trend in tourism and cultural development, the integration of culture and tourism is capturing the zeitgeist with its unique charm. In this context, various regions have explored distinctive cultural tourism resources and created unique tourism brands through in-depth exploration and innovation of local culture. Chongqing, with its unique geomorphological features and distinctive architectural style, retains the deep flavor of traditional Chinese culture while cleverly integrating the futuristic sense of modern technology. This combination aligns perfectly with today’s popular Chinese cyberpunk style, making Chongqing an ideal place for the development of cyberpunk cultural tourism. This article investigates the history of cyberpunk culture and its current development status in Chongqing through a literature review. It then discusses the feasibility of developing cyberpunk cultural tourism in terms of social and cultural development needs and market demand. Based on a survey of cyberpunk tourists’ experiences, the article deeply analyzes the existing problems of cyberpunk cultural tourism in Chongqing and proposes corresponding experience enhancement strategies, aiming to provide references for the development of cyberpunk cultural tourism in Chongqing Municipality.
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Tatsumi, Takayuki. "The Future of Cyberpunk Criticism: Introduction to Transpacific Cyberpunk." Arts 8, no. 1 (March 25, 2019): 40. http://dx.doi.org/10.3390/arts8010040.

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Dissertations / Theses on the topic "Cyberpunk"

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Rojas, Francisca M. 1976. "Cyberpunk visions of the future city." Thesis, Massachusetts Institute of Technology, 2000. http://hdl.handle.net/1721.1/69760.

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Thesis (M.C.P.)--Massachusetts Institute of Technology, Dept. of Urban Studies and Planning, 2000.
Includes bibliographical references (leaves 112-116).
As a future-oriented practice, urban design compels us to imagine, anticipate, design and plan our cities of tomorrow. In fact, 20* century urban planning has generated a number of influential visions of urban futures - from Howard, Le Corbusier, and Wright, to Fuller, Archigram, and Soleri. Yet for more than twenty years, urban planning has exhibited a conspicuous lack of critical projection about the future of urban life and form. This present lack of futurist vision is particularly remarkable when considering the rapid advancements in information technology (IT) that have begun to affect the nature of a wide range of interactions at the various scales of urban life. Of particular interest to urban planning and design is whether or not, and how, IT contributes to the transformation of social and spatial relationships. The future consequences of how IT and other postmodern forces are changing cities have been explored by a subset of science fiction dubbed, Cyberpunk. Writers of cyberpunk fiction have extrapolated the present urban condition to expose a cautionary dystopian vision of cities and urban life in the near-future. Generally, cyberpunks envision the technologically- enhanced future city as an anarchic physical environment of exclusion, sprawl, surveillance, degradation, dematerialization, submission, and resistance. This study examines the images of a potential urban future, with particular attention placed upon the future of urban form, through detailed readings of cyberpunk fiction and film. While a far cry from the communitarian utopias of the previous century that have served as models for the cities we live in today, the cyberpunk vision of the future city does present urban planning and design with cautionary tales from which the profession may begin to examine its current practices and inform its designs for an electronically mediated future.
by Francisca M. Rojas.
M.C.P.
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Oneto, Manuela. "Cyberpunk : un mouvement artistique sous influence mécanique." Paris 8, 2010. http://www.theses.fr/2010PA083208.

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La critique semble avoir toujours défini implicitement jusqu'à présent le Cyberpunk comme mouvement littéraire, passant sous silence l'existence des groupes issus de cette vague dans d'autres registres artistiques de l'espace public. Elle ne semble pas non plus avoir pris en compte le fait que le Cyberpunk est un mouvement complexe qui se propage à travers plusieurs réseaux : du monde littéraire au monde politique, de la manifestation performative urbaines aux manifestations cinématographiques ou musicales, de l'univers psychédélique à l'univers spectaculaire. Aussi, nous sommes nous demandé dans cette thèse, à quelles conditions le Cyberpunk peut-il vraiment avoir une existence en tant que courant artistique ? Si la question de la machine, dans son interaction avec l'homme, et la mutation qu'elle peut produire, occupe une place centrale dans un certain nombre de mouvements artistiques du XXe siècle, elle constitue la problématique fondamentale du mouvement Cyberpunk pour qui la machina n'est pas seulement un appareil qu'il est possible ou non d'utiliser mais plus profondément un instrument de contamination qui peut menacer notre société. Notre propos consiste à examiner à quelles conditions, la machine se transforme en machination, en virus susceptible de se propager avec les dangers que fait peser tout processus de contagion sur nos comportements socio-culturels. Quels sont les mécanismes qui ont permis à la machine de devenir un moyen d'expression artistique fondamental pour ce mouvement à travers des groupes artistiques cyberpunk tels que la FURA DELS BAUS en Espagne, la MUTOID WASTE COMPANY en Italie et en Angleterre, les SURVIVAL RESEARCH LABORATORIES et les SEEMEN en Californie, qui ont développé une véritable vague underground en Europe et aux Etats unis. Le Cyberpunk imposerait en dernière hypothèse, la métaphore des conditions de transformation sociale, se présentant comme miroir d'une société à la fois mutante et mutée par la machina, qui contamine autant le corps physique que le corps social à travers ses mutations culturelles
Up to now, the critics always seem to have implicitly defined Cyberpunk as a literary movement, almost hiding the existence of different art groups directly deriving from this wave. They did not consider the fact that Cyberpunk is a complex movement, spreading as a virus through many different networks: from literature to politics, from theatrical performances to cinema and music, from the psychedelic universe to the world of entertainment. Therefore, in this thesis we are asking ourselves under which conditions can Cyberpunk really exist as an art trend? If the matter of machines, of man-machine interaction, and the consequent mutation, finds a central role in the art movements of the 20th century, it represents the essential question of the Cyberpunk movement, since the machina is not only an equipment to be deliberately used, but also more deeply it becomes an instrument of contamination that could dangerously threat our society. Our purpose is then to examine under which conditions the machine becomes machination, a virus able to spread along with the risks concerning the importance of this infection process on our socio-cultural behaviours. The mechanisms that allowed the machine to become a fundamental means of artistic expressions through cyberpunk artistic groups that developed a real underground wave in Europe and America, such as the FURA DELS BAUS in Spain, the MUTOID WASTE COMPANY in Italy, the SURVIVAL RESEARCH LABORATORIES in England and the SEEMEN in California. Finally, in our hypothesis Cyberpunk imposed the metaphor of the transformation of social conditions, appearing as the mirror of a mutant society transformed by the machina, which contaminates both our body and our culture by means of its cultural mutations
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Calvert, Bronwen. "Virtual bodies : technology and embodiment in cyberpunk fiction." Thesis, University of East Anglia, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.273464.

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This thesis offers a new way of reading narratives of cyberpunk fiction. It undertakes to re-evaluate cyberpunk fiction according to a feminist criticism that takes direction from Donna Haraway's cyborg politics and Eve Sedgwick's "deconstructive" reading. Both cyberpunk fiction and its criticism are read "deconstructively" in order to contest the notion that cyberpunk fiction cannot productively be read for feminism. The representation of embodiment and technology in cyberpunk narratives is customarily read in terms of a Cartesian opposition of body and mind, in which the materiality of female bodies is contrasted with the virtuality of male minds. The feminist analysis in this thesis focuses upon the way in which cyberpunk narratives can be seen to problematise both materiality and virtuality, embodiment and technology. Four novels are examined in detail: William Gibson's Neuromancer, Pat Cadigan's Synners, Marge Piercy's Body of Glass, and Neal Stephenson's Snow Crash. In each narrative, conventions of cyberpunk fiction are seen to be subverted and contested. Gibson's novel, which has become accepted as the template of "classic", masculinist cyberpunk fiction, is revealed through this feminist analysis as a narrative which is profoundly ambivalent in its depictions of technologised male and female bodies. This ambivalence continues in the versions of cyberpunk offered by Cadigan, Piercy, and Stephenson. These readings illuminate the way cyberpunk narratives work to deconstruct binary oppositions through their explorations of gendered bodies, technology, virtuality, and disembodiment. The deconstruction, disruption and dismantling of binarisms are conceptualised in the image of the unnaturally embodied cyborg, which unites gendered embodiment and technological augmentation in an imaginary body.
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Gil, Alexandre Vasilenskas. "Corpos distópicos: o dualismo grotesco na cinematografia cyberpunk." Universidade do Estado do Rio de Janeiro, 2011. http://www.bdtd.uerj.br/tde_busca/arquivo.php?codArquivo=3484.

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O presente trabalho pretende realizar o estudo sobre o modelo de corporalidade que foi difundido pela cinematografia recente inspirada pelo movimento cyberpunk. Marcados pela expressão de uma nova forma de dualismo que se funde com os pressupostos antes associados à chamada estética grotesca de um corpo pouco individualizado e aberto ao intercâmbio com o mundo externo e ao mesmo tempo bastante marcado por um novo tipo de conflito agora entre memória e organicidade. O texto discutirá também a contextualização social do movimento cyberpunk que pretendeu unificar a contracultura dos anos 60 com as discussões derivadas das novas tecnologias contemporâneas e seus efeitos nas novas concepções sobre corporeidade e conflito mente/corpo.
This thesis aims to analyze corporeality in cyberpunk cinema. This cinema is defined by a new form of dualism associated to the presuppositions of the grotesque aesthetics. It is a little individualized body and open to the interchange with the external world and defined by a new form of conflict between memory and organicity. The thesis shall also discuss the social context of cyberpunk, which aimed to combine countercultural discussions of the 1960s with discussions coming from the contemporary technologies and their effects on the new conceptions of corporeality and the body/mind dualism.
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Mamedova, Lala, Elfana Gasumova, and Gulchohra Salehzadeh. "The futurist direction in fashion industry – cyberpunk style." Thesis, Київський національний університет технологій та дизайну, 2021. https://er.knutd.edu.ua/handle/123456789/17922.

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Cyberpunk – is the stylistic trend in literature, cinema, clothing, interiors and other areas of modern life, based on the aesthetics of science fiction films, games, ideas about the world of the future. This is a special picture of the world with incredible technologies, scientific achievements, robots -the versions have already been offered by dozens of creators of games, motion picture, novels. Futurism touched on clothes, shoes, make-up, hairstyles – a unique version of aesthetics with elements of minimalism, sports style, not lacking of comfort was obtained. The main goal of the designers is to embody the high technologies in everyday image, to emphasize the differences in the cyberpunk style with characteristic colors, shapes, accessories, and styles.
Киберпанк – стилистическое направление в литературе, кино, одежде, интерьере и других сферах современной жизни, основанное на эстетике фантастических фильмов, игр, представлениях о мире будущего. Это особая картина мира с невероятными технологиями, научными достижениями, роботами – варианты предлагали уже десятки создателей игр, кинолент, романов. Футуризм коснулся одежды, обуви, макияжа, прически – получился уникальный вариант эстетики с элементами минимализма, спортивного стиля, не лишенный комфорта. Основная цель дизайнеров – воплотить в повседневных образах высокие технологии, подчеркнуть отличия стиля киберпанк характерными цветами, формами, аксессуарами, фасонами.
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Holz, Martin. "Traversing virtual spaces body, memory and trauma in cyberpunk." Heidelberg Winter, 2005. http://deposit.d-nb.de/cgi-bin/dokserv?id=2838320&prov=M&dok_var=1&dok_ext=htm.

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Holz, Martin. "Traversing virtual spaces : body, memory and trauma in cyberpunk /." Heidelberg : Universitätsverlag Winter, 2006. http://catalogue.bnf.fr/ark:/12148/cb40222376s.

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Incarico, Irene. "Il cyberpunk in Italia: testimonianze letterarie e linguaggi mediatici." Doctoral thesis, Università degli studi di Trieste, 2009. http://hdl.handle.net/10077/3046.

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2007/2008
Il cyberpunk è un movimento nato negli anni Ottanta tra Stati Uniti e Canada come risposta rivoluzionaria alla situazione stagnante della fantascienza americana. Il suo stretto legame con le novità della scienza, dalla cibernetica militare alla pirateria informatica, la sua estetica tesa verso il post-apocalittico e il post-umano e la sua carica innovativa stilistico-linguistica faranno di questa corrente letteraria una vera e propria rivoluzione pop che finirà per penetrare ogni campo mediatico, dal cinema alla musica, dalle arti visive all’intrattenimento fino ad arrivare alla moda e alle manifestazioni culturali. E in Italia? È esistito anche un cyberpunk italiano? La risposta è si. Un si che si avvale di numerose testimonianze letterarie e culturali. Sicuramente tardivo, talvolta di dubbia qualità e spesso carente in originalità, il cyberpunk italiano nasce e si afferma costantemente sospeso tra imitazione e innovazione, contaminazione e plagio, recupero avanguardistico e omaggio. Ma non è scevro di opere interessanti, sia per il loro valore intrinseco, sia per la loro capacità di aiutarci a comprendere paure e desideri della nostra epoca.
XXI Ciclo
1981
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Londero, Rodolfo Rorato. "FUTURO ESQUECIDO: A RECEPÇÃO DA FICÇÃO CYBERPUNK NA AMÉRICA LATINA." Universidade Federal de Santa Maria, 2011. http://repositorio.ufsm.br/handle/1/3980.

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The aim of this research is to discuss the reception of Latin American cyberpunk fiction, in other words, the Latin American reception of cyberpunk fiction. The cyberpunk fiction emerged in North American social and economic context in the 1980 s, and it depicts several topics linked to place and moment of production: the failed States and neoliberalism; the emergence of cyberspace and free circulation of capital beyond national borderlines; the dystopian background, the disbelief in future and grand narratives collapse as it is proposed by the lyotardian postmodernity, etc. These characteristics lead to identify the cyberpunk fiction as the supreme representation of late capitalism (Jameson). However, how can the cyberpunk fiction in Latin America be thought, it means, a place that is inside and outside of the world system at the same time? The hypothesis of this research points out to utopian way of Latin American cyberpunk fiction that does not exist in North American version. The representation of utopia in this fiction is only possible due to places out of world system: marginalized urban groups, Indian ethnics, ecological enclaves, religious movements, etc. This research is composed by four chapters: the first one discusses science fiction, while a genre which involves cyberpunk fiction, contesting its values (ephemerality, particularity and imitation) in face to mainstream literature (eternity, universality and originality); the second one approaches the Marxist model base-superstructure, which is considered pertinent to analyze the relationship between text and context; the third one verifies the kind of reception produced by Latin American cyberpunk fiction, in order to that, it is elected the Argentinean magazine Neuromante Inc. as a sample of this reception; and the forth one analyzes some novels in order to prove the hypothesis: Mañana, las ratas ( Tomorrow, the rats , 1977), by José B. Adolph; Silicone XXI ( Silica 21st century , 1985), by Alfredo Sirkis; Flores para un cyborg ( Flowers for a cyborg , 1996), by Diego Muñoz Valenzuela; 2010: Chile en llamas ( 2010: Chile in flames , 1998), by Darío Oses; El viaje ( The trip , 2001), by Rodrigo Antezana Patton; El delirio de Turing ( Turing s Delirium , 2003), by Edmundo Paz Soldán; De cuando en cuando Saturnina ( From time to time Saturnina , 2004), by Alison Spedding; A mão que cria ( The hand that creates , 2006), by Octavio Aragão; La segunda enciclopedia de Tlön ( The second encyclopedia of Tlön , 2007), by Sergio Meier; Os dias da peste ( The days of the plague , 2009), by Fábio Fernandes; and Cyber Brasiliana (2010), by Richard Diegues.
O objetivo deste trabalho é discutir a recepção da ficção cyberpunk latino-americana, ou melhor, a recepção latino-americana da ficção cyberpunk. Surgida nos anos 1980, no contexto sócio-econômico norte-americano, a ficção cyberpunk representa vários tópicos ligados ao local e momento de produção: os Estados falidos e o neoliberalismo; a emergência do ciberespaço e a livre circulação do capital para além das fronteiras nacionais; o cenário distópico, a descrença no futuro e o fim dos grandes relatos históricos como propõe a pósmodernidade lyotardiana; etc. Estas características levam a identificar a ficção cyberpunk como representação suprema do capitalismo tardio (Jameson). Entretanto, como pensar a ficção cyberpunk na América Latina, ou seja, num lugar que se encontra ao mesmo tempo dentro e fora do sistema mundial? A hipótese que este trabalho apresenta aponta para o viés utópico da ficção cyberpunk latino-americana, inexistente na versão norte-americana. A representação da utopia nesta ficção somente é possível devido aos lugares que se encontram fora do sistema mundial: os grupos urbanos marginalizados, as etnias indígenas, os enclaves ecológicos, os movimentos religiosos, etc. Este trabalho organiza-se em quatro capítulos: no primeiro capítulo se discute a ficção científica, gênero que abarca a ficção cyberpunk, contrapondo seus valores (efemeridade, particularidade e imitação) aos da literatura mainstream (eternidade, universalidade e originalidade); no segundo capítulo se aborda o modelo marxista base-superestrutura, considerado pertinente para analisar as relações entre texto e contexto; no terceiro capítulo se verifica o tipo de recepção realizado pela ficção cyberpunk latino-americana, elegendo a revista argentina Neuromante Inc. como caso exemplar desta recepção; e no quarto capítulo se analisa alguns romances para comprovar a hipótese: Mañana, las ratas (1977), de José B. Adolph; Silicone XXI (1985), de Alfredo Sirkis; Flores para un cyborg (1996), de Diego Muñoz Valenzuela; 2010: Chile en llamas (1998), de Darío Oses; El viaje (2001), de Rodrigo Antezana Patton; El delirio de Turing (2003), de Edmundo Paz Soldán; De cuando en cuando Saturnina (2004), de Alison Spedding; A mão que cria (2006), de Octavio Aragão; La segunda enciclopedia de Tlön (2007), de Sergio Meier; Os dias da peste (2009), de Fábio Fernandes; e Cyber Brasiliana (2010), de Richard Diegues.
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Rose, Margaret Anne. "Plotting the networked self : cyberpunk and the future of genre." Thesis, McGill University, 2005. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=83839.

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Cyberpunk's attempt to imagine the futures that the expanding communications networks will shape, as explored in Sterling's Islands in the Net and Stephenson's The Diamond Age, discovers that the boundaries between the machine and human, the natural and artificial, and the past and present have never been as clear as the modern realist schematic has drawn them. Gothic literature represents transgressions of these boundaries as threatening to the self, and Mary Shelley's Frankenstein is the node where the gothic is dismembered and sutured into science fiction, and the modern self faces its monstrous double. Yet if boundaries are represented as sites of interface, gothic threats become opportunities for growth and generation. Individual texts, even realist ones, have always sutured together intertextual ingredients. Jane Eyre offers an alternative model for constructing the subject through sorting texts, a technique which emerges through cyberpunk as the essential survival skill of the future self.
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Books on the topic "Cyberpunk"

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1952-, Sirius R. U., and Nagel Bart, eds. Cyberpunk handbook: The real cyberpunk fakebook. New York: Random House, 1995.

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Brown, Steven T. Tokyo Cyberpunk. New York: Palgrave Macmillan US, 2010. http://dx.doi.org/10.1057/9780230110069.

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Pat, Cadigan, ed. The ultimate cyberpunk. New York: Ibooks, 2002.

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Florin, Braghiș, and Tolici Roman, eds. Nekrotitanium: Cyberpunk moldovenesc. Chișinău, MD: Cartier, 2010.

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Németh, István Z. Kis magyar cyberpunk. Dunaszerdahely: Lilium Aurum, 2007.

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Kosović, Lamija. Cyberpunk k-inema. Sarajevo: Enkidu edukativni centar, 2006.

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William, Gibson. Monna Lisa cyberpunk. Milano: A. Mondadori, 1995.

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Murphy, Graham J., and Lars Schmeink, eds. Cyberpunk and Visual Culture. New York: Routledge, 2018.: Routledge, 2017. http://dx.doi.org/10.4324/9781315161372.

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Bruce, Sterling, ed. Mirrorshades: The cyberpunk anthology. New York: Arbor House, 1986.

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1954-, Sterling Bruce, ed. Mirrorshades: The cyberpunk anthology. London: Paladin, 1988.

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Book chapters on the topic "Cyberpunk"

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Yaszek, Lisa. "Feminist Cyberpunk." In The Routledge Companion to Cyberpunk Culture, 32–40. London; New York : Routledge, 2020.: Routledge, 2019. http://dx.doi.org/10.4324/9781351139885-5.

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Kilgore, Christopher D. "Post-Cyberpunk." In The Routledge Companion to Cyberpunk Culture, 48–55. London; New York : Routledge, 2020.: Routledge, 2019. http://dx.doi.org/10.4324/9781351139885-7.

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Büyükgümüs, Simge. "CYBR." In Handbuch Zeitschriftenforschung, 511–20. Bielefeld, Germany: transcript Verlag, 2022. http://dx.doi.org/10.14361/9783839451137-037.

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Simge Büyükgümüs untersucht in ihrem Beitrag, wie sich das Magazin CYBR Cyberpunk-Kulturen und -Trends annähert. Sie setzt die in CYBR zu findenden Repräsentationen von Futurismus, Posthumanismus und Cyberpunk-Ästhetik ins Verhältnis zur Cyberpunk-Bewegung der 1980er Jahre sowie zu Motiven in deren wichtigsten literarischen Werken. Der Beitrag verdeutlicht, auf welche Weise das heute erscheinende Magazin die Kultur und Ästhetik der Cyberpunk-Bewegung aufgreift, neu interpretiert und in ein anderes Verständnis von Cyberpunk überführt.
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Brown, Steven T. "Introduction." In Tokyo Cyberpunk, 1–12. New York: Palgrave Macmillan US, 2010. http://dx.doi.org/10.1057/9780230110069_1.

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Brown, Steven T. "Machinic Desires." In Tokyo Cyberpunk, 13–53. New York: Palgrave Macmillan US, 2010. http://dx.doi.org/10.1057/9780230110069_2.

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Brown, Steven T. "Desiring Machines." In Tokyo Cyberpunk, 55–110. New York: Palgrave Macmillan US, 2010. http://dx.doi.org/10.1057/9780230110069_3.

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Brown, Steven T. "Consensual Hallucinations and the Phantoms of Electronic Presence in Kairo and Avalon." In Tokyo Cyberpunk, 111–55. New York: Palgrave Macmillan US, 2010. http://dx.doi.org/10.1057/9780230110069_4.

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Brown, Steven T. "Conclusion Software in a Body." In Tokyo Cyberpunk, 157–85. New York: Palgrave Macmillan US, 2010. http://dx.doi.org/10.1057/9780230110069_5.

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Lacy, Mark. "Cyberpunk International Politics?" In Theorising Future Conflict, 211–27. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003219576-12.

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Kelly, James Patrick. "Who Owns Cyberpunk?" In Strange Divisions and Alien Territories, 144–55. London: Macmillan Education UK, 2012. http://dx.doi.org/10.1007/978-0-230-36027-3_10.

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Conference papers on the topic "Cyberpunk"

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Eklundh, Henrik. "Cyberpunk 2077." In SIGGRAPH '20: Special Interest Group on Computer Graphics and Interactive Techniques Conference. New York, NY, USA: ACM, 2020. http://dx.doi.org/10.1145/3368827.3388964.

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Piechink, Agnieszka. "Cyberpunk 2077 teaser." In ACM SIGGRAPH 2013 Computer Animation Festival. New York, New York, USA: ACM Press, 2013. http://dx.doi.org/10.1145/2503541.2503559.

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Sun, Jialu, and Zhaotong Zhou. "Impact of the Game Cyberpunk 2077 on Cyberpunk Culture." In 2021 International Conference on Education, Language and Art (ICELA 2021). Paris, France: Atlantis Press, 2022. http://dx.doi.org/10.2991/assehr.k.220131.117.

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Xu, Chengkai, Weiting Li, Laila Zhong, Xuewei Li, Qingyuan Lyu, Yuran Guo, and Fang Liu. "Tradition, Desire, Techno-Orientalism and Popularity: Oriental Elements in the 21st-century Cyberpunk Video Games." In Intelligent Human Systems Integration (IHSI 2023) Integrating People and Intelligent Systems. AHFE International, 2023. http://dx.doi.org/10.54941/ahfe1002894.

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Cyberpunk is one genre with distinctive features, which depicts an apocalyptic world seeing technology as associated with capitalist oligarchy with highly solidified social identity and social class (Akşit and Nazlı, 2021). Nowadays, research about cyberpunk video games mainly focuses on the visual aesthetics of cyberpunk video games (Johnson, 2017). We adopted content analysis first to identify the oriental visual elements in 6 video games: Cyberpunk 2077 (CD Projekt RED, 2020) (CP2077), Gamedec (Anshar Studios, 2021), The Red Strings Club (Deconstructeam, 2018) (TRSC), VA-11 Hall-A: Cyberpunk Bartender Action (Sukeban Games, 2016) (VA-11 Hall-A), Shadowrun: Hongkong (Harebrained Schemes, 2015) (SRHK), and Tales of the Neon Sea (Palm Pioneer, 2019) (TNS), then analyze the historical and ideological reasons of using these elements on behalf of semiotic theory. This study reveals that using such elements in the 21st-century cyberpunk video games reinforces the stereotypes of Techno-Orientalism to a certain degree. However, these elements are mostly decontextualized as a representation of oriental culture and have no distinct error of oriental elements used but are mainly used to identify art style, which could be a helpful strategy for commercial selling.
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Green, Tim. "Moving Cyberpunk 2077 to D3D12." In SIGGRAPH '21: Special Interest Group on Computer Graphics and Interactive Techniques Conference. New York, NY, USA: ACM, 2021. http://dx.doi.org/10.1145/3450623.3464664.

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Dybisz, Bartłomiej, and Michał Witanowski. "Shadows Optimizations in Cyberpunk 2077." In SIGGRAPH '21: Special Interest Group on Computer Graphics and Interactive Techniques Conference. New York, NY, USA: ACM, 2021. http://dx.doi.org/10.1145/3450623.3464679.

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Sikachev, Peter, Szymon Slega, Kamil Nowakowski, and Karol Kowalczyk. "Transparency Rendering in Cyberpunk 2077." In SIGGRAPH '21: Special Interest Group on Computer Graphics and Interactive Techniques Conference. New York, NY, USA: ACM, 2021. http://dx.doi.org/10.1145/3450623.3464629.

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Sikachev, Peter, Giovanni De De Francesco, Kamil Nowakowski, and Karol Kowalczyk. "Area Light Sources in Cyberpunk 2077." In SIGGRAPH '21: Special Interest Group on Computer Graphics and Interactive Techniques Conference. New York, NY, USA: ACM, 2021. http://dx.doi.org/10.1145/3450623.3464630.

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Silva, Bruno C. da, Lucas M. Freitas, José G. R. Maia, and Windson V. de Carvalho. "Analisando a Narrativa de Ambiente Transumana em Jogo." In Anais Estendidos do Simpósio Brasileiro de Jogos e Entretenimento Digital. Sociedade Brasileira de Computação, 2022. http://dx.doi.org/10.5753/sbgames_estendido.2022.225844.

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Considerando o hype em torno do jogo Cyberpunk 2077, o tema da transumanidade reapareceu nas notícias. Este artigo teve como objetivo analisar o tema do transumanismo nos jogos. Verificou-se a relação desse assunto com os aspectos representativos do design de jogos. Para isso, foi criada uma tabela de questões, como prova de conceito, com elementos da teoria da narração pelo ambiente, que permitiu verificar a qualidade e pode possibilitar, futuramente, uma comparação direta entre outros jogos digitais. A forma como esses elementos são ideologicamente descritos, refletidos e inseridos ajuda a solidificar a narrativa ambiental no ambiente do jogo. Cyberpunk 2077 apresentou e adaptou a ideologia de transumanidade no seu cenário. Alguns itens possuem maior imersão que os demais avaliados.
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Zhang, Honghai, and Mengruo Zhang. "Research on Cyberpunk Images in the Visual Digital Media." In 2020 International Conference on Computer Vision, Image and Deep Learning (CVIDL). IEEE, 2020. http://dx.doi.org/10.1109/cvidl51233.2020.00015.

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