Relevant bibliographies by topics / Fiction, science fiction, cyberpunk

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

Academic literature on the topic 'Fiction, science fiction, cyberpunk'

Author: Grafiati
Published: 11 December 2022
Last updated: 30 July 2024

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Journal articles on the topic "Fiction, science fiction, cyberpunk"

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Tandt, Christophe Den. "Cyberpunk as Naturalist Science Fiction." Studies in American Naturalism 8, no. 1 (2013): 93–108. http://dx.doi.org/10.1353/san.2013.0003.

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Krevel, Mojca. "On the Apocalypse that No One Noticed." ELOPE: English Language Overseas Perspectives and Enquiries 15, no. 1 (June 25, 2018): 9–16. http://dx.doi.org/10.4312/elope.15.1.9-16.

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“[W]hat if they gave an apocalypse and nobody noticed?” was the question that Brooks Landon (1991, 239) proposed as the central thematic concern of the 1980s cyberpunk – a movement which today represents a landmark in the development of the science fiction genre. Diverse as they are in their focus and scope, the contributions to this issue of ELOPE, dedicated to the position and role of speculative fiction, and especially science fiction, in a world which is increasingly becoming speculative and science fictional, invariably demonstrate that an apocalypse did indeed take place and went by largely unnoticed.
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Blatchford, M. F. "Cyber against punk: Greg Bear’s Queen of Angels as metamorphosed cyberpunk." Literator 15, no. 3 (May 2, 1994): 55–70. http://dx.doi.org/10.4102/lit.v15i3.677.

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Recent American science fiction (which commercially dominates world science fiction) incorporates two schools of thought, ‘cyberpunk' and ‘hard SF’. which may be read to embody, respectively, radical/liberal and patriotic/ conservative propaganda. This article, after attempting to define aspects of these schools, examines Queen of Angels by Greg Bear (who before producing that text had been a proponent of hard SF). This text is shown to have strong elements of cyberpunk (possibly, to judge by one critical review, appealing to a cyberpunk audience) but to have transformed and inverted the radical and liberal themes of cyberpunk into conservative themes. The text thus illuminates philosophical and technical differences between the schools. It is suggested that the imagery of cyberpunk, and perhaps that of science fiction in general, is liable to such reversals of ideological significance.
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Sey, J. A. "Trashing the millenium: Subjectivity and technology in cyberpunk science fiction." Literator 13, no. 1 (May 6, 1992): 111–18. http://dx.doi.org/10.4102/lit.v13i1.728.

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'Cyberpunk’ science fiction is a self-proclaimed movement within the genre which began in the 1980s. As the name suggests, it is an extrapolative form of science fiction which combines an almost obsessional interest in machines (particularly information machines) with an anarchic, amoral, streetwise sensibility This paper sketches the development of the movement and seeks to make qualified claims for the radical. potential of its fiction. Of crucial importance are the ways in which human subjectivity (viewed in psychoanalytic terms) interacts with 'technological subjectivity' in cyberpunk, particularly with regard to implications of these interactions for oedipalization.
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Ravetti, Graciela, and Eulálio Marques Borges. "A Río Fugitivo de Edmundo Paz Soldán: uma cidade distópica? / The Río Fugitivo of Edmundo Paz Soldán: A Dystopian City?" Caligrama: Revista de Estudos Românicos 25, no. 1 (April 30, 2020): 135. http://dx.doi.org/10.17851/2238-3824.25.1.135-150.

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Resumo: Este é um estudo sobre dois romances do escritor boliviano Edmundo Paz Soldán, Sueños Digitales (2000) e El delirio de Turing (2005 [2003]), destacando os tópicos da (1) urbe dividida entre um centro urbano caótico e uma periferia escura e (2) um governo federal com ares totalitários, aspectos pouco abordados até então pela crítica literária especializada. Objetivamos mostrar como a fictícia cidade de Río Fugitivo, onde transcorrem as histórias de Sueños Digitales e El delirio de Turing, funciona como uma espécie de microcosmo dos centros urbanos latino-americanos que conhecemos ao incorporar, parcialmente, em sua construção e em sua dimensão, características pertencentes a um subgênero da ficção científica contemporânea conhecido como cyberpunk. De acordo com nossa perspectiva, não se trataria de obras de ficção científica, mas sim com ficção científica, – gênero pelo qual o autor sempre demonstrou interesse.Palavras-chave: ficção científica; cyberpunk; distopia; Río Fugitivo; Paz Soldán.Abstract: This is a study of two novels by Bolivian writer Edmundo Paz Soldán, Sueños Digitales (2000) and El delirio de Turing (2005 [2003]), underlining the topics of (1) a city divided between a chaotic urban centre and a dark suburb and (2) a federal government leaning towards totalitarianism, elements that are yet to be widely explored by literary critics. The aim is to point out how the fictional city of Río Fugitivo, where the narratives of Sueños Digitales and El delirio de Turing are set, plays the role of a microcosm of the Latin American centres we know by partially incorporating, in the construction and dimension of the novels, characteristics that belong to the subgenre of contemporary science fiction known as cyberpunk. From this point of view, the books studied here would not be considered science fiction works but works containing the genre, which has always interested Soldán.Keywords: science fiction; Cyberpunk; dystopia; Río Fugitivo; Paz Soldán.
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Gillam, William Joseph. "A Solarpunk Manifesto: Turning Imaginary into Reality." Philosophies 8, no. 4 (August 10, 2023): 73. http://dx.doi.org/10.3390/philosophies8040073.

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In the last century, science fiction has become an incredibly powerful tool in depicting alternative social imaginaries, particularly those of the future. Extending beyond their fictious nature is a commentary on the stark realities of modern society. The ‘cyberpunk’ subgenre, for example, offers a dystopian critique on the dangers of technological dependence and hypercapitalism. In studying science fiction, future imaginaries can be developed as utopian goals for governance systems to strive for. In contrast to cyberpunk, the subgenre of ‘solarpunk’ depicts a utopian society where humanity lives locally, sustainably, and in harmony with nature. This paper deconstructs solarpunk media to describe three guiding principles of solarpunk: anarchism, ecology, and justice. As an anarchist community, solarpunk strives for a post-scarcity, post-capitalist society devoid of hierarchy and domination. As an ecological community, solarpunk strives for local, self-sufficient, and sustainable living where both the human and non-human flourish. Finally, as a just community, solarpunk strives to rid society of marginalization and celebrate authenticity. These three principles can be used to guide humanity towards a utopian, solarpunk future.
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Brown, Alexandra. "404 Utopia Not Found: Cyberpunk Avatars in Samanta Schweblin's Kentukis." PMLA/Publications of the Modern Language Association of America 138, no. 2 (March 2023): 258–73. http://dx.doi.org/10.1632/s0030812923000123.

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AbstractScience fiction criticism has long attended the relationship between form and utopian thought. However, increased study of Latin American narratives has allowed for a return to foundational science fiction theories with renewed perspective. While critics have recognized the tendency of Latin American science fiction to slip between genres, a trend termed the “slipstream phenomenon,” there has been little analysis of its impact on utopian imagination. As a result, we miss one of the region's most unique contributions to broader science fiction traditions. In response, this article locates Samanta Schweblin's Kentukis (2018) within the legacies of cyberpunk and argues that the novel uses slipstream to establish and dismantle a series of classic utopian horizons by shifting its genre identity. In doing so, this work identifies a turn in recent Latin American science fiction that metacritically questions the ability of science fiction form itself to imagine a utopian horizon beyond global capitalism.
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Mohseni, Hossein, and Kian Soheil. "The Consumptive Significance of Images and Interface Values in Cyberpunk Cities." Text Matters, no. 10 (November 24, 2020): 236–56. http://dx.doi.org/10.18778/2083-2931.10.15.

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Cyberpunk is one of the latest genres in the development of science fiction. The genre emerged during the 80s and 90s, and in it the characters are confronted by an abundance of images and interface values. As a result, these images and values have become key identifying motifs of this genre. Referring to the theoretical conceptualizations of Adam Roberts about novum, and Lieven De Cauter on capsules and capsulization, the present study argues that the reason for the abundance of images and interface values is due to their facilitation of the consumption of novelties in cyberpunk cities. Within a scientific and rational discourse, images and interface values combine familiar and unfamiliar concepts and package them both as convenient commodities to be consumed by the characters of cyberpunk fiction. One of the key outcomes of such a combination, the study argues, is that the characters of cyberpunk fiction rely on the consumption of images and interface values as a convenient means to handle the overwhelming presence of technological and cybernetic advancements in the represented cities. This outcome turns the need to see and consume the cyberpunk world through images and interface values into an ideological necessity—or what can also be called a defense mechanism—for the characters against the technological shock of cybernetic advancements; a necessity whose qualities will be discussed in the study, as well.
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Gough, Noel. "Neuromancing the Stones: Experience, Intertextuality, and Cyberpunk Science Fiction." Journal of Experiential Education 16, no. 3 (December 1993): 9–17. http://dx.doi.org/10.1177/105382599301600303.

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Tverdynin, Nikolaj M. "Science fiction as the sphere of interpenetration and mutual influence of scientific and everyday consciousness." Semiotic studies 2, no. 4 (December 28, 2022): 31–36. http://dx.doi.org/10.18287/2782-2966-2022-2-4-31-36.

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The process of creating a science fiction work is considered as a process of interaction of two concepts related to both everyday knowledge and scientific knowledge and being in dialectical interaction. It is shown that in a science fiction work, the share of both scientific and fantastic has a limit. In both cases, when such limit is reached, the work can no longer be related to science fiction. The influence of the modular-block structure of technical knowledge on the process of formation of a science fiction object is considered: a book, a film, a computer game. The works in the style of cyberpunk and steampunk are established to serve as the basis for works in the genres of utopia and dystopia, but the possibilities of each style are different, that is, there is a kind of asymmetry that appears both in the works themselves and in their perception.
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Dissertations / Theses on the topic "Fiction, science fiction, cyberpunk"

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Kneale, James Robert. "Lost in space? : readers' constructions of science fiction worlds." Thesis, University College London (University of London), 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.309071.

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Bould, Mark Douglas. "Cyberpunk in retrospect : postmodernism and transcendence in science fiction after 1980." Thesis, University of Reading, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.297701.

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Alphin, Caroline Grey. "Living on the Edge of Burnout: Defamiliarizing Neoliberalism Through Cyberpunk Science Fiction." Diss., Virginia Tech, 2019. http://hdl.handle.net/10919/88796.

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A dominant trend in cyberpunk scholarship draws from Fredric Jameson's diagnosis of postmodernism as the logic of late capitalism, using Jameson's spatial pastiche, schizophrenic temporality, and waning of affect, along with Jameson's characterization of Baudrillard's simulacrum to interpret postmodern cultural artifacts. For many cultural critics, the city of cyberpunk is thoroughly postmodern because parallels can be drawn between the cyberpunk city and the postmodern condition. However, very little work has considered the ways in which cyberpunk can defamiliarize the necro-spatial and necro-temporal logic of neoliberalism. This project moves away from more traditional disciplinary aesthetic methods of analyzing power and urban systems, such as interpretation and representation. And, it problematizes the biopolitical present in three different ways. First, by weaving in and out of an analysis of the narratives, discourses, and spatio-temporalities of cyberpunk and neoliberalism, I seek to produce epistemological interferences within these genres/disciplines, and thus, to disrupt the conceptual and lived biopolitical status-quo of late-capitalism. The goal is to open the door for discomfort with and a critical awareness of the necrotic conditions of competition by highlighting the fictive nature of neoliberalism. Second, this study problematizes accelerationism as a viable alternative to leftist politics and suggests in the end that accelerationism is a form of neoliberal resilience. It does this through an analysis of the biohacker that reframes this subject in terms of accelerationism and the logic of intensity. I argue that the biohacker is the accelerationist subject Alex Williams and Nick Srnicek advocate for in their "Accelerationist Manifesto," suggesting that this accelerationist subject is, in the end, a neoliberal subject that fits easily within the conditions of competition. This study argues that the biohacker in its numerous forms reflects an underlying pure neoliberalism at work within accelerationism and its neoliberal governmentalities. I suggest that far from being an alternative to leftist politics, accelerationism may further the goals of neoliberalism in its desire to accelerate to a purified market space. And, finally, this study works towards offering a biopolitics that theorizes death in terms of ordinariness and suggests that biopolitics is still a useful analytic within neoliberalism. In other words, Foucault's biopolitics can do more than theorize a genealogy of biological racism and genocide. Rather than advocate for moving beyond biopolitics, this study argues instead that neoliberal biopolitics can still be understood in terms of Foucault's analytic, and that perhaps, we need to disentangle Foucault's work from Achille Mbembe's "Necropolitics."
Doctor of Philosophy
A dominant trend in cyberpunk scholarship draws from Fredric Jameson’s diagnosis of postmodernism as the logic of late capitalism, using Jameson’s spatial pastiche, schizophrenic temporality, and waning of affect, along with Jameson’s characterization of Baudrillard’s simulacrum to interpret postmodern cultural artifacts. For many cultural critics, the city of cyberpunk is thoroughly postmodern because parallels can be drawn between the cyberpunk city and the postmodern condition. However, very little work has considered the ways in which cyberpunk can defamiliarize the necro-spatial and necro-temporal logic of neoliberalism. This project moves away from more traditional disciplinary aesthetic methods of analyzing power and urban systems, such as interpretation and representation. It problematizes the biopolitical present in three different ways. First, by weaving in and out of an analysis of the narratives, discourses, and spatio-temporalities of cyberpunk and neoliberalism, I seek to produce epistemological interferences within these genres/disciplines, and thus, to disrupt the conceptual and lived biopolitical status-quo of late-capitalism. Second, this study problematizes accelerationism as a viable alternative to leftist politics and suggests in the end that accelerationism is a form of neoliberal resilience. And, finally, this study works towards offering a biopolitics that theorizes death in terms of ordinariness and suggests that biopolitics is still a useful analytic within neoliberalism. Methodologically, the project utilizes an interdisciplinary approach, pulling from political theory, genre studies, discourse analysis, and digital ethnographic research. Professionals and scholars interested in contesting neoliberalism will benefit from this study as it offers ways to problematize neoliberalism’s reality construction.
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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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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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Tobin, Stephen Christopher. "Visual Dystopias from Mexico’s Speculative Fiction: 1993-2008." The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1437528785.

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Miranda, Huereca Rafael. "The evolution of cyberpunk into postcyberpunk: The role of cognitive cyberspaces, wetware networks and nanotechnology in science fiction." Doctoral thesis, Universitat Autònoma de Barcelona, 2011. http://hdl.handle.net/10803/288302.

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Sällström, Sällström. "Förändring av cyberpunkgenrens stereotypiska nattema." Thesis, Högskolan i Skövde, Institutionen för kommunikation och information, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:his:diva-8189.

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Cyberpunkgenren definieras som en genre med en uttalad mörk framtidsbild med dystopiska inslag där bioteknik och artificiell intelligens är återkommande inslag och där majoriteten av verken som berör genren utspelar sig på natten. Syftet med denna studie har varit att undersöka om förändringar av det stereotypiska nattelementet som cyberpunkgenren förknippas med anses vara genrebrytande. Förändringen som gjordes var att nattbelysningen byttes ut mot dagsbelysning i en cyberpunkmiljö. För att genomföra detta skapades en stereotypisk cyberpunkmiljö med hjälp av datorgrafik som sedan presenterades i två versioner, en i nattbelysning och en i dagsbelysning. Bilderna visades därefter upp för en informantgrupp som var kunnig inom science fiction och cyberpunkgenren och som därefter fick besvara ett antal frågor under semistrukturerade kvalitativa intervjuer.
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Nguyen, Mikael, and Johannes Wasberg. "En Urban Värld." Thesis, Blekinge Tekniska Högskola, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:bth-18743.

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I detta kandidatarbete har vi undersökt kring tekniken projection mapping och projicering och hur dessa skulle kunna användas i framtiden med hjälp av forskningskällor från science fiction, cyberpunk och futurism. I undersökningen kollar vi närmare på hur dessa genre under historien spekulerat kring olika tekniker och dess tankesätt med mestadels inspiration från cyberpunk, där vi satt oss in i det urbana och dess teknik. Vi har sedan, med hjälp av på ett spekulativt designperspektiv som grund och förhållningssätt, fått fram en prototyp av en stad som är baserad i en möjlig framtid där projection mapping har utvecklats och är en väldigt allmän teknik för samhället. Under arbetets gång har vi använt oss utav metoder som mindmap, brainstorming, prototypskapande och spekulativ design för att jobba oss framåt. Dessa metoder har vi arbetat med tidigare och kände att de var mest effektiva för vårt projekt. Vi kom tillslut fram med en gestaltning som visar på en möjlig framtida stad där projection mapping används överallt för att visa reklam och liknande på massa byggnader. Detta har gjort med hjälp av program som Adobe programmen för att skapa det som projicerats och mappningen har gjort i programmet HeavyM, som är ett program enbart gjort för projection mapping.
In this bachelor thesis we have examined technology such as projection mapping and projection, and how these could be used in the future with support from research sources such as science fiction, cyberpunk and futurism. In the thesis, we take a closer look at how these genres throughout history have speculated about different technologies and their ways of thinking, mainly with inspiration from cyberpunk, where we focus on the urban and its technology. We have with the help of a speculative design perspective as a basis and approach, created a prototype of a city based on a possible future where projection mapping has been developed and become a very common technology for society. During the course of the project, we have used methods such as mindmap, brainstorming, prototyping and speculative design to work our way forward. We have worked with these methods before and felt that they were the most effective for our project. We finally came up with a design that shows a possible future city where projection mapping is used everywhere to show advertising and the like on lots of buildings. This has been done using programs such as the Adobe programs to create what is projected and the mapping done in the HeavyM program, which is a program solely for projection mapping.
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Toerien, Michelle. "Boundaries in cyberpunk fiction : William Gibson's Neuromancer trilogy, Bruce Sterling's Schismatrix, and Neal Stephenson's Snow crash." Thesis, Stellenbosch : Stellenbosch University, 2000. http://hdl.handle.net/10019.1/51639.

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Thesis (MA)--Stellenbosch University, 2000.
ENGLISH ABSTRACT: Cyberpunk literature explores the effects that developments in technology will have on the lives of individuals in the future. Technology is seen as having the potential to be of benefit to society, but it is also seen as a dangerous tool that can be used to severely limit humanity's freedom. Most of the characters in the texts I examine wish to perpetuate the boundaries that contain them in a desperate search for stability. Only a few individuals manage to move beyond the boundaries created by multinational corporations that use technology, drugs or religion for their own benefit. This thesis will provide a definition of cyberpunk and explore its development from science fiction and postmodern writing. The influence of postmodern thinking on cyberpunk literature can be seen in its move from stability to fluidity, and in its insistence on the impossibility of creating fixed boundaries. Cyberpunk does not see the future of humanity as stable, and argues that it will be necessary for humanity to move beyond the boundaries that contain it. The novels I discuss present different views concerning the nature of humanity's merging with technology. One view is that humanity is moving towards a posthuman future, while some argue that humanity is not discarded, but that these characters have merely evolved to the next step in the natural development of humankind. Both these views deal with constant change, a notion advocated by both postmodernism and cyberpunk.
AFRIKAANSE OPSOMMING: "Cyberpunk" literatuur ondersoek die uitwerking wat tegnologiese ontwikkeling in die toekoms op die lewens van individue sal hê. Tegnologie word gesien as tot moontlike voordeel vir die samelewing, maar dit kan ook 'n gevaarlike wapen wees wat gebruik kan word om die mens se vryheid in te perk. Die meerderheid van die karakters in die romans wat ek bespreek verkies om die grense wat hulle inperk te handhaaf in 'n desperate strewe na stabiliteit. Slegs 'n paar individue kry dit wel reg om verby die grense te breek wat deur multinasionale organisasies geskep word vir hul eie gewin. In hierdie tesis kyk ek na 'n definisie van "cyberpunk" en ek ondersoek die invloed van wetenskapsfiksie en postmodernisme op die ontwikkeling van die beweging. Die invloed van postmodernistiese denke kan gesien word in "cyberpunk" se fokus op veranderlikheid eerder as stabiliteit. "Cyberpunk" sien nie die toekoms van die mens as stabiel nie, en die argument is dat dit nodig is vir die mens om verby die grense te beweeg wat vryheid inperk. Die romans wat ek bespreek bevat verskillende sieninge oor die tipe samesmelting wat die mens en tegnologie sal hê. Sommige voel dat die kategorie "mens" permanent agterlaat gaan word, terwyl ander argumenteer dat individue slegs sal ontwikkel tot die volgende stap in die natuurlike ontwikkeling van die mens. Voortdurende verandering is die fokus van beide hierdie standpunte, en dit is ook die belangrikste fokus van beide "cyberpunk" en postmodernisme.
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Books on the topic "Fiction, science fiction, cyberpunk"

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Gözen, Jire Emine. Cyberpunk Science Fiction: Literarische Fiktionen und Medientheorie. Bielefeld: Transcript, 2012.

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Ilis, Florina. Fenomenul science fiction în cultura postmodernă: Ficțiunea cyberpunk. Cluj-Napoca: Argonaut, 2005.

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Edgar, Slusser George, and Shippey T. A, eds. Fiction 2000: Cyberpunk and the Future of Narrative. Georgia: University of Georgia Press, 1992.

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

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1946-, McCaffery Larry, ed. Storming the reality studio: A casebook of cyberpunk and postmodern science fiction. Durham: Duke University Press, 1991.

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Herec, Ondrej. Cyberpunk: Vstupenka do tretieho tisícročia. Bratislava: Vydavatel̕stvo Spolku slovenských spisovatel̕ov, 2001.

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William, Gibson. Mona Lisa overdrive: Cyberpunk-roman. [Kobenhaven]: Forlaget Per Kofod, 1993.

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Göttingen, Universität, ed. Of body snatchers and cyberpunks: Student essays on American science fiction film. Göttingen: Universitätsverlag Göttingen, 2011.

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Book chapters on the topic "Fiction, science fiction, cyberpunk"

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Baker, Brian, and Nicolas Tredell. "Feminism and Cyberpunk SF." In Science Fiction, 120–38. London: Macmillan Education UK, 2014. http://dx.doi.org/10.1007/978-1-137-47445-2_8.

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Klatt, Jöran. "Cyberpunk: Die Avantgarde der Science-Fiction." In Die 1980er Jahre, 75–83. Göttingen: Vandenhoeck & Ruprecht, 2014. http://dx.doi.org/10.13109/9783666800061.75.

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Murphy, Graham J. "Feminist-Queer Cyberpunk." In The Routledge Companion to Gender and Science Fiction, 167–74. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003082934-26.

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Wilson, D. Harlan. "Cyberpunk Previsions and Literary Influences." In Palgrave Science Fiction and Fantasy: A New Canon, 31–52. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-96946-2_3.

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McFarlane, Anna. "Cyberpunk and "Science Fiction Realism" in Kathryn Bigelow's Strange Days and Zero Dark Thirty." In Cyberpunk and Visual Culture, 235–52. New York: Routledge, 2018.: Routledge, 2017. http://dx.doi.org/10.4324/9781315161372-16.

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Wenaus, Andrew C. "Black Market Dreams: From Cyberpunk to the Avant-Pulp." In Palgrave Science Fiction and Fantasy: A New Canon, 21–34. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-031-07029-7_2.

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Kogel, Dennis, and Iris Schäfer. "The Doppelgänger Motif in Science Fiction Film." In Of body snatchers and cyberpunks, 125–41. Göttingen: Göttingen University Press, 2011. http://dx.doi.org/10.17875/gup2021-1678.

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Myerson, Sasha. "Making the Multiple: Gender and the Technologies of Multiplicity in Cyberpunk Science Fiction." In Palgrave Studies in Science and Popular Culture, 223–42. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-96192-3_11.

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Rabkin, Eric S. "The Creature from Brooklyn: My Life and Science Fiction Film." In Of body snatchers and cyberpunks, 187–94. Göttingen: Göttingen University Press, 2011. http://dx.doi.org/10.17875/gup2021-1683.

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Georgi, Sonja, and Kathleen Loock. "Of Body Snatchers and Cyberpunks: Teaching American Science Fiction Film." In Of body snatchers and cyberpunks, 13–37. Göttingen: Göttingen University Press, 2011. http://dx.doi.org/10.17875/gup2021-1669.

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Conference papers on the topic "Fiction, science fiction, cyberpunk"

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Landis, Geoffrey. "Spaceflight and Science Fiction." In 50th AIAA Aerospace Sciences Meeting including the New Horizons Forum and Aerospace Exposition. Reston, Virigina: American Institute of Aeronautics and Astronautics, 2012. http://dx.doi.org/10.2514/6.2012-202.

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Gyger, Patrick J. "Science Fiction vs. Science Fact." In 54th International Astronautical Congress of the International Astronautical Federation, the International Academy of Astronautics, and the International Institute of Space Law. Reston, Virigina: American Institute of Aeronautics and Astronautics, 2003. http://dx.doi.org/10.2514/6.iac-03-iaa.8.2.01.

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Milton, Graeme W., and Nicolae-Alexandru P. Nicorovici. "Cloaking: Science Fiction or Reality?" In Photonic Metamaterials: From Random to Periodic. Washington, D.C.: OSA, 2006. http://dx.doi.org/10.1364/meta.2006.tua3.

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Wilson, Daniel H. "Chasing Our Science Fiction Future." In HRI '15: ACM/IEEE International Conference on Human-Robot Interaction. New York, NY, USA: ACM, 2015. http://dx.doi.org/10.1145/2696454.2714390.

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Bates, Rebecca, Judy Goldsmith, Rosalyn Berne, Valerie Summet, and Nanette Veilleux. "Science fiction in computer science education." In the 43rd ACM technical symposium. New York, New York, USA: ACM Press, 2012. http://dx.doi.org/10.1145/2157136.2157184.

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Satwiko, Prasasto, and Brigitta Michelle. "From Science Fiction to Science Facts." In International Webinar on Digital Architecture 2021 (IWEDA 2021). Paris, France: Atlantis Press, 2022. http://dx.doi.org/10.2991/assehr.k.220703.050.

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Kohno, Tadayoshi, and Brian D. Johnson. "Science fiction prototyping and security education." In the 42nd ACM technical symposium. New York, New York, USA: ACM Press, 2011. http://dx.doi.org/10.1145/1953163.1953173.

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van der Graaf, Harry. "Gaseous vertex detectors: Science or fiction?" In 2008 IEEE Nuclear Science Symposium and Medical Imaging conference (2008 NSS/MIC). IEEE, 2008. http://dx.doi.org/10.1109/nssmic.2008.4774515.

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Caroti, Simone, and Glen A. Robertson. "Astrosociology and Science Fiction: a Synergy." In SPACE, PROPULSION & ENERGY SCIENCES INTERNATIONAL FORMUM SPESIF-2010: 14th Conference on Thermophysics Applications in Microgravity 7th Symposium on New Frontiers in Space Propulsion Sciences 2nd Symposium on Astrosociology 1st Symposium on High Frequency Gravitational Waves. AIP, 2010. http://dx.doi.org/10.1063/1.3326267.

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"ARTISTIC SPECIFICS OF SCIENCE FICTION GENRES." In CULTURE, CREATIVITY AND INNOVATION FOR SUSTAINABLE DEVELOPMENT. UFA UNIVERSITY OF SCIENCE AND TECHNOLOGY FACULTY OF PHILOSOPHY AND SOCIOLOGY, 2023. http://dx.doi.org/10.46320/2073-4506-2023-3/1-1-149-155.

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Reports on the topic "Fiction, science fiction, cyberpunk"

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Webster, James K. Science Fiction as a Prism for Understanding Geopolitics. Fort Belvoir, VA: Defense Technical Information Center, April 2015. http://dx.doi.org/10.21236/ad1003712.

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Dribben, Douglas A. DNA Statistical Evidence and the Ceiling Principle: Science or Science Fiction". Fort Belvoir, VA: Defense Technical Information Center, March 1994. http://dx.doi.org/10.21236/ada456707.

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van Boekel, M. A. J. S. Food, facts and fiction : A story about science and perception. Wageningen: Wageningen University & Research, 2019. http://dx.doi.org/10.18174/503823.

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Smith, Dina Cherise. Exploring the Recognizability and Nature of Media References in Female Science Fiction and Fantasy Fandom Dress. Ames: Iowa State University, Digital Repository, 2017. http://dx.doi.org/10.31274/itaa_proceedings-180814-1814.

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Poussart, Denis. Le métavers : autopsie d’un fantasme Réflexion sur les limites techniques d’une réalité synthétisée, virtualisée et socialisée. Observatoire international sur les impacts sociétaux de l’intelligence artificielle et du numérique, February 2024. http://dx.doi.org/10.61737/sgkp7833.

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Lorsque Neal Stephenson a introduit le terme « métavers » dans son roman de science-fiction Snow Crash, en 1992, il était loin de se douter que le mot allait susciter autant de discussions. La notion d’une réalité d’un type nouveau, qui serait synthétisée, puis virtualisée et librement socialisée, est fascinante par ce qu’elle exigerait aux plans scientifique et technique. Fascinante surtout par ses retombées éventuelles aux niveaux culturel et social, y compris de nature éthique (qui ne sont pas abordées ici). Ce texte rappelle brièvement l’origine du concept avant de se consacrer à ses requis et défis techniques, abordés en l’examinant comme un système avancé d’information et communication. Le métavers revêt une complexité inédite alors que les capacités cognitives de l’humain et de la machine sont appelées à se fusionner avec synergie. L’analyse – qui demeure succincte compte tenu du format d’un article court – permettra de comprendre comment et pourquoi le métavers, dans la mouture originale proposée par Stephenson, demeure une utopie. Mais aussi comment l’élimination de certains requis peut permettre d’en retenir une saveur intéressante, laquelle apparait déjà dans une multitude d’applications.
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Blaxter, Tamsin, and Tara Garnett. Primed for power: a short cultural history of protein. TABLE, November 2022. http://dx.doi.org/10.56661/ba271ef5.

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Protein has a singularly prominent place in discussions about food. It symbolises fitness, strength and masculinity, motherhood and care. It is the preferred macronutrient of affluence and education, the mark of a conscientious diet in wealthy countries and of wealth and success elsewhere. Through its association with livestock it stands for pastoral beauty and tradition. It is the high-tech food of science fiction, and in discussions of changing agricultural systems it is the pivotal nutrient around which good and bad futures revolve. There is no denying that we need protein and that engaging with how we produce and consume it is a crucial part of our response to the environmental crises. But discussions of these issues are affected by their cultural context—shaped by the power of protein. Given this, we argue that it is vital to map that cultural power and understand its origins. This paper explores the history of nutritional science and international development in the Global North with a focus on describing how protein gained its cultural meanings. Starting in the first half of the 19th century and running until the mid-1970s, it covers two previous periods when protein rose to singular prominence in food discourse: in the nutritional science of the late-19th century, and in international development in the post-war era. Many parallels emerge, both between these two eras and in comparison with the present day. We hope that this will help to illuminate where and why the symbolism and story of protein outpace the science—and so feed more nuanced dialogue about the future of food.
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Murray, Chris, Keith Williams, Norrie Millar, Monty Nero, Amy O'Brien, and Damon Herd. A New Palingenesis. University of Dundee, November 2022. http://dx.doi.org/10.20933/100001273.

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Robert Duncan Milne (1844-99), from Cupar, Fife, was a pioneering author of science fiction stories, most of which appeared in San Francisco’s Argonaut magazine in the 1880s and ’90s. SF historian Sam Moskowitz credits Milne with being the first full-time SF writer, and his contribution to the genre is arguably greater than anyone else including Stevenson and Conan Doyle, yet it has all but disappeared into oblivion. Milne was fascinated by science. He drew on the work of Scottish physicists and inventors such as James Clark Maxwell and Alexander Graham Bell into the possibilities of electromagnetic forces and new communications media to overcome distances in space and time. Milne wrote about visual time-travelling long before H.G. Wells. He foresaw virtual ‘tele-presencing’, remote surveillance, mobile phones and worldwide satellite communications – not to mention climate change, scientific terrorism and drone warfare, cryogenics and molecular reengineering. Milne also wrote on alien life forms, artificial immortality, identity theft and personality exchange, lost worlds and the rediscovery of extinct species. ‘A New Palingenesis’, originally published in The Argonaut on July 7th 1883, and adapted in this comic, is a secular version of the resurrection myth. Mary Shelley was the first scientiser of the occult to rework the supernatural idea of reanimating the dead through the mysterious powers of electricity in Frankenstein (1818). In Milne’s story, in which Doctor S- dissolves his terminally ill wife’s body in order to bring her back to life in restored health, is a striking, further modernisation of Frankenstein, to reflect late-nineteenth century interest in electromagnetic science and spiritualism. In particular, it is a retelling of Shelley’s narrative strand about Frankenstein’s aborted attempt to shape a female mate for his creature, but also his misogynistic ambition to bypass the sexual principle in reproducing life altogether. By doing so, Milne interfused Shelley’s updating of the Promethean myth with others. ‘A New Palingenesis’ is also a version of Pygmalion and his male-ordered, wish-fulfilling desire to animate his idealised female sculpture, Galatea from Ovid’s Metamorphoses, perhaps giving a positive twist to Orpheus’s attempt to bring his corpse-bride Eurydice back from the underworld as well? With its basis in spiritualist ideas about the soul as a kind of electrical intelligence, detachable from the body but a material entity nonetheless, Doctor S- treats his wife as an ‘intelligent battery’. He is thus able to preserve her personality after death and renew her body simultaneously because that captured electrical intelligence also carries a DNA-like code for rebuilding the individual organism itself from its chemical constituents. The descriptions of the experiment and the body’s gradual re-materialisation are among Milne’s most visually impressive, anticipating the X-raylike anatomisation and reversal of Griffin’s disappearance process in Wells’s The Invisible Man (1897). In the context of the 1880s, it must have been a compelling scientisation of the paranormal, combining highly technical descriptions of the Doctor’s system of electrically linked glass coffins with ghostly imagery. It is both dramatic and highly visual, even cinematic in its descriptions, and is here brought to life in the form of a comic.
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