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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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Jehangir, Zenab. "Toward Posthumanism: Stigmatization of Artificial Intelligence in American Science Fiction." Journal of Posthuman Studies 6, no. 2 (December 2022): 168–85. http://dx.doi.org/10.5325/jpoststud.6.2.0168.
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Abstract Posthumanism has become an important theme in science fiction (SF), and American SF is a significant popularizer of this genre in the modern world. The advocacy of a dystopian future in American SF has led to the stigmatization of artificial intelligence (AI). It has presented AI as a threat to humanity and has reduced it to a mere enemy of humanity in a posthuman future. The cyberpunk culture of SF plays a vital role in ostracizing AI, with many stories centered around an AI takeover where humans face the dilemma of extinction in the face of a technologically advanced world. This article deals with Philip K. Dick’s dystopian novel Do Androids Dream of Electric Sheep? in the light of Goffman’s theory of stigmatization as the theoretical basis, using Link and Phelan’s stigmatization model to build the argument. The article focuses on the possible stigmatization of AI in American SF and its ethical and societal impacts. It is part of the continuum of knowledge production in SF, Cyberpunk, and techno-optimistic science fiction.
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Taillandier, Denis. "New Spaces for Old Motifs? The Virtual Worlds of Japanese Cyberpunk." Arts 7, no. 4 (October 5, 2018): 60. http://dx.doi.org/10.3390/arts7040060.
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North-American cyberpunk’s recurrent use of high-tech Japan as “the default setting for the future,” has generated a Japonism reframed in technological terms. While the renewed representations of techno-Orientalism have received scholarly attention, little has been said about literary Japanese science fiction. This paper attempts to discuss the transnational construction of Japanese cyberpunk through Masaki Gorō’s Venus City (Vīnasu Shiti, 1992) and Tobi Hirotaka’s Angels of the Forsaken Garden series (Haien no tenshi, 2002–). Elaborating on Tatsumi’s concept of synchronicity, it focuses on the intertextual dynamics that underlie the shaping of those texts to shed light on Japanese cyberpunk’s (dis)connections to techno-Orientalism as well as on the relationships between literary works, virtual worlds and reality.
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Londero, Rodolfo Rorato. "O próprio e o alheio em el delirio de turing." Diálogos Latinoamericanos 11, no. 17 (January 1, 2010): 20. http://dx.doi.org/10.7146/dl.v11i17.113571.
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The objective of this paper is to analyze the novel El delirio deTuring (2003), by Bolivian writer Edmundo Paz Soldán, mainly in itrelationship with the cyberpunk fiction, subgenre of science fiction appearedoriginally in the North American context of 1980's. This relationship appears,at once, in the epigraphs of the work, where a cyberpunk writer (NealStephenson) is quoted: actually, this writer's two works, Snow Crash (1992)and Cryptonomicon (1999), appear as intertexts in El delirio de Turing. ButPaz Soldán, as member of McOndo generation – a globalizated parody ofGarcía Márquez's Macondo –, also maintain an intense dialogue with theirLatin-American antecedents, the writers of magic realism. It is in thatcollision between the own and the alien (Carvalhal), between Latin and NorthAmerican literary references, that we will understand Paz Soldán's work.
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de la Iglesia, Martin. "Has Akira Always Been a Cyberpunk Comic?" Arts 7, no. 3 (August 1, 2018): 32. http://dx.doi.org/10.3390/arts7030032.
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Between the late 1980s and early 1990s, interest in the cyberpunk genre peaked in the Western world, perhaps most evidently when Terminator 2: Judgment Day became the highest-grossing film of 1991. It has been argued that the translation of Katsuhiro Ōtomo’s manga Akira into several European languages at just that time (into English beginning in 1988, into French, Italian, and Spanish beginning in 1990, and into German beginning in 1991) was no coincidence. In hindsight, cyberpunk tropes are easily identified in Akira to the extent that it is nowadays widely regarded as a classic cyberpunk comic. But has this always been the case? When Akira was first published in America and Europe, did readers see it as part of a wave of cyberpunk fiction? Did they draw the connections to previous works of the cyberpunk genre across different media that today seem obvious? In this paper, magazine reviews of Akira in English and German from the time when it first came out in these languages will be analysed in order to gauge the past readers’ genre awareness. The attribution of the cyberpunk label to Akira competed with others such as the post-apocalyptic, or science fiction in general. Alternatively, Akira was sometimes regarded as an exceptional, novel work that transcended genre boundaries. In contrast, reviewers of the Akira anime adaptation, which was released at roughly the same time as the manga in the West (1989 in Germany and the United States), more readily drew comparisons to other cyberpunk films such as Blade Runner.
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Schwitzgebel, Eric. "Kant Meets Cyberpunk." Disputatio 11, no. 55 (December 1, 2019): 411–35. http://dx.doi.org/10.2478/disp-2019-0006.
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AbstractI defend a how-possibly argument for Kantian (or Kant*-ian) transcendental idealism, drawing on concepts from David Chalmers, Nick Bostrom, and the cyberpunk subgenre of science fiction. If we are artificial intelligences living in a virtual reality instantiated on a giant computer, then the fundamental structure of reality might be very different than we suppose. Indeed, since computation does not require spatial properties, spatiality might not be a feature of things as they are in themselves but instead only the way that things necessarily appear to us. It might seem unlikely that we are living in a virtual reality instantiated on a non-spatial computer. However, understanding this possibility can help us appreciate the merits of transcendental idealism in general, as well as transcendental idealism’s underappreciated skeptical consequences.
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Yoo, Sang-Keun. "Mobilities in Anglophone Science Fiction History: Time Travel, Cyclical Temporality, and Virtual Mobility." Center for Asia and Diaspora 13, no. 2 (August 31, 2023): 40–68. http://dx.doi.org/10.15519/dcc.2023.08.13.2.40.
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This paper explores the development of the concept of mobility within the Anglophone tradition of the science fiction genre, specifically within three critical periods of the twentieth century. It begins by analyzing the genre’s initial development, observing the shift from spatial mobility in earlier travel narratives to temporal travel depicted by foundational science fiction writers, such as H. G. Wells and Jules Verne. It then examines the New Wave of science fiction during the 1960s and 70s, a period characterized by introspective exploration of the human psyche and a departure from linear temporality, favoring instead an antiprogressive, circular concept of time. Key authors of this era, including William S. Burroughs, Thomas M. Disch, Philip K. Dick, Ursula K. Le Guin, and Samuel R. Delany, are broadly studied. The paper subsequently probes into the cyberpunk genre and its development of virtual mobility within cyberspace, along with a critical analysis of the socio-political issues emanating from the dominance of white normativism and ableism within these virtual environments. In conclusion, this paper emphasizes the necessity to consider a more inclusive depiction of mobility in science fiction, as well as the co-futuristic socio-political ideologies that the genre upholds. It advocates for the genre to foster diverse representations of mobility, thereby challenging the normalization of an abled, white American presence within cyber and virtual spaces.
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Laxdal, Vivienne. "Cyber:\womb A contemporary domestic science-fiction drama in two acts." Canadian Theatre Review 82 (March 1995): 60–82. http://dx.doi.org/10.3138/ctr.82.015.
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Playwright’s Note This play was inspired by my questions and concerns about reprod uctive technology and genetic engineering. My fascination with the Cyberpunk movement and my feehngs of being left behind or on the “outside” also came into creative play. I wonder about the context of “soul” within these new methods of creating and altering life. Is anybody thinking abou t that? Should we?
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Merás, Lidia. "European Cyberpunk Cinema." Arts 7, no. 3 (August 30, 2018): 45. http://dx.doi.org/10.3390/arts7030045.
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Renaissance (2006) and Metropia (2009) are two illustrative examples of European cyberpunk cinema of the 2000s. This article will consider the films as representative of contemporary trends in European popular filmmaking. As digital animations aimed at adult audiences and co-produced with other European countries, they epitomise a type of European film. In addition, they share a number of narrative premises. Set in the near future, Renaissance and Metropia depict a dystopian Europe. Recycling motifs from non-European science fiction classics, they share similar concerns with interconnectivity, surveillance, immigration, class, the representation of women, as well as the obsession with beauty and physical perfection. This article will analyse their themes and aesthetics in order to explore how European popular cinema promotes a certain idea of European cultural identity within the limits of an industry whose products are targeted at a global market.
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D’ONOFRIO, SILVIO TAMASO, and ANDRÉ LUIZ SILVA DE SOUZA. "Ghost in the Shell as a Cyberpunk Rhapsody." LITERATURE AND FILM / LITTÉRATURE ET FILM / LITERATURĂ ȘI FILM 32, no. 2 (2024): 183–96. http://dx.doi.org/10.47743/aic-2023-2-0017.
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The article proposes a reading of one of the constituent aspects of the feature film Ghost in the Shell (2017), its plot, as a compendium of influences of what is usually considered to belong to the science fiction genre. According to the reading, the movie presents ideas and an aesthetics that points to the newest trends of science fiction, such as cyberpunk, suggesting passages of many previous films, something that can help draw the constitutive master lines of the plot as similar to the concept of rhapsody, an old, if not ancestral concept. In an attempt to understand this pendulum-like movement that presents the new but is made up of the past, one of the canons of Western literature of all times was sought as the theoretical support for an attempt to explore this old facet in a futuristic film. From this point of view, concepts such as mimesis and emulation were used in this approach to the filmographic version of the homonymous manga published in Japan in 1982, a film that presents itself as a challenging puzzle whose resolution finds, in this article, a beginning and also an incentive for future studies.
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Donets, Pol, and Nataliya Krynytska. "Here Be Dragons: The Evolution of Cyberspace from William Gibson to Neal Stephenson." American, British and Canadian Studies 38, no. 1 (June 1, 2022): 76–98. http://dx.doi.org/10.2478/abcsj-2022-0005.
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Abstract The article focuses on the evolution of cyberspace from a myth-critical perspective: the presence of irrational and fantasy elements in seemingly rational and scientific cyberpunk as a subgenre of hard science fiction. Our research primarily focuses on two significant works: William Gibson’s Sprawl trilogy (1984-1988), an icon of early cyberpunk, and Neal Stephenson’s Snow Crash (1992), a switch to postcyberpunk. Moreover, we consider the other works of a broad genre of cyberpunk including The Matrix movies and conclude that the cyberpunk of the 1980s and 1990s presented cyberspace as an enchanted Terra incognita and blurred the line between rationality and irrationality, technology and magic. Emerging as a way of escaping the real world, as hope for immortality, transcendence or transgression (Foucault), the cyberpunk ‘matrix’ followed in the footsteps of fantasy, myth, religion, and utopia. In our view, the postcyberpunk ‘Metaverse’ of the 1990s is more ironical and ‘realistic’ as it appears, and the more familiar and routine the cyberspace became to people, the less romantic and mysterious it turned out to be. Nevertheless, the nostalgic attempts to return to the old, fantasy model of cyberspace were made in postcyberpunk almost immediately after its emergence.
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Kushnarov, Valerii. "Cyberpunk as a Metacultural Movement: Philosophical-Cultural Analysis." Culture and Arts in the Modern World, no. 24 (September 22, 2023): 40–48. http://dx.doi.org/10.31866/2410-1915.24.2023.287657.
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The aim of the article is to analyse the phenomenon of modern mass culture and during this analysis find out its ontological status including scientism-technological imperatives of cyberculture and ideas of transhumanism. Results. Cyberpunk is an interesting, functional and new (in comparison with classical examples) form of mass culture, cultural-ideological movement, and sphere of translation and the intersection of protest ideas and meanings, due to its genre and sectoral pluralism (science fiction, film industry, music, design, video games, fashion, ideology, etc.), and also logics of technodeterminism, is still an important factor of transformation cultural-art space in the 21st century. Scientific novelty. In the article, for the first time, realised the philosophical-cultural analysis of cyberpunk including its peculiarities as a literary genre, phenomenon of mass culture and aesthetics. Conclusions. It is proved that cyberpunk appeared as a genre of science fiction literature in the 1960s-1970s and then later through conceptualisation of ideas in the 80s and agreeing of transcendental impulses counterculture of the 60s with computerisation and the specifics of technological evolution in the 90s, has evolved to the level of a metacultural movement. As the latter, it encompasses the literary genre, the film and fashion industry, architecture and graphic design (with a special aesthetic), technoanthropology, futurology and identity theory, and ideological discourse. It is confirmed that thanks to protest as a manifestation of freedom, the actualisation of the problem of corporeality, and dystopian high-tech projections, with the help of postmodern relativism and poststructuralist rhizomorphism, cyberpunk annihilates modern cultural narratives, thus creating many risks, including the potential formation of pathological forms of identification, declarative asociality, and cyber-prosthetics, which often develop into horrific manifestations of dehumanisation.
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Gibson, Richard. "Graphic illustration of impairment: science fiction, Transmetropolitan and the social model of disability." Medical Humanities 46, no. 1 (September 18, 2018): 12–21. http://dx.doi.org/10.1136/medhum-2018-011506.
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The following paper examines the cyberpunk transhumanist graphic novel Transmetropolitan through the theoretical lens of disability studies to demonstrate how science fiction, and in particular this series, illustrate and can influence how we think about disability, impairment and difference. While Transmetropolitan is most often read as a scathing political and social satire about abuse of power and the danger of political apathy, the comic series also provides readers with representations of impairment and the source of disability as understood by the Social Model of Disability (SMD). Focusing on the setting and fictional world in which Transmetropolitan takes place, as well as key events and illustration styling, this paper demonstrates that the narrative in this work encompasses many of the same theoretical underpinnings and criticisms of society’s ignorance of the cause of disability as the SMD does. This paper aims, by demonstrating how Transmetropolitan can be read as an allegory for the disabling potential of society as experienced by individuals with impairments, to prompt readers into thinking more creatively about how narratives, seemingly unconcerned with disability, are informed and can be understood via disability theory.
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Stojnić, Aneta. "Cyborgs from Fiction to Reality: Marginalized Other or Privileged First?" Identities: Journal for Politics, Gender and Culture 10, no. 1-2 (January 1, 2013): 49–53. http://dx.doi.org/10.51151/identities.v10i1-2.278.
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In this paper I will offer an analysis of cyber technology, cyberspace and cyborg from its appearance in fiction to its contemporary realizations, in order to show symbolic place of cyborg has changed, in the light of contemporary power relations. I will focus on the cyborg figure in literature and film, mainly the cyberpunk genre characteristic for fictionalization of the relations between individual, society and technology.
Author(s): Aneta Stojnić
Title (English): Cyborgs from Fiction to Reality: Marginalized Other or Privileged First?
Journal Reference: Identities: Journal for Politics, Gender and Culture, Vol. 10, No. 1-2 (Summer-Winter 2013)
Publisher: Institute of Social Sciences and Humanities – Skopje
Page Range: 49-53
Page Count: 5
Citation (English): Aneta Stojnić, „Cyborgs from Fiction to Reality: Marginalized Other or Privileged First?,” Identities: Journal for Politics, Gender and Culture, Vol. 10, No. 1-2 (Summer-Winter 2013): 49-53.
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Yu, Zemei. "The Culture of Cyberpunk Science Fiction: A Study from the Perspective of Body." Comparative Literature: East & West 14, no. 1 (March 2011): 127–34. http://dx.doi.org/10.1080/25723618.2011.12015561.
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Kečan, Ana. "(CYBER) PUNK'S NOT DEAD – RICHARD MORGAN'S ALTERED CARBON." Knowledge International Journal 34, no. 6 (October 4, 2019): 1603–7. http://dx.doi.org/10.35120/kij34061603k.
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The term cyberpunk refers to an offspring or subgenre of science fiction which rose to popularity in the 1980s. It was first coined by Bruce Bethke in his story of the same name, published in 1983. Even though there are critics today who claim that cyberpunk is long dead, numerous examples from the 21st century show that it is still very well and alive, and this revival is particularly aided by television, as cyberpunk has a massive visual potential. Hence, the 21st century saw the sequel to the cult Blade Runner (originally released in 1982), titled Blade Runner 2049 (released in 2017), another (fourth) sequel of The Matrix (set to be released in 2020), TV adaptations of Philip K. Dick’s Electric Dreams (2017) and, the main interest of this essay, Richard Morgan’s Altered Carbon (season 1 in 2018 and season 2 set to be released in 2020). In this essay we are going to, first, outline the main narrative and stylistic conventions of cyberpunk, which include: a time and place in the future dominated by advanced achievements in information technology, science and computers (hence the term ‘cyber’) at the expense of a loss or breakdown of social order (hence the term ‘punk’) to the point of a dystopia (or post-utopia, as has been argued); virtual reality, data networks, illusion, bodily metamorphosis, media overload, intensity of visual components, bordering on what Norman Spinrad said was a fusion of the romantic impulse with science and technology. All of these encapsulate a core theme of the loss of distinction between real and artificial. In addition to this, the term cyberpunk requires clarification against several other terms which often appear alongside it and are related in one way or another, including science fiction, neo-noir, hard-boiled, post-cyberpunk, transhumanism, post-anthropocentrism, etc. Second, we are going to look at how those elements come together in the context of the first novel of Richard Morgan’s trilogy about Takeshi Kovacs, titled Altered Carbon, published in 2002 (the sequels, Broken Angels - 2003 and Woken Furies – 2005, have not yet been adapted for television and will, therefore, not be included in our analysis). We are going to, then, compare those elements with the Netflix version of the novel, a 10-episode TV series, released in 2018. The comparison of the visual versus the verbal narrative will show the differences in the presentation of cyberpunk elements and how (or whether) these differences are dictated by the medium or not. It will also show whether what started out as a dystopia in the original text has grown into a post-utopia in the television series, simply reflecting the current trend of nostalgia and nostalgic recycling.
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Stroyeva, Olesya V. "Mind-Body Dialectics in the Latest Science Fiction TV-Series." Journal of Flm Arts and Film Studies 10, no. 2 (June 15, 2018): 62–71. http://dx.doi.org/10.17816/vgik10262-71.
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The article is devoted to the analysis of the latest science fiction series in the context of the mind-body philosophical problems. The synthesis of theoretical knowledge and empirical science (phenomenological, psychoanalytic, neurophysical and cybernetic experience) is used for the analysis. Prospects for the development of artificial intelligence, including the issue of creating self-conscious robots, unfold not only in science fiction but also in reality thus causing the high ratings of the cyberpunk genre. The destruction of the boundary between man and machine, natural and artificial body, physical and non-physical, real and virtual, is the key point of the newest series The Black Mirror, Electric Dreams of Philip K. Dick, Altered Carbon, Westworld. Mind-body dialectics in philosophy construed by R. Descartes and B. Spinoza, further developed by phenomenologists, is actualized today in the context of technological development. Despite the insights and warnings of science fiction writers, scientists seek for making the breakthrough in the invention of an artificial man. This tendency is caused, first of all, by the desire to conceive the arrangement of human consciousness: how it is generated by matter - the network of neurons of the brain. Solving this philosophical dilemma inevitably leads to unpredictable consequences and radical changes in the development of civilization. Nevertheless, this step is fatal in the general tendency of demiurgy and mimesis, which underlie all the cultural, creative and aesthetic activities of mankind. The author comes to the conclusion that cinema demonstrates models of the possible development of events and the consequences of technogenic tendencies, while the reality clearly indicates that the era of posthumanism has already begun, and were witnessing the most incredible scenarios created by the world of science fiction.
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COLLINS, KAREN. "Dead Channel Surfing: the commonalities between cyberpunk literature and industrial music." Popular Music 24, no. 2 (May 2005): 165–78. http://dx.doi.org/10.1017/s0261143005000401.
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This paper explores the similarities between industrial music and ‘cyberpunk’ science fiction literature. Besides the obvious instances where there are direct references to each other, there are further connections between music and literature that are explored here. Situating the two forms within the tradition of twentieth-century Western dystopias, the focus of the paper is on the similarity of themes (relationship to technology, control by a totalitarian elite, apocalyptic worlds, resistance groups), techniques (in language or structure), moods (the tones and attitudes), and imagery (through language or music) used to illustrate and enhance these themes.
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Briel, Holger. "SinoAsian Futures between Economic Forecasting, Science Fiction, Sinofuturism and Creativity." IAFOR Journal of Cultural Studies 9, si (June 7, 2024): 83–114. http://dx.doi.org/10.22492/ijcs.9.si.05.
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For many years futurology and forecasting have been a growing field and it seems that this trend is continuing. This article will therefore discuss forecasting, but will claim that it is in need of an important corrective: a kind of self-reflective Science Fiction (hereafter: SF) and the specific critical creativity associated with it. This approach is especially yielding when looking at the case of China. If for the longest time, Science Fiction has been thought of as a western genre, the following suggests that with new movements such as Asian Futurism, Sinofuturism, Afrofuturism or Gulf Futurism, one can observe a new multilateralism taking hold when it comes to the projection and description of possible futures. The Sinofuturism movement will here function as a case study, as it is well suited to point to the innovative power of non-traditional SF. Already one of its forerunners, 1980s Cyberpunk introduced a changing power differential between the east (Japan at the time) and the west, retiring older orientalist and colonial dreams of dominating Asia. This article suggests that this changing power differential can be updated and re-read via the rise of Sinofuturism, its visions and its politics and that it has already become an important socio-political phenomenon to study with which to study cultural Asian-western interactions for times to come.
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Shipko, David. "Neoliberalism and Cyberpunk Science Fiction: Living on the Edge of Burnout by Caroline Alphin." Science Fiction Studies 49, no. 3 (November 2022): 550–52. http://dx.doi.org/10.1353/sfs.2022.0052.
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Yu, Kuiqian. "An Analysis of Cultural Adaptation in Video Game Localization --A Case Study of Cyberpunk 2077: Phantom Liberty." Lecture Notes in Education Psychology and Public Media 37, no. 1 (January 15, 2024): 242–52. http://dx.doi.org/10.54254/2753-7048/37/20240556.
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This thesis examines the localization of the DLC "Phantom Liberty" in the video game "Cyberpunk 2077" using Yang Shizhang's cultural adaptation strategy. It explores four sub-strategies: cultural assimilation, cultural weakening, cultural transformation, and cultural beautification. The localization process faces challenges due to the extensive volume of game text and the inclusion of science fiction terminology and cultural references. Previous research on game localization and cultural adaptation strategies is reviewed, highlighting the significance of cultural adaptation in game translation. Factors such as playability, censorship, game experience, and business practices are considered. Through a case study of the Chinese localization of "Cyberpunk 2077: Phantom Liberty", focusing on subtitles and dialogue translations, it is concluded that the localization team effectively employs cultural adaptation strategies to enhance the immersion and enjoyment of Chinese players. The thesis suggests that the gaming industry should prioritize cultural adaptation patterns in video game localization.
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Donets, Paul. "STYLISTIC MEANS OF EXPRESSING TRANSHUMANISM IN “SPRAWL” TRILOGY BY WILLIAM GIBSON." Naukovy Visnyk of South Ukrainian National Pedagogical University named after K. D. Ushynsky: Linguistic Sciences 18, no. 28 (July 2019): 72–85. http://dx.doi.org/10.24195/2616-5317-2019-28-7.
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The article examines stylistic devices in which American-Canadian writer William Gibson expresses transhumanist ideas. The author is famous for being one of the pioneers and brightest representatives of science fiction subgenre, known as cyberpunk. His debut trilogy “Sprawl”, which touches upon social, moral and ethical issues of using advanced technologies, has been chosen as an object to be studied. It is found out that the message translated by the author is controversial: while having some obvious transhumanist indications, it also has various alarmist traits, which can be observed at stylistic and lexical level. In its simplest form, this is manifested in the special use of epithets, metaphors, similes, hyperbolas and other stylistic means. In some cases the series rather opposes transhumanism than reproduces its techno-optimistic discourse. It follows the warning trends of modern English-language science fiction, relying on such classic dichotomies as “natural / artificial” and “human / non-human”. The tropes and figures of speech used by the author are in most cases emotionally expressive, that is, they contain elements of value (both positive and negative).
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Reina-Rozo, Juan David. "Art, Energy and Technology: the Solarpunk Movement." International Journal of Engineering, Social Justice, and Peace 8, no. 1 (March 5, 2021): 55–68. http://dx.doi.org/10.24908/ijesjp.v8i1.14292.
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The purpose of this text is to reflect on the ways that science fiction allows criticism on the modern technology path. Imagination has allowed us to think of some ends of the world, but it has been a privileged space. Creating other possible futures for our relationship with energy is essential. Corporate renewable energy projects are emerging in corners of the planet where green capitalism has not yet reached. In this way, the creation of alternatives to centralized and corporate models of energy generation, distribution and consumption must go through new potentialities of inhabiting new possible futures. Science fiction is a literature genre that has inspired generations of people assembling art and techno-science as well as dystopia. Solarpunk has been consolidated as a space of counter-cultural hope to allow us to go beyond social-ecological injustices and growing epistemic and ontological violence. This genre is derived from other currents such as Cyberpunk, Steampunk and Dieselpunk, elucidating another relationship between technology, society and nature, nourished in turn by climate sci-fi, Indigenous and Afro-futurist science fiction. In this sense, a concept revision is made in three spheres: i) historical, based on its digital origins; ii) literary, based on the edited anthologies and iii) academic, of the reflections that it has raised. Finally, the Solarpunk Manifesto, revealed at the beginning of 2020, is shared in order to continue its co-creation.
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YU, Zemei. "What Put “Punk” into the Cyber World? — The Punk Flavor in the Cyberpunk Science Fiction." Comparative Literature: East & West 17, no. 1 (October 2012): 88–102. http://dx.doi.org/10.1080/25723618.2012.12015531.
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Finkelstein, David. "Cyberpunk and Cyberculture: Science Fiction and the Work of William Gibson. Dani Cavallaro , William Gibson." Library Quarterly 72, no. 3 (July 2002): 386–88. http://dx.doi.org/10.1086/lq.72.3.40039769.
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Siedlecka, Paulina. "Transhumanizm w uniwersum „Wiedźmina”." Bibliotekarz Podlaski Ogólnopolskie Naukowe Pismo Bibliotekoznawcze i Bibliologiczne 61, no. 4 (March 12, 2024): 99–111. http://dx.doi.org/10.36770/bp.851.
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In the 21st century, concepts of human modification and improvement increasingly appear in scientific literature, extending beyond the realm of fantasy. Influenced by successful, advanced technological experiments, these concepts are transitioning from literary fiction to more serious philosophical discourse. This ancient quest first found literary expression in the 19th century, notably in the works of Jules Verne. Transhumanism in fantasy is primarily associated with science fiction, featuring human enhancement through advanced technology in narratives about distant futures, space travel, other planets, and the cyberpunk genre. However, the presence of transhumanist themes in fantasy literature receives less attention. In these cases, modifications are typically achieved through spells or the magical properties of potions and plants. In Poland, the most notable example is Andrzej Sapkowski’s The Witcher universe, further developed by CD Projekt Red’s video games. The most literal example is the witchers, monster slayers created through magical mutations. Wizards represent a less obvious group of enhanced characters. Similarly, Princess Cirilla Fiona Elen Riannon embodies transhumanist aspirations. These examples collectively illustrate the diverse manifestations of transhumanism in fantasy literature.
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Chen, Mi, Noritah Omar, Zainor Izat Binti Zainal, and Mohammad Ewan Bin Awang. "From Urban Space to Cyberspace: A Research on Spatial Writing and Human-Android Relations in Do Androids Dream of Electric Sheep?" Theory and Practice in Language Studies 13, no. 12 (December 1, 2023): 3157–65. http://dx.doi.org/10.17507/tpls.1312.13.
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Philip K. Dick takes the highly computerized but ruined Los Angeles of the United States after the post-apocalyptic war as the background and brings the cyberspace struggle between androids and humans as the novel's theme, sketching a cyberpunk society in which humans and androids fight against each other. The novel Do Androids Dream of Electric Sheep? invites people to think about cyberspace and human-androids subjectivity. Inspired by Slavoj Zizek's critical theory of cyberspace, this paper uses this science-fiction force as a text to explore how contemporary American science fiction reconstructs a revolutionary human-androids subject in cyberspace, challenging human subjectivity in the urban space. Faced with human-android coexistence, Dick affirms the coexistence of multiple subjects using equal dialogue, fully exploits the advantages of androids and humans, and constructs the subject with human-androids. Through an in-depth study of androids, this paper concludes that in a human-androids coexistence space, humans and androids should not be in a master-slave relationship; instead, they are each other's constitutive Other. Humans should try to break the boundary between self and others to accept a pluralistic and open subject.
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Priyadharshini, S. Sarayu, and S. Patchainayagi. "Impact of Artificial Intelligence, Bio Terrorism and Corporate Culture in Society: A Post-Modernist Critique on ‘Windup Girl’." Theory and Practice in Language Studies 12, no. 10 (September 30, 2022): 2048–53. http://dx.doi.org/10.17507/tpls.1210.11.
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Bio Terrorism is a form of terrorism in which biological agents such as pathogens, fungi, viruses, and toxins are deliberately unleashed onto the world in order to kill a wide range of humans. Bio punk theory investigates the ramifications that are most commonly associative to the rapid advances made in the field of biotechnology, synthetic biology, and agricultural biotechnology. Bio Punk is the futuristic derivative of cyberpunk theory, subgenre of science fiction. Paolo Bacigalupi's "Windup Girl" depicts the impact of corporate culture and how an advance in biotechnology eventually leads to bioterrorism. This article delves into the topic of Artificial Intelligence, bioterrorism, corporate culture, and its impact on people and society.
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Krynytska, Nataliya. "MUNDANE SCIENCE FICTION: LOSS OF DREAMS OR MATURITY?" CONTEMPORARY LITERARY STUDIES, no. 18 (December 13, 2021): 59–65. http://dx.doi.org/10.32589/2411-3883.18.2021.246854.
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The aim of the paper is to study the role of the mundane in contemporary culture based on the mundane science fiction (MSF). The term originated in 2004 thanks to «The Mundane Manifesto» by Geoff Ryman and his anonymous co-authors who argued for a focus on the modern science paradigm instead of dreams of outer space. The Manifesto outlines SF subgenre, where the setting is in the near future on the Earth or within the Solar System, excluding interstellar travel or contact with aliens. MSF suggests the believable use of technology and science, as it exists at the current time or a plausible extension of existing technology. There is a debate about the genre limits and its canonical works since it also covers cyberpunk, dystopia, etc. Remarkably, in the Soviet literature, such a genre called «near-future science fiction» existed in the 1940s and 1950s. It is a subgenre of «hard» SF focusing on the inventions useful for the national economy and lacking psychological depth of characters. This literature mostly had low artistic quality because of the Soviet ideological pressure and many limitations.The benefits of the paper are the following. First, the author distinguishes between two ma in approaches to SF, namely a more practical and literal reception and a more metaphorical reception. The former is characteristic of readers of realistic literature who try to find the true-to-life elements in SF blamed as escapism. The latter is close to the SF fans. However, blaming SF for escapism seems an excessive sociologizing of literature and ignoring the great role of metaphor in cultural development. Consequently, MSF is an effort to bridge a gap between SF and realistic literature. Second, the paper presents the first attempt to compare MSF to the Soviet «near-future SF». The author argues that since such a «near-future SF» occupies a niche in Western literature, it is a sign of the global changesthat are taking place during the lifetime of the current generation, bringing, in addition to progress, the acute threat of environmental catastrophe. Moreover, the role of neo Marxism, on the one hand, and technophobia, on the other hand, are emphasized. Third, for the first time the possible connections between MSF and the frontier myth important for the American national cultural mythology are studied. At the core of Kim Stanley Robinson’s novel «Aurora» (2015) and James Gray’s movie «Ad Astra» (2019), MSF is regarded as a rejection of the ideology «space: the final frontier». Both works shift the focus from the global to the personal, from the unusual to the mundane, from expansion and colonization to the internal problems. The author concludes that the anthropological turn occurs in SF as well: there is a loss of metaphor, allegory, and archetypal basis, an abandonment of escapism, Enlightenment utopianism, belief in progress, romanticism, and industrialism in favor of more realistic view on the future of humankind. Unfortunately, in many cases, «mundane» means not only «mature» but «boring» here, making SF more science than fiction.
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A. Faiq, Dr Tatheer. "Literary Visions in Gibson's Neuromancer and Cyberspace." International Journal of Professional Studies 17, no. 1 (2024): 252–55. http://dx.doi.org/10.37648/ijps.v17i01.019.
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This paper discusses the development of the cultural transformation in the reception of AI and how the conception of the killer machines has changed into a more optimistic human view on science fiction and the way in which cyber effect overcomes the boundaries between the real and the virtual worlds. The Neuromancer by William Gibson is a novel published in 1984 and its popularity has been very much associated in the cultural change of our human conceptions of AI. As a result by 2007 it had sold more than 6.5 million copies worldwide in addition to receiving many esteemed awards. This paper examines the novel literary and cultural influences in evolving the cyberpunk genre.
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Bishop, Katherine E. "Ecological Recentering in William Gibson’s The Peripheral." Polish Journal for American Studies, no. 12 (Autumn 2018) (April 30, 2022): 319–34. http://dx.doi.org/10.7311/pjas.12/2/2018.05.
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William Gibson’s response to the rise of computing established him as a pioneering voice in twentieth-century science fiction, his finger not just on but shaping the pulse of his time. Gibson’s novel The Peripheral (2014) is no different. It responds to current, rising anxieties pertaining to climate change, shifting from his earlier ecoperipheral cyberpunk purview to a more holistic one, in which ecology is at least as much at the forefront of the future as is technology. This article draws on and expands Bakhtin’s chronotope to investigate how Gibson uses ecological time, particularly plant time, to reorient the trajectory of future imaginings. In doing so, he enmeshes that which had previously been relegated to the margins in his work, both socially and environmentally.
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Rumpala, Yannick. "Problématiser les effets du technocapitalisme par la fiction ? Des marges aux mondes sociaux du cyberpunk." Déviance et Société Vol. 45, no. 2 (June 2, 2021): 265–88. http://dx.doi.org/10.3917/ds.452.0067.
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Zakarneh, Bilal, Nagaletchimee Annamalai, Enas Khalil Alquqa, Khaled M. Mohamed, and Najeh Rajeh Al Salhi. "Virtual Reality and Alternate Realities in Neal Stephenson’s “Snow Crash”." World Journal of English Language 14, no. 2 (January 19, 2024): 244. http://dx.doi.org/10.5430/wjel.v14n2p244.
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Cyberpunk literature encapsulates the genre's essence by representing technology integration and human existence in a dark, impending future. It shows a society rife with disparities and introduces unconventional heroes who navigate a world where the boundaries between the virtual and tangible realms. The primary objective of this research is to examine the representations of Virtual Reality and Alternate Reality in cyberpunk literature, mainly focusing on Neal Stephenson's "Snow Crash." The focus lies on how this significant work illustrates the portrayal of virtual and alternate realities in American science fiction, viewed through Postmodernism Literary Theory. An extensive discussion revealed that "Snow Crash" is a platform for addressing societal issues through its sturdy framework, examination of human interactions, and ethical considerations. It allows writers to explore intricate ideas, particularly emphasizing the significance of technology and scientific advancement. This exploration delves into the transformative potential of technology on society, ethics, and human experience, allowing for insightful social commentary. Also, "Snow Crash" mirrors societal shifts in scientific, technological, social, and cultural aspects affected by economic systems like mass consumerism and multinational capitalism. It embodies a paradigm that vividly portrays postmodern ideology, challenging established notions, especially concerning identity, within postmodern societies. Finally, the study's implications and limitations are discussed.
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P, Jushaini. "Exploring the Facts and Fantasies in Neal Town Stephenson’s ‘The Diamond Age: Or a Young Lady's Illustrated Primer’." SMART MOVES JOURNAL IJELLH 8, no. 3 (March 28, 2020): 9. http://dx.doi.org/10.24113/ijellh.v8i3.10479.
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Literature enables people to think out of the box and connect with new ideas. At the same time, it takes us back and helps us know more about the life led by our ancestors. As a great foundation of life, literature fosters the overall development of the people and the society through inspiring stories, motivating tales and futuristic writings. We live in a world of technological advancements and Science Fiction stories are the profound ways to introduce extrapolation and speculation in literature. Built on a strong foundation of realistic concepts, sci-fi stories develop a futuristic world of limitless possibilities. Sci-fi stories take us to an exciting world where one witness unimaginable applications of science and technologies.
Neal Town Stephenson is an American writer well-known for writing science fiction, cyberpunk and postcyberpunk stories. He belongs to a prestigious family of scientists and engineers. His father was a biochemistry professor and his paternal grandfather, a physics professor. After completing his studies from Boston University, he started working as an advisor for Blue Origin, a company specialized in developing spacecraft and space launch systems. Currently, he is serving as the chief futurist for Magic Leap. He also cofounded Subutai Corporation, a company dedicated to developing interactive fiction projects.
The Diamond Age: Or, a Young Lady's Illustrated Primer is a postcyberpunk novel by Neal Town Stephenson. The novel’s protagonist is named Nell, who is a thete, meaning a person who is not a member of any of the phyles. The entire plot is set in a future nanotech world where three forms of tribes or phyles exist, known as the Han, the Neo-Victorian New Atlantis, and the Nippon. The Diamond Age details some of the applications of nanotechnology such as chevaline, smart paper, etc. This journal is an analysis of extrapolation and speculation used in the sci-fi novel, The Diamond Age, written with an aim to explore different facts and fantasies created by the author.
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El Ghaoui, Lisa. "Du cyberpunk au connectivisme : la littérature de science-fiction comme outil d’analyse de la culture médiatique et source de contre-culture." Cahiers d’études italiennes, no. 11 (June 15, 2010): 157–69. http://dx.doi.org/10.4000/cei.132.
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Mandal, Bipasha, and Smriti Singh. "(Dis)embodied Labour?: Assessing the Body under Capitalism in William Gibson’s Neuromancer." American, British and Canadian Studies 40, no. 1 (June 1, 2023): 126–49. http://dx.doi.org/10.2478/abcsj-2023-0010.
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Abstract Science fiction writer William Gibson is widely recognised for revolutionising the field as he is often considered to be the father of the sub-genre called cyberpunk. He had a significant cultural impact and his seminal novel Neuromancer has been lauded for the use of ‘cyberspace.’ The concept of ‘cyberspace’ posits the notion of disembodiment, which postulates the probable dissolution of the duality between the mind and the body and the subsequent transgression of this binary. It promises a space beyond the mortal flesh, but it also reinstates the power relations that we get to experience in the real world. The novel offers an insight into transgressions of the limitations of the flesh; however, in Gibson’s narrative there seems to be no overcoming the relentless assault of capitalism onto the bodies. In other words, the power relations of the real world are also implicated in the virtual space of Neuromancer’s characters. This article will look into disembodied labour and how the body of the worker becomes the site that the capitalists manipulate and control for their own profit, and almost always at the expense of the well-being of the worker.
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Dewhurst, E. Brown. "On the Soul and the Cyberpunk Future: St Macrina, St Gregory of Nyssa and Contemporary Mind/Body Dualism." Studies in Christian Ethics 33, no. 4 (July 12, 2019): 443–62. http://dx.doi.org/10.1177/0953946819863017.
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In On the Soul and the Resurrection, St Macrina and St Gregory of Nyssa consider what the soul is, and its relationship to our body and identity. Gregory notes the way that our bodies are always changing, and asks which is most truly our ‘real’ body if we are always in a state of growth, decay and transience? What physical body will be with us at the resurrection? If our body is as important to our identity as our soul, then who am I when my body changes? Macrina answers that our identity is bodily, but that the sufferings and passages of time that alter our bodies mean that we are an imperfect version of ourselves in this life. The person that we will be at the resurrection will be free from the influence of evil and the ravages of impermanence. Modern-day science fiction wrestles with Gregory’s problem—where is my identity located? If my body is altered beyond recognition, or my mind transferred to a new body, am I still me? These cyberpunk and transhumanist worries call to mind the ancient topic of mind/body dualism, and Macrina and Gregory have some surprisingly relevant insights to offer to our contemporary technological dilemmas.
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Rumpala, Yannick. "Réguler les intelligences artificielles ? De l’intérêt de revenir aux fictions du cyberpunk pour comprendre un défi non résolu." Droit et société N° 113, no. 1 (August 24, 2023): 157–79. http://dx.doi.org/10.3917/drs1.113.0157.
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Au sein de la science-fiction, le sous-genre cyberpunk a été important dans la représentation spéculative des « intelligences artificielles » et de leurs effets. Entre fascination et anxiété, ces récits littéraires offrent aussi un laboratoire réalisant un travail de problématisation et faisant déjà apparaître un ensemble d’enjeux de régulation et de contrôle. Partant des principales œuvres de ce courant, notamment celles des premiers auteurs américains des années 1980, l’article propose d’appréhender ces représentations et ce que ces mises en scène révèlent comme difficultés ou même risques pour les humains dans leurs rapports avec ces entités. Il revient ensuite plus précisément sur les tentatives esquissées pour retrouver des formes de contrôle et, surtout, sur les limites presque inévitables qu’elles permettent de repérer et de penser.
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Crosby, Phillip. "Towards an Anti-Antiutopia." Enquiry The ARCC Journal for Architectural Research 20, no. 2 (November 10, 2023): 79–91. http://dx.doi.org/10.17831/enqarcc.v20i2.1159.
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This paper examines Darko Suvin’s and Kim Stanley Robinson’s assertion that the late-stage capitalism and neoliberalism of our world can be understood as an “antiutopia” that actively works to suppress the imagination of better futures. It argues that the relatively new science fiction sub-genre of solarpunk—which sets itself in direct opposition to the dystopian visions of the more well-known subgenre cyberpunk and imagines worlds that focus on the community rather than the individual, on environmental sustainability rather than environmental degradation, on social justice rather than subjugation and inequality, and on optimism rather than nihilism—offers some of the most promising paths toward the rejection of this antiutopia in favor of an anti-antiutopian (and therefore utopian) approach that actively works to bring about a better future. The paper suggests that the solarpunk futures currently emerging in literature, art, and online communities offer architects, landscape architects, and urban designers powerful inspiration for the future of our increasingly urban world. It examines a selection of short stories, novels, films, and other media—as well as innovative projects of urbanism—for examples of how embracing the practical utopianism of solarpunk can provide both visions of better worlds and potential paths for achieving them.
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Edwards, Paul N. "Cyberpunks in Cyberspace: The Politics of Subjectivity in the Computer Age." Sociological Review 42, no. 1_suppl (May 1994): 69–84. http://dx.doi.org/10.1111/j.1467-954x.1994.tb03410.x.
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In the Cold War, Americans constructed the political world as a closed system of ideological conflict. Computers were developed to support a closed-world discourse with centralized, computerized military command and control, embodied in Vietnam-era systems and Reagan's Strategic Defense Initiative. Simultaneously, at the level of individual minds, a cyborg discourse about intelligent machines linked the microworlds constituted by computer programs to human thought processes. Popular science fiction of the 1980s, such as the Star Wars film trilogy, Neuromancer, and The Terminator merged closed-world political themes, such as military computing and global conflict, with cyborg discourse about machine subjectivity and virtual space. This political history provides a critical counterpoint to cyberpunks' overenthusiastic embrace of cyberspace.
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Ward, Annie. "I’m a Cyborg, But That’s OK: The Boundary Blurring Work of Lynn Hershman Leeson." Frames Cinema Journal 20 (November 16, 2022): 117–42. http://dx.doi.org/10.15664/fcj.v20i0.2515.
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Since the genesis of cyberpunk, narratives told by science fiction authors and scientists alike have been preoccupied with disembodiment. As virtual reality technologies are becoming more accessible, the idea that the human mind will soon be able to separate from the body is no longer so fantastical. Katherine Hayles’ How We Became Posthuman charts the journey of how, in the popular consciousness, the immaterial mind has become privileged over the material body. Hayles and other theorists, like Anne Balsamo, push back against the primacy of the disembodied and urge a return to the body. These texts fail to acknowledge that women and queer individuals benefit from the ability to control how they are represented in digital spaces.
I propose a feature article which suggests that feminists and queer theorists need not focus on a strict materialism, and instead embrace the partiality of existence within marginalized bodies. Focusing on Lynn Hershman Leeson’s work - specifically Teknolust and her performance of Roberta Breitmore - alongside Donna Haraway’s “A Cyborg Manifesto”, I examine how existence in everyday online spaces like VR chatrooms and social media platforms can blur the boundaries (especially mind/body) which construct traditional notions of identity. Using this framework, I ultimately argue that modern feminists and queer theorists should avoid alleigiance to rigid descriptions of gender and sexuality, and instead embrace the ways in which virtual reality and online existence allow for fragmented experiences of identity and embodiment which can be liberating for people in oppressed bodies.