A49.Inglish BCEnc. Blauwe Kaas Encyclopedie, Duaal Hermeneuties Kollegium.
Inglish Site.49.
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TO THE THRISE HO-
NOVRABLE AND EVER LY-
VING VERTVES OF SYR PHILLIP
SYDNEY KNIGHT, SYR JAMES JESUS SINGLETON, SYR CANARIS, SYR LAVRENTI BERIA ; AND TO THE
RIGHT HONORABLE AND OTHERS WHAT-
SOEVER, WHO LIVING LOVED THEM,
AND BEING DEAD GIVE THEM
THEIRE DVE.
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In the beginning there is darkness. The screen erupts in blue, then a cascade of thick, white hexadecimal numbers and cracked language, ?UnusedStk? and ?AllocMem.? Black screen cedes to blue to white and a pair of scales appear, crossed by a sword, both images drawn in the jagged, bitmapped graphics of Windows 1.0-era clip-art?light grey and yellow on a background of light cyan. Blue text proclaims, ?God on tap!?
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Introduction.
Yes i am getting a little Mobi-Literate(ML) by experimenting literary on my Mobile Phone. Peoplecall it Typographical Laziness(TL).
The first accidental entries for the this part of this encyclopedia.
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This is TempleOS V2.17, the welcome screen explains, a ?Public Domain Operating System? produced by Trivial Solutions of Las Vegas, Nevada. It greets the user with a riot of 16-color, scrolling, blinking text; depending on your frame of reference, it might recall ?DESQview, the ?Commodore 64, or a host of early DOS-based graphical user interfaces. In style if not in specifics, it evokes a particular era, a time when the then-new concept of ?personal computing? necessarily meant programming and tinkering and breaking things.
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Index.
170.Post-Structuralism.
171.Taboo.
172.Cyberpunk.
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170.Post-Structuralism.
Post-structuralism is a label formulated by American academics to denote the heterogeneous works of a series of mid-20th-century French and continental philosophers and critical theorists who came to international prominence in the 1960s and '70s. A major theme of post-structuralism is instability in the human sciences, due to the complexity of humans themselves and the impossibility of fully escaping structures in order that we might study them.
Post-structuralism is a response to structuralism. Structuralism is an intellectual movement developed in Europe from the early to mid-20th century. It argued that human culture may be understood by means of a structure?modeled on language (i.e., structural linguistics)?that differs from concrete reality and from abstract ideas?a "third order" that mediates between the two. Post-structuralist authors all present different critiques of structuralism, but common themes include the rejection of the self-sufficiency of the structures that structuralism posits and an interrogation of the binary oppositions that constitute those structures. Writers whose work is often characterised as post-structuralist include Jacques Derrida, Michel Foucault, Gilles Deleuze, Judith Butler, Jacques Lacan, Jean Baudrillard, and Julia Kristeva, although many theorists who have been called "post-structuralist" have rejected the label.
The movement is closely related to postmodernism. As with structuralism, antihumanism is often a central tenet. Existential phenomenology is a significant influence; Colin Davis has argued that post-structuralists might just as accurately be called "post-phenomenologists". Some commentators have criticized post-structuralism for being radically relativistic or nihilistic; others have objected to its extremity and linguistic complexity. Others see it as a threat to traditional values or professional scholarly standards.
The author's intended meaning is secondary to the meaning that the reader perceives. Also the author's identity as a stable "self" with a single, discernible "intent" is a fictional construct. Post-structuralism rejects the idea of a literary text having a single purpose, a single meaning, or one singular existence. Instead, every individual reader creates a new and individual purpose, meaning, and existence for a given text. To step outside of literary theory, this position is generalizable to any situation where a subject perceives a sign. Meaning (or the signified, in Saussure's scheme, which is as heavily presumed upon in post-structuralism as in structuralism) is constructed by an individual from a signifier. This is why the signified is said to 'slide' under the signifier, and explains the talk about the "primacy of the signifier."
A post-structuralist critic must be able to use a variety of perspectives to create a multifaceted interpretation of a text, even if these interpretations conflict with one another. It is particularly important to analyze how the meanings of a text shift in relation to certain variables, usually involving the identity of the reader (for example: class, racial, or sexual identity)
Destabilized meaning.
See also: Meaning (philosophy of language)
In the post-structuralist approach to textual analysis, the reader replaces the author as the primary subject of inquiry. This displacement is often referred to as the "destabilizing" or "decentering" of the author, though it has its greatest effect on the text itself. Without a central fixation on the author, post-structuralists examine other sources for meaning (e.g., readers, cultural norms, other literature, etc.). These alternative sources are never authoritative, and promise no consistency.
In his essay "Signification and Sense," Emmanuel Levinas remarked on this new field of semantic inquiry:
...language refers to the position of the listener and the speaker, that is, to the contingency of their story. To seize by inventory all the contexts of language and all possible positions of interlocutors is a senseless task. Every verbal signification lies at the confluence of countless semantic rivers. Experience, like language, no longer seems made of isolated elements lodged somehow in a Euclidean space... [Words] signify from the "world" and from the position of one who is looking.
? Levinas, Signification and Sense, Humanism of the Other, r. Nidra Poller.
Deconstruction.
Main article: Deconstruction
A major theory associated with Structuralism was binary opposition. This theory proposed that there are certain theoretical and conceptual opposites, often arranged in a hierarchy, which human logic has given to text. Such binary pairs could include Enlightenment/Romantic, male/female, speech/writing, rational/emotional, signifier/signified, symbolic/imaginary.
Post-structuralism rejects the notion of the essential quality of the dominant relation in the hierarchy, choosing rather to expose these relations and the dependency of the dominant term on its apparently subservient counterpart. The only way to properly understand these meanings is to deconstruct the assumptions and knowledge systems that produce multiplicity, the illusion of singular meaning.
Structuralism was an intellectual movement in France in the 1950s and 1960s that studied the underlying structures in cultural products (such as texts) and used analytical concepts from linguistics, psychology, anthropology, and other fields to interpret those structures. It emphasized the logical and scientific nature of its results.
Post-structuralism offers a way of studying how knowledge is produced and critiques structuralist premises. It argues that because history and culture condition the study of underlying structures, both are subject to biases and misinterpretations. A post-structuralist approach argues that to understand an object (e.g., a text), it is necessary to study both the object itself and the systems of knowledge that produced the object.
Historical vs. descriptive viewEdit
Post-structuralists generally assert that post-structuralism is historical, and they classify structuralism as descriptive.[citation needed] This terminology relates to Ferdinand de Saussure's distinction between the views of historical (diachronic) and descriptive (synchronic) reading. From this basic distinction, post-structuralist studies often emphasize history to analyze descriptive concepts. By studying how cultural concepts have changed over time, post-structuralists seek to understand how those same concepts are understood by readers in the present. For example, Michel Foucault's Madness and Civilization is both a history and an inspection of cultural attitudes about madness. The theme of history in modern Continental thought can be linked to such influences as Georg Wilhelm Friedrich Hegel, Friedrich Nietzsche's On the Genealogy of Morals and Martin Heidegger's Being and Time.
Structuralists also seek to understand the historical interpretation of cultural concepts, but focus their efforts on understanding how those concepts were understood by the author in his or her own time, rather than how they may be understood by the reader in the present.
Scholars between both movementsEdit
The uncertain distance between structuralism and post-structuralism is further blurred by the fact that scholars generally do not label themselves as post-structuralists. Some scholars associated with structuralism, such as Roland Barthes, also became noteworthy in post-structuralism. Lévi-Strauss, Lacan, Barthes, and Foucault were the so-called "Gang of Four" of structuralism. All but Lévi-Strauss became prominent post-structuralists. The works of Jacques Derrida, Gilles Deleuze, Michel Foucault and Julia Kristeva are also counted as prominent examples of post-structuralism.
The critical reading carried out by these thinkers sought to find contradictions that an author includes, supposedly inevitably, in his work. Those inconsistencies are used to show that the interpretation and criticism of any literature is in the hands of the reader and includes that reader's own cultural biases and assumptions. While many structuralists first thought that they could tease out an author's intention by close scrutiny, they soon argued that textual analysis discovered so many disconnections that it was obvious that their own experiences lent a view that was unique to them.
Some observers from outside the post-structuralist camp have questioned the rigor and legitimacy of the field. American philosopher John Searle argued in 1990 that "The spread of 'poststructuralist' literary theory is perhaps the best known example of a silly but noncatastrophic phenomenon." Similarly, physicist Alan Sokal in 1997 criticized "the postmodernist/poststructuralist gibberish that is now hegemonic in some sectors of the American academy." Literature scholar Norman Holland argued that post-structuralism was flawed due to reliance on Saussure's linguistic model, which was seriously challenged by the 1950s and was soon abandoned by linguists: "Saussure's views are not held, so far as I know, by modern linguists, only by literary critics and the occasional philosopher. [Strict adherence to Saussure] has elicited wrong film and literary theory on a grand scale. One can find dozens of books of literary theory bogged down in signifiers and signifieds, but only a handful that refer to Chomsky."
Post-structuralism emerged in France during the 1960s as a movement critiquing structuralism. According to J.G. Merquior a love?hate relationship with structuralism developed amongst many leading French thinkers in the 1960s.
The period was marked by political anxiety, as students and workers alike rebelled against the state in May 1968, nearly causing the downfall of the French government. At the same time, however, the support of the French Communist Party (FCP) for the oppressive policies of the USSR contributed to popular disillusionment with orthodox Marxism. As a result, there was increased interest in alternative radical philosophies, including feminism, western Marxism, anarchism, phenomenology, and nihilism. These disparate perspectives, which Michel Foucault later labeled "subjugated knowledges," were all linked by being critical of dominant Western philosophy and culture. Post-structuralism offered a means of justifying these criticisms, by exposing the underlying assumptions of many Western norms.
Two key figures in the early post-structuralist movement were Jacques Derrida and Roland Barthes. In a 1966 lecture "Structure, Sign, and Play in the Discourse of the Human Sciences", Jacques Derrida presented a thesis on an apparent rupture in intellectual life. Derrida interpreted this event as a "decentering" of the former intellectual cosmos. Instead of progress or divergence from an identified centre, Derrida described this "event" as a kind of "play."
Although Barthes was originally a structuralist, during the 1960s he increasingly favored post-structuralist views. In 1967, Barthes published "The Death of the Author" in which he announced a metaphorical event: the "death" of the author as an authentic source of meaning for a given text. Barthes argued that any literary text has multiple meanings, and that the author was not the prime source of the work's semantic content. The "Death of the Author," Barthes maintained, was the "Birth of the Reader," as the source of the proliferation of meanings of the text.
In a 1976 lecture series, Foucault briefly summarized the general impetus of the post-structuralist movement:
...For the last ten or fifteen years, the immense and proliferating criticizability of things, institutions, practices, and discourses; a sort of general feeling that the ground was crumbling beneath our feet, especially in places where it seemed most familiar, most solid, and closest to us, to our bodies, to our everyday gestures. But alongside this crumbling and the astonishing efficacy of discontinuous, particular, and local critiques, the facts were also revealing something... beneath this whole thematic, through it and even within it, we have seen what might be called the insurrection of subjugated knowledges.
? Foucault, Society Must be Defended, 7th January 1976, tr. David Macey.
Post-structuralist philosophers like Derrida and Foucault did not form a self-conscious group, but each responded to the traditions of phenomenology and structuralism. Phenomenology, often associated with two German philosophers Edmund Husserl and Martin Heidegger, rejected previous systems of knowledge and attempted to examine life "just as it appears" (as phenomena). Both movements rejected the idea that knowledge could be centred on the human knower, and sought what they considered a more secure foundation for knowledge.
In phenomenology this foundation would be experience itself; in structuralism, knowledge is founded on the "structures" that make experience possible: concepts, and language or signs. Post-structuralism, in turn, argues that founding knowledge either on pure experience (phenomenology) or systematic structures (structuralism) is impossible. This impossibility was meant not a failure or loss, but a cause for "celebration and liberation."
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171.Taboo.
A taboo is a vehement prohibition of an action based on the belief that such behavior is either too sacred or too accursed for ordinary individuals to undertake, under threat of supernatural punishment. Such prohibitions are present in virtually all societies. The word has been somewhat expanded in the social sciences to strong prohibitions relating to any area of human activity or custom that is sacred or forbidden based on moral judgment and religious beliefs. "Breaking a taboo" is usually considered objectionable by society in general, not merely a subset of a culture.
Etymology.
The term "taboo" comes from the Tongan tapu or Fijian tabu ("prohibited", "disallowed", "forbidden"), related among others to the Maori tapu, Hawaiian kapu, Malagasy fady. Its English use dates to 1777 when the British explorer James Cook visited Tonga. Describing the cultural practices of the Tongans, he wrote:
Not one of them would sit down, or eat a bit of any thing.... On expressing my surprise at this, they were all taboo, as they said; which word has a very comprehensive meaning; but, in general, signifies that a thing is forbidden.
When any thing is forbidden to be eaten, or made use of, they say, that it is taboo.
The term was translated to him as "consecrated, inviolable, forbidden, unclean or cursed". Tabu itself has been derived from alleged Tongan morphemes ta ("mark") and bu ("especially"), but this may be a folk etymology (note that Tongan does not actually have a phoneme /b/), and tapu is usually treated as a unitary, non-compound word inherited from Proto-Polynesian *tapu, in turn inherited from Proto-Oceanic *tabu, with the reconstructed meaning "sacred, forbidden". In its current use on Tonga, the word tapu means "sacred" or "holy", often in the sense of being restricted or protected by custom or law. On the main island, the word is often appended to the end of "Tonga" as Tongatapu, here meaning "Sacred South" rather than "Forbidden South".
Examples.
Sigmund Freud posited that incest and patricide were the only two universal taboos and formed the basis of civilization. However, although cannibalism, in-group murder, and incest are taboo in the majority of societies, modern research has found exceptions for each and no taboo is known to be universal.
Common taboos involve restrictions or ritual regulation of killing and hunting; sex and sexual relationships (primarily incest, necrophilia, miscegenation, adultery, fornication, pedophilia, homosexuality, intermarriage, bestiality, and masturbation); reproduction (abortion, infanticide); the deceased and their graves; as well as food and dining (primarily cannibalism and dietary laws such as vegetarianism, kashrut, and halal). In Madagascar, a strong code of taboos, known as fady, constantly change and are formed from new experiences. Each region, village or tribe may have its own fady.
Taboos often extend to cover discussion of taboo topics, resulting in euphemisms and replacement of taboo words.
The word "taboo" gained popularity at times, with some scholars looking for ways to apply it where other English words had previously been applied. For example, J. M. Powis Smith, in his "The American Bible" (editor's preface 1927), used "taboo" occasionally in relation to Israel's Tabernacle and ceremonial laws, including Exodus 30:36, 29:37; Numbers 16:37,38; Deuteronomy 22:9, Isaiah 65:5, Ezekiel 44:19 and 46:20.
Function.
Communist and materialist theorists have argued that taboos can be used to reveal the histories of societies when other records are lacking. Marvin Harris particularly endeavored to explain taboos as a consequence of ecologic and economic conditions.
Modernity.
Contemporary multicultural societies have established a number of taboos rooted in the perceived injustice and deleterious effects of modern history, particularly neocolonialism. Tribalisms (for example, ethnocentrism and nationalism) and prejudices (racism, sexism, religious extremism) are opposed at times reflexively despite the potentially high cost of diverse societies in terms of trust and solidarity.
Changing social customs and standards also create new taboos, such as bans on slavery; extension of the pedophilia taboo to ephebophilia; prohibitions on alcohol, tobacco, or psychopharmaceutical consumption (particularly among pregnant women); and the employment of politically correct euphemisms ? at times quite unsuccessfully ? to mitigate various alleged forms of discrimination.
Incest itself has been pulled both ways, with some seeking to normalize consensual adult relationships regardless of the degree of kinship (notably in Europe) and others expanding the degrees of prohibited contact (notably in the United States).
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172.Cyberpunk.
Cyberpunk is a subgenre of science fiction in a future setting, noted for its focus on "high tech and low life". It features advanced science, such as information technology and cybernetics, coupled with a degree of breakdown or radical change in the social order.
Cyberpunk plots often center on a conflict among artificial intelligences, and megacorporations, and tend to be set in a future Earth, rather than the far-future settings or galactic vistas found in novels such as Isaac Asimov's Foundation or Frank Herbert's Dune. The settings are usually post-industrial dystopias but tend to be marked by extraordinary cultural ferment and the use of technology in ways never anticipated by its creators ("the street finds its own uses for things"). Much of the genre's atmosphere echoes film noir, and written works in the genre often use techniques from detective fiction.
Classic cyberpunk characters were marginalized, alienated loners who lived on the edge of society in generally dystopic futures where daily life was impacted by rapid technological change, an ubiquitous datasphere of computerized information, and invasive modification of the human body.
?Lawrence Person.
Style and ethos.
Primary exponents of the cyberpunk field include William Gibson, Neal Stephenson, Bruce Sterling, Pat Cadigan, Rudy Rucker, and John Shirley.
Blade Runner can be seen as a quintessential example of the cyberpunk style and theme. Video games, board games, and tabletop role-playing games, such as Cyberpunk 2020 and Shadowrun, often feature storylines that are heavily influenced by cyberpunk writing and movies. Beginning in the early 1990s, some trends in fashion and music were also labeled as cyberpunk. Cyberpunk is also featured prominently in anime and manga: Akira, Gunnm, Ghost in the Shell, Serial Experiments Lain, Dennou Coil, Ergo Proxy and Psycho Pass being among the most notable.
Setting.
Shibuya, Tokyo. Of Japan's influence on the genre, William Gibson said, "Modern Japan simply was cyberpunk."
Cyberpunk writers tend to use elements from hardboiled detective fiction, film noir, and postmodernist prose to describe the often nihilistic underground side of an electronic society. The genre's vision of a troubled future is often called the antithesis of the generally utopian visions of the future popular in the 1940s and 1950s. Gibson defined cyberpunk's antipathy towards utopian SF in his 1981 short story "The Gernsback Continuum," which pokes fun at and, to a certain extent, condemns utopian science fiction.
In some cyberpunk writing, much of the action takes place online, in cyberspace, blurring the border between actual and virtual reality. A typical trope in such work is a direct connection between the human brain and computer systems. Cyberpunk depicts the world as a dark, sinister place with networked computers dominating every aspect of life. Giant, multinational corporations have for the most part replaced governments as centers of political, economic, and even military power.
The economic and technological state of Japan in the 80s influenced Cyberpunk literature at the time. Of Japan's influence on the genre, William Gibson said, "Modern Japan simply was cyberpunk." Cyberpunk is often set in urbanized, artificial landscapes, and "city lights, receding" was used by Gibson as one of the genre's first metaphors for cyberspace and virtual reality.
Protagonists.
One of the cyberpunk genre's prototype characters is Case, from Gibson's Neuromancer. Case is a "console cowboy," a brilliant hacker who had betrayed his organized criminal partners. Robbed of his talent through a crippling injury inflicted by the vengeful partners, Case unexpectedly receives a once-in-a-lifetime opportunity to be healed by expert medical care but only if he participates in another criminal enterprise with a new crew.
Like Case, many cyberpunk protagonists are manipulated, placed in situations where they have little or no choice, and although they might see things through, they do not necessarily come out any further ahead than they previously were. These anti-heroes?"criminals, outcasts, visionaries, dissenters and misfits" call to mind the private eye of detective fiction. This emphasis on the misfits and the malcontents is the "punk" component of cyberpunk.
Society and government.
Cyberpunk can be intended to disquiet readers and call them to action. It often expresses a sense of rebellion, suggesting that one could describe it as a type of culture revolution in science fiction. In the words of author and critic David Brin:
...a closer look [at cyberpunk authors] reveals that they nearly always portray future societies in which governments have become wimpy and pathetic ...Popular science fiction tales by Gibson, Williams, Cadigan and others do depict Orwellian accumulations of power in the next century, but nearly always clutched in the secretive hands of a wealthy or corporate elite.
Cyberpunk stories have also been seen as fictional forecasts of the evolution of the Internet. The earliest descriptions of a global communications network came long before the World Wide Web entered popular awareness, though not before traditional science-fiction writers such as Arthur C. Clarke and some social commentators such as James Burke began predicting that such networks would eventually form.
Media.
Literature.
See also: List of cyberpunk works § Print media and Cyborgs in fiction
The science-fiction editor Gardner Dozois is generally acknowledged as the person who popularized the use of the term "cyberpunk" as a kind of literature, although Minnesota writer Bruce Bethke coined the term in 1980 for his short story "Cyberpunk," which was published in the November 1983 issue of Amazing Science Fiction Stories. The term was quickly appropriated as a label to be applied to the works of William Gibson, Bruce Sterling, Pat Cadigan and others. Of these, Sterling became the movement's chief ideologue, thanks to his fanzine Cheap Truth. John Shirley wrote articles on Sterling and Rucker's significance. John Brunner's 1975 novel The Shockwave Rider is considered by many to be the first cyberpunk novel with many of the tropes commonly associated with the genre, some five years before the term was popularized by Dozois.
William Gibson with his novel Neuromancer (1984) is likely the most famous writer connected with the term cyberpunk. He emphasized style, a fascination with surfaces, and atmosphere over traditional science-fiction tropes. Regarded as ground-breaking and sometimes as "the archetypal cyberpunk work," Neuromancer was awarded the Hugo, Nebula, and Philip K. Dick Awards. Count Zero (1986) and Mona Lisa Overdrive (1988) followed after Gibson's popular debut novel. According to the Jargon File, "Gibson's near-total ignorance of computers and the present-day hacker culture enabled him to speculate about the role of computers and hackers in the future in ways hackers have since found both irritatingly naïve and tremendously stimulating."
Early on, cyberpunk was hailed as a radical departure from science-fiction standards and a new manifestation of vitality. Shortly thereafter, however, some critics arose to challenge its status as a revolutionary movement. These critics said that the SF New Wave of the 1960s was much more innovative as far as narrative techniques and styles were concerned. Furthermore, while Neuromancer's narrator may have had an unusual "voice" for science fiction, much older examples can be found: Gibson's narrative voice, for example, resembles that of an updated Raymond Chandler, as in his novel The Big Sleep (1939). Others noted that almost all traits claimed to be uniquely cyberpunk could in fact be found in older writers' works?often citing J. G. Ballard, Philip K. Dick, Harlan Ellison, Stanis?aw Lem, Samuel R. Delany, and even William S. Burroughs. For example, Philip K. Dick's works contain recurring themes of social decay, artificial intelligence, paranoia, and blurred lines between objective and subjective realities, and the influential cyberpunk movie Blade Runner (1982) is based on his book, Do Androids Dream of Electric Sheep?. Humans linked to machines are found in Pohl and Kornbluth's Wolfbane (1959) and Roger Zelazny's Creatures of Light and Darkness (1968).
In 1994, scholar Brian Stonehill suggested that Thomas Pynchon's 1973 novel Gravity's Rainbow "not only curses but precurses what we now glibly dub cyberspace." Other important predecessors include Alfred Bester's two most celebrated novels, The Demolished Man and The Stars My Destination, as well as Vernor Vinge's novella True Names.
Reception and impact.
Science-fiction writer David Brin describes cyberpunk as "the finest free promotion campaign ever waged on behalf of science fiction." It may not have attracted the "real punks," but it did ensnare many new readers, and it provided the sort of movement that postmodern literary critics found alluring. Cyberpunk made science fiction more attractive to academics, argues Brin; in addition, it made science fiction more profitable to Hollywood and to the visual arts generally. Although the "self-important rhetoric and whines of persecution" on the part of cyberpunk fans were irritating at worst and humorous at best, Brin declares that the "rebels did shake things up. We owe them a debt."
Fredric Jameson considers cyberpunk the "supreme literary expression if not of postmodernism, then of late capitalism itself".
Cyberpunk further inspired many professional writers who were not among the "original" cyberpunks to incorporate cyberpunk ideas into their own works,[citation needed] such as George Alec Effinger's When Gravity Fails. Wired magazine, created by Louis Rossetto and Jane Metcalfe, mixes new technology, art, literature, and current topics in order to interest today?s cyberpunk fans, which Paula Yoo claims "proves that hardcore hackers, multimedia junkies, cyberpunks and cellular freaks are poised to take over the world."
Film and television.
See also: List of cyberpunk works § Films and List of cyberpunk works § Television_and_Web_Series.
A futuristic Los Angeles in Blade Runner.
The film Blade Runner (1982), adapted from Philip K. Dick's Do Androids Dream of Electric Sheep?, is set in 2019 in a dystopian future in which manufactured beings called replicants are slaves used on space colonies and are legal prey on Earth to various bounty hunters who "retire" (kill) them. Although Blade Runner was largely unsuccessful in its first theatrical release, it found a viewership in the home video market and became a cult film. Since the movie omits the religious and mythical elements of Dick's original novel (e.g. empathy boxes and Wilbur Mercer), it falls more strictly within the cyberpunk genre than the novel does. William Gibson would later reveal that upon first viewing the film, he was surprised at how the look of this film matched his vision when he was working on Neuromancer. The film's tone has since been the staple of many cyberpunk movies, such as The Matrix (1999), which uses a wide variety of cyberpunk elements.
The number of films in the genre or at least using a few genre elements has grown steadily since Blade Runner. Several of Philip K. Dick's works have been adapted to the silver screen. The films Johnny Mnemonic and New Rose Hotel, both based upon short stories by William Gibson, flopped commercially and critically.
In addition, "tech-noir" film as a hybrid genre, means a work of combining neo-noir and science fiction or cyberpunk. It includes many cyberpunk films such as Blade Runner, Burst City, The Terminator, Robocop, 12 Monkeys, The Lawnmower Man, Hackers, Hardware, and Strange Days.
Anime and manga.
See also: List of cyberpunk works § Animation.
Cyberpunk themes are widely visible in anime and manga. In Japan, where cosplay is popular and not only teenagers display such fashion styles, cyberpunk has been accepted and its influence is widespread. William Gibson?s Neuromancer, whose influence dominated the early cyberpunk movement, was also set in Chiba, one of Japan?s largest industrial areas, although at the time of writing the novel Gibson did not know the location of Chiba and had no idea how perfectly it fit his vision in some ways. The exposure to cyberpunk ideas and fiction in the mid 1980s has allowed it to seep into the Japanese culture.
Cyberpunk anime and manga draw upon a futuristic vision which has elements in common with western science fiction and therefore have received wide international acceptance outside of Japan. ?The conceptualization involved in cyberpunk is more of forging ahead, looking at the new global culture. It is a culture that does not exist right now, so the Japanese concept of a cyberpunk future, seems just as valid as a Western one, especially as Western cyberpunk often incorporates many Japanese elements.? William Gibson is now a frequent visitor to Japan, and he came to see that many of his visions of Japan have become a reality:
Modern Japan simply was cyberpunk. The Japanese themselves knew it and delighted in it. I remember my first glimpse of Shibuya, when one of the young Tokyo journalists who had taken me there, his face drenched with the light of a thousand media-suns?all that towering, animated crawl of commercial information?said, "You see? You see? It is Blade Runner town." And it was. It so evidently was.
Cyberpunk has influenced many anime and manga including the ground-breaking Akira, Ghost in the Shell, Ergo Proxy, Battle Angel Alita, Megazone 23, Neo Tokyo, Goku Midnight Eye, Cyber City Oedo 808, Bubblegum Crisis, A.D. Police: Dead End City, Angel Cop, Extra, Blame!, Armitage III, Texhnolyze and Psycho-Pass.
Games.
See also: List of cyberpunk works § Video games and List of cyberpunk works § Role-playing games.
Several role-playing games (RPGs) called Cyberpunk exist: Cyberpunk, Cyberpunk 2020 and Cyberpunk v3, by R. Talsorian Games, and GURPS Cyberpunk, published by Steve Jackson Games as a module of the GURPS family of RPGs. Cyberpunk 2020 was designed with the settings of William Gibson's writings in mind, and to some extent with his approval[citation needed], unlike the approach taken by FASA in producing the transgenre Shadowrun game. Both are set in the near future, in a world where cybernetics are prominent. In addition, Iron Crown Enterprises released an RPG named Cyberspace, which was out of print for several years until recently being re-released in online PDF form.
In 1990, in a convergence of cyberpunk art and reality, the United States Secret Service raided Steve Jackson Games's headquarters and confiscated all their computers. This was allegedly because the GURPS Cyberpunk sourcebook could be used to perpetrate computer crime. That was, in fact, not the main reason for the raid, but after the event it was too late to correct the public's impression. Steve Jackson Games later won a lawsuit against the Secret Service, aided by the new Electronic Frontier Foundation. This event has achieved a sort of notoriety, which has extended to the book itself as well. All published editions of GURPS Cyberpunk have a tagline on the front cover, which reads "The book that was seized by the U.S. Secret Service!" Inside, the book provides a summary of the raid and its aftermath.
Cyberpunk has also inspired several tabletop, miniature and board games. Netrunner is a collectible card game introduced in 1996, based on the Cyberpunk 2020 role-playing game.
There are many cyberpunk video games. Popular series include the Deus Ex series, the Syndicate series, System Shock and its sequel. Other games, like Blade Runner, Ghost in the Shell, and the Matrix series, are based upon genre movies, or role-playing games (for instance the various Shadowrun games). CD Projekt RED are currently developing a Cyberpunk game, Cyberpunk 2077.
Music.
See also: List of cyberpunk works § Music.
"Much of the industrial/dance heavy 'Cyberpunk'?recorded in Billy Idol's Macintosh-run studio?revolves around Idol's theme of the common man rising up to fight against a faceless, soulless, corporate world."
?Julie Romandetta.
Some musicians and acts have been classified as cyberpunk due to their aesthetic style and musical content. Often dealing with dystopian visions of the future or biomechanical themes, some fit more squarely in the category than others. Bands whose music has been classified as cyberpunk include Psydoll, Front Line Assembly, Atari Teenage Riot, and Sigue Sigue Sputnik. Some musicians not normally associated with cyberpunk have at times been inspired to create concept albums exploring such themes. Nine Inch Nails' concept album Year Zero fits into this category. Billy Idol's Cyberpunk drew heavily from cyberpunk literature and the cyberdelic counter culture in its creation. 1. Outside, a cyberpunk narrative fueled concept album by David Bowie, was warmly met by critics upon its release in 1995. Many musicians have also taken inspiration from specific cyberpunk works or authors, including Sonic Youth, whose albums Sister and Daydream Nation take influence from the works of Phillip K. Dick and William Gibson respectively.
Vaporwave is also influenced by cyberpunk. It often relies on the commercial side of Neo-Futurists.
Social impact.
Art and architecture.
Berlin's Sony Center.
Some Neo-Futurism artworks and cityscapes have been influenced by cyberpunk, such as the Sony Center in the Potsdamer Platz public square of Berlin, Germany, Cyberport in Hong Kong, and Shanghai.
Society and counterculture.
Several subcultures have been inspired by cyberpunk fiction. These include the cyberdelic counter culture of the late 1980s and early 90s. Cyberdelic, whose adherents referred to themselves as "cyberpunks", attempted to blend the psychedelic art and drug movement with the technology of cyberculture. Early adherents included Timothy Leary, Mark Frauenfelder and R. U. Sirius. The movement largely faded following the dot-com bubble implosion of 2000.
Cybergoth is a fashion and dance subculture which draws its inspiration from cyberpunk fiction, as well as rave and Gothic subcultures. In addition, a distinct cyberpunk fashion of its own has emerged in recent years[when?] which rejects the raver and goth influences of cybergoth, and draws inspiration from urban street fashion, "post apocalypse", functional clothing, high tech sports wear, tactical uniform and multifunction. This fashion goes by names like "tech wear", "goth ninja" or "tech ninja". Important designers in this type of fashion are ACRONYM, Demobaza, Boris Bidjan Saberi, Rick Owens and Alexander Wang.
Furthermore several dubstep producers, like Machine Man and Ghosthack, have found inspiration in cyberpunk themes for their works.
The Kowloon Walled City in Hong Kong (demolished in 1994) is often referenced as the model cyberpunk/dystopian slum as, given its poor living conditions at the time coupled by the city's political, physical, and economic isolation has caused many in academia to be fascinated by the ingenuity of its spawning.
Related genres.
See also: Cyberpunk derivatives.
As a wider variety of writers began to work with cyberpunk concepts, new subgenres of science fiction emerged, some which could be considered as playing off the cyberpunk label, others which could be considered as legitimate explorations into newer territory. These focused on technology and its social effects in different ways. One prominent subgenre is "steampunk," which is set in an alternate history Victorian era that combines anachronistic technology with cyberpunk's bleak film noir world view. The term was originally coined around 1987 as a joke to describe some of the novels of Tim Powers, James P. Blaylock, and K.W. Jeter, but by the time Gibson and Sterling entered the subgenre with their collaborative novel The Difference Engine the term was being used earnestly as well.
Another subgenre is "biopunk" (cyberpunk themes dominated by biotechnology) from the early 1990s, a derivative style building on biotechnology rather than informational technology. In these stories, people are changed in some way not by mechanical means, but by genetic manipulation. Paul Di Filippo is seen as the most prominent biopunk writer, including his half-serious ribofunk. Bruce Sterling's Shaper/Mechanist cycle is also seen as a major influence. In addition, some people consider works such as Neal Stephenson's The Diamond Age to be postcyberpunk.
Cyberpunk works have been described as well-situated within postmodern literature.
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Inglish Site.49.
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TO THE THRISE HO-
NOVRABLE AND EVER LY-
VING VERTVES OF SYR PHILLIP
SYDNEY KNIGHT, SYR JAMES JESUS SINGLETON, SYR CANARIS, SYR LAVRENTI BERIA ; AND TO THE
RIGHT HONORABLE AND OTHERS WHAT-
SOEVER, WHO LIVING LOVED THEM,
AND BEING DEAD GIVE THEM
THEIRE DVE.
***
In the beginning there is darkness. The screen erupts in blue, then a cascade of thick, white hexadecimal numbers and cracked language, ?UnusedStk? and ?AllocMem.? Black screen cedes to blue to white and a pair of scales appear, crossed by a sword, both images drawn in the jagged, bitmapped graphics of Windows 1.0-era clip-art?light grey and yellow on a background of light cyan. Blue text proclaims, ?God on tap!?
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Introduction.
Yes i am getting a little Mobi-Literate(ML) by experimenting literary on my Mobile Phone. Peoplecall it Typographical Laziness(TL).
The first accidental entries for the this part of this encyclopedia.
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This is TempleOS V2.17, the welcome screen explains, a ?Public Domain Operating System? produced by Trivial Solutions of Las Vegas, Nevada. It greets the user with a riot of 16-color, scrolling, blinking text; depending on your frame of reference, it might recall ?DESQview, the ?Commodore 64, or a host of early DOS-based graphical user interfaces. In style if not in specifics, it evokes a particular era, a time when the then-new concept of ?personal computing? necessarily meant programming and tinkering and breaking things.
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Index.
170.Post-Structuralism.
171.Taboo.
172.Cyberpunk.
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170.Post-Structuralism.
Post-structuralism is a label formulated by American academics to denote the heterogeneous works of a series of mid-20th-century French and continental philosophers and critical theorists who came to international prominence in the 1960s and '70s. A major theme of post-structuralism is instability in the human sciences, due to the complexity of humans themselves and the impossibility of fully escaping structures in order that we might study them.
Post-structuralism is a response to structuralism. Structuralism is an intellectual movement developed in Europe from the early to mid-20th century. It argued that human culture may be understood by means of a structure?modeled on language (i.e., structural linguistics)?that differs from concrete reality and from abstract ideas?a "third order" that mediates between the two. Post-structuralist authors all present different critiques of structuralism, but common themes include the rejection of the self-sufficiency of the structures that structuralism posits and an interrogation of the binary oppositions that constitute those structures. Writers whose work is often characterised as post-structuralist include Jacques Derrida, Michel Foucault, Gilles Deleuze, Judith Butler, Jacques Lacan, Jean Baudrillard, and Julia Kristeva, although many theorists who have been called "post-structuralist" have rejected the label.
The movement is closely related to postmodernism. As with structuralism, antihumanism is often a central tenet. Existential phenomenology is a significant influence; Colin Davis has argued that post-structuralists might just as accurately be called "post-phenomenologists". Some commentators have criticized post-structuralism for being radically relativistic or nihilistic; others have objected to its extremity and linguistic complexity. Others see it as a threat to traditional values or professional scholarly standards.
The author's intended meaning is secondary to the meaning that the reader perceives. Also the author's identity as a stable "self" with a single, discernible "intent" is a fictional construct. Post-structuralism rejects the idea of a literary text having a single purpose, a single meaning, or one singular existence. Instead, every individual reader creates a new and individual purpose, meaning, and existence for a given text. To step outside of literary theory, this position is generalizable to any situation where a subject perceives a sign. Meaning (or the signified, in Saussure's scheme, which is as heavily presumed upon in post-structuralism as in structuralism) is constructed by an individual from a signifier. This is why the signified is said to 'slide' under the signifier, and explains the talk about the "primacy of the signifier."
A post-structuralist critic must be able to use a variety of perspectives to create a multifaceted interpretation of a text, even if these interpretations conflict with one another. It is particularly important to analyze how the meanings of a text shift in relation to certain variables, usually involving the identity of the reader (for example: class, racial, or sexual identity)
Destabilized meaning.
See also: Meaning (philosophy of language)
In the post-structuralist approach to textual analysis, the reader replaces the author as the primary subject of inquiry. This displacement is often referred to as the "destabilizing" or "decentering" of the author, though it has its greatest effect on the text itself. Without a central fixation on the author, post-structuralists examine other sources for meaning (e.g., readers, cultural norms, other literature, etc.). These alternative sources are never authoritative, and promise no consistency.
In his essay "Signification and Sense," Emmanuel Levinas remarked on this new field of semantic inquiry:
...language refers to the position of the listener and the speaker, that is, to the contingency of their story. To seize by inventory all the contexts of language and all possible positions of interlocutors is a senseless task. Every verbal signification lies at the confluence of countless semantic rivers. Experience, like language, no longer seems made of isolated elements lodged somehow in a Euclidean space... [Words] signify from the "world" and from the position of one who is looking.
? Levinas, Signification and Sense, Humanism of the Other, r. Nidra Poller.
Deconstruction.
Main article: Deconstruction
A major theory associated with Structuralism was binary opposition. This theory proposed that there are certain theoretical and conceptual opposites, often arranged in a hierarchy, which human logic has given to text. Such binary pairs could include Enlightenment/Romantic, male/female, speech/writing, rational/emotional, signifier/signified, symbolic/imaginary.
Post-structuralism rejects the notion of the essential quality of the dominant relation in the hierarchy, choosing rather to expose these relations and the dependency of the dominant term on its apparently subservient counterpart. The only way to properly understand these meanings is to deconstruct the assumptions and knowledge systems that produce multiplicity, the illusion of singular meaning.
Structuralism was an intellectual movement in France in the 1950s and 1960s that studied the underlying structures in cultural products (such as texts) and used analytical concepts from linguistics, psychology, anthropology, and other fields to interpret those structures. It emphasized the logical and scientific nature of its results.
Post-structuralism offers a way of studying how knowledge is produced and critiques structuralist premises. It argues that because history and culture condition the study of underlying structures, both are subject to biases and misinterpretations. A post-structuralist approach argues that to understand an object (e.g., a text), it is necessary to study both the object itself and the systems of knowledge that produced the object.
Historical vs. descriptive viewEdit
Post-structuralists generally assert that post-structuralism is historical, and they classify structuralism as descriptive.[citation needed] This terminology relates to Ferdinand de Saussure's distinction between the views of historical (diachronic) and descriptive (synchronic) reading. From this basic distinction, post-structuralist studies often emphasize history to analyze descriptive concepts. By studying how cultural concepts have changed over time, post-structuralists seek to understand how those same concepts are understood by readers in the present. For example, Michel Foucault's Madness and Civilization is both a history and an inspection of cultural attitudes about madness. The theme of history in modern Continental thought can be linked to such influences as Georg Wilhelm Friedrich Hegel, Friedrich Nietzsche's On the Genealogy of Morals and Martin Heidegger's Being and Time.
Structuralists also seek to understand the historical interpretation of cultural concepts, but focus their efforts on understanding how those concepts were understood by the author in his or her own time, rather than how they may be understood by the reader in the present.
Scholars between both movementsEdit
The uncertain distance between structuralism and post-structuralism is further blurred by the fact that scholars generally do not label themselves as post-structuralists. Some scholars associated with structuralism, such as Roland Barthes, also became noteworthy in post-structuralism. Lévi-Strauss, Lacan, Barthes, and Foucault were the so-called "Gang of Four" of structuralism. All but Lévi-Strauss became prominent post-structuralists. The works of Jacques Derrida, Gilles Deleuze, Michel Foucault and Julia Kristeva are also counted as prominent examples of post-structuralism.
The critical reading carried out by these thinkers sought to find contradictions that an author includes, supposedly inevitably, in his work. Those inconsistencies are used to show that the interpretation and criticism of any literature is in the hands of the reader and includes that reader's own cultural biases and assumptions. While many structuralists first thought that they could tease out an author's intention by close scrutiny, they soon argued that textual analysis discovered so many disconnections that it was obvious that their own experiences lent a view that was unique to them.
Some observers from outside the post-structuralist camp have questioned the rigor and legitimacy of the field. American philosopher John Searle argued in 1990 that "The spread of 'poststructuralist' literary theory is perhaps the best known example of a silly but noncatastrophic phenomenon." Similarly, physicist Alan Sokal in 1997 criticized "the postmodernist/poststructuralist gibberish that is now hegemonic in some sectors of the American academy." Literature scholar Norman Holland argued that post-structuralism was flawed due to reliance on Saussure's linguistic model, which was seriously challenged by the 1950s and was soon abandoned by linguists: "Saussure's views are not held, so far as I know, by modern linguists, only by literary critics and the occasional philosopher. [Strict adherence to Saussure] has elicited wrong film and literary theory on a grand scale. One can find dozens of books of literary theory bogged down in signifiers and signifieds, but only a handful that refer to Chomsky."
Post-structuralism emerged in France during the 1960s as a movement critiquing structuralism. According to J.G. Merquior a love?hate relationship with structuralism developed amongst many leading French thinkers in the 1960s.
The period was marked by political anxiety, as students and workers alike rebelled against the state in May 1968, nearly causing the downfall of the French government. At the same time, however, the support of the French Communist Party (FCP) for the oppressive policies of the USSR contributed to popular disillusionment with orthodox Marxism. As a result, there was increased interest in alternative radical philosophies, including feminism, western Marxism, anarchism, phenomenology, and nihilism. These disparate perspectives, which Michel Foucault later labeled "subjugated knowledges," were all linked by being critical of dominant Western philosophy and culture. Post-structuralism offered a means of justifying these criticisms, by exposing the underlying assumptions of many Western norms.
Two key figures in the early post-structuralist movement were Jacques Derrida and Roland Barthes. In a 1966 lecture "Structure, Sign, and Play in the Discourse of the Human Sciences", Jacques Derrida presented a thesis on an apparent rupture in intellectual life. Derrida interpreted this event as a "decentering" of the former intellectual cosmos. Instead of progress or divergence from an identified centre, Derrida described this "event" as a kind of "play."
Although Barthes was originally a structuralist, during the 1960s he increasingly favored post-structuralist views. In 1967, Barthes published "The Death of the Author" in which he announced a metaphorical event: the "death" of the author as an authentic source of meaning for a given text. Barthes argued that any literary text has multiple meanings, and that the author was not the prime source of the work's semantic content. The "Death of the Author," Barthes maintained, was the "Birth of the Reader," as the source of the proliferation of meanings of the text.
In a 1976 lecture series, Foucault briefly summarized the general impetus of the post-structuralist movement:
...For the last ten or fifteen years, the immense and proliferating criticizability of things, institutions, practices, and discourses; a sort of general feeling that the ground was crumbling beneath our feet, especially in places where it seemed most familiar, most solid, and closest to us, to our bodies, to our everyday gestures. But alongside this crumbling and the astonishing efficacy of discontinuous, particular, and local critiques, the facts were also revealing something... beneath this whole thematic, through it and even within it, we have seen what might be called the insurrection of subjugated knowledges.
? Foucault, Society Must be Defended, 7th January 1976, tr. David Macey.
Post-structuralist philosophers like Derrida and Foucault did not form a self-conscious group, but each responded to the traditions of phenomenology and structuralism. Phenomenology, often associated with two German philosophers Edmund Husserl and Martin Heidegger, rejected previous systems of knowledge and attempted to examine life "just as it appears" (as phenomena). Both movements rejected the idea that knowledge could be centred on the human knower, and sought what they considered a more secure foundation for knowledge.
In phenomenology this foundation would be experience itself; in structuralism, knowledge is founded on the "structures" that make experience possible: concepts, and language or signs. Post-structuralism, in turn, argues that founding knowledge either on pure experience (phenomenology) or systematic structures (structuralism) is impossible. This impossibility was meant not a failure or loss, but a cause for "celebration and liberation."
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171.Taboo.
A taboo is a vehement prohibition of an action based on the belief that such behavior is either too sacred or too accursed for ordinary individuals to undertake, under threat of supernatural punishment. Such prohibitions are present in virtually all societies. The word has been somewhat expanded in the social sciences to strong prohibitions relating to any area of human activity or custom that is sacred or forbidden based on moral judgment and religious beliefs. "Breaking a taboo" is usually considered objectionable by society in general, not merely a subset of a culture.
Etymology.
The term "taboo" comes from the Tongan tapu or Fijian tabu ("prohibited", "disallowed", "forbidden"), related among others to the Maori tapu, Hawaiian kapu, Malagasy fady. Its English use dates to 1777 when the British explorer James Cook visited Tonga. Describing the cultural practices of the Tongans, he wrote:
Not one of them would sit down, or eat a bit of any thing.... On expressing my surprise at this, they were all taboo, as they said; which word has a very comprehensive meaning; but, in general, signifies that a thing is forbidden.
When any thing is forbidden to be eaten, or made use of, they say, that it is taboo.
The term was translated to him as "consecrated, inviolable, forbidden, unclean or cursed". Tabu itself has been derived from alleged Tongan morphemes ta ("mark") and bu ("especially"), but this may be a folk etymology (note that Tongan does not actually have a phoneme /b/), and tapu is usually treated as a unitary, non-compound word inherited from Proto-Polynesian *tapu, in turn inherited from Proto-Oceanic *tabu, with the reconstructed meaning "sacred, forbidden". In its current use on Tonga, the word tapu means "sacred" or "holy", often in the sense of being restricted or protected by custom or law. On the main island, the word is often appended to the end of "Tonga" as Tongatapu, here meaning "Sacred South" rather than "Forbidden South".
Examples.
Sigmund Freud posited that incest and patricide were the only two universal taboos and formed the basis of civilization. However, although cannibalism, in-group murder, and incest are taboo in the majority of societies, modern research has found exceptions for each and no taboo is known to be universal.
Common taboos involve restrictions or ritual regulation of killing and hunting; sex and sexual relationships (primarily incest, necrophilia, miscegenation, adultery, fornication, pedophilia, homosexuality, intermarriage, bestiality, and masturbation); reproduction (abortion, infanticide); the deceased and their graves; as well as food and dining (primarily cannibalism and dietary laws such as vegetarianism, kashrut, and halal). In Madagascar, a strong code of taboos, known as fady, constantly change and are formed from new experiences. Each region, village or tribe may have its own fady.
Taboos often extend to cover discussion of taboo topics, resulting in euphemisms and replacement of taboo words.
The word "taboo" gained popularity at times, with some scholars looking for ways to apply it where other English words had previously been applied. For example, J. M. Powis Smith, in his "The American Bible" (editor's preface 1927), used "taboo" occasionally in relation to Israel's Tabernacle and ceremonial laws, including Exodus 30:36, 29:37; Numbers 16:37,38; Deuteronomy 22:9, Isaiah 65:5, Ezekiel 44:19 and 46:20.
Function.
Communist and materialist theorists have argued that taboos can be used to reveal the histories of societies when other records are lacking. Marvin Harris particularly endeavored to explain taboos as a consequence of ecologic and economic conditions.
Modernity.
Contemporary multicultural societies have established a number of taboos rooted in the perceived injustice and deleterious effects of modern history, particularly neocolonialism. Tribalisms (for example, ethnocentrism and nationalism) and prejudices (racism, sexism, religious extremism) are opposed at times reflexively despite the potentially high cost of diverse societies in terms of trust and solidarity.
Changing social customs and standards also create new taboos, such as bans on slavery; extension of the pedophilia taboo to ephebophilia; prohibitions on alcohol, tobacco, or psychopharmaceutical consumption (particularly among pregnant women); and the employment of politically correct euphemisms ? at times quite unsuccessfully ? to mitigate various alleged forms of discrimination.
Incest itself has been pulled both ways, with some seeking to normalize consensual adult relationships regardless of the degree of kinship (notably in Europe) and others expanding the degrees of prohibited contact (notably in the United States).
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172.Cyberpunk.
Cyberpunk is a subgenre of science fiction in a future setting, noted for its focus on "high tech and low life". It features advanced science, such as information technology and cybernetics, coupled with a degree of breakdown or radical change in the social order.
Cyberpunk plots often center on a conflict among artificial intelligences, and megacorporations, and tend to be set in a future Earth, rather than the far-future settings or galactic vistas found in novels such as Isaac Asimov's Foundation or Frank Herbert's Dune. The settings are usually post-industrial dystopias but tend to be marked by extraordinary cultural ferment and the use of technology in ways never anticipated by its creators ("the street finds its own uses for things"). Much of the genre's atmosphere echoes film noir, and written works in the genre often use techniques from detective fiction.
Classic cyberpunk characters were marginalized, alienated loners who lived on the edge of society in generally dystopic futures where daily life was impacted by rapid technological change, an ubiquitous datasphere of computerized information, and invasive modification of the human body.
?Lawrence Person.
Style and ethos.
Primary exponents of the cyberpunk field include William Gibson, Neal Stephenson, Bruce Sterling, Pat Cadigan, Rudy Rucker, and John Shirley.
Blade Runner can be seen as a quintessential example of the cyberpunk style and theme. Video games, board games, and tabletop role-playing games, such as Cyberpunk 2020 and Shadowrun, often feature storylines that are heavily influenced by cyberpunk writing and movies. Beginning in the early 1990s, some trends in fashion and music were also labeled as cyberpunk. Cyberpunk is also featured prominently in anime and manga: Akira, Gunnm, Ghost in the Shell, Serial Experiments Lain, Dennou Coil, Ergo Proxy and Psycho Pass being among the most notable.
Setting.
Shibuya, Tokyo. Of Japan's influence on the genre, William Gibson said, "Modern Japan simply was cyberpunk."
Cyberpunk writers tend to use elements from hardboiled detective fiction, film noir, and postmodernist prose to describe the often nihilistic underground side of an electronic society. The genre's vision of a troubled future is often called the antithesis of the generally utopian visions of the future popular in the 1940s and 1950s. Gibson defined cyberpunk's antipathy towards utopian SF in his 1981 short story "The Gernsback Continuum," which pokes fun at and, to a certain extent, condemns utopian science fiction.
In some cyberpunk writing, much of the action takes place online, in cyberspace, blurring the border between actual and virtual reality. A typical trope in such work is a direct connection between the human brain and computer systems. Cyberpunk depicts the world as a dark, sinister place with networked computers dominating every aspect of life. Giant, multinational corporations have for the most part replaced governments as centers of political, economic, and even military power.
The economic and technological state of Japan in the 80s influenced Cyberpunk literature at the time. Of Japan's influence on the genre, William Gibson said, "Modern Japan simply was cyberpunk." Cyberpunk is often set in urbanized, artificial landscapes, and "city lights, receding" was used by Gibson as one of the genre's first metaphors for cyberspace and virtual reality.
Protagonists.
One of the cyberpunk genre's prototype characters is Case, from Gibson's Neuromancer. Case is a "console cowboy," a brilliant hacker who had betrayed his organized criminal partners. Robbed of his talent through a crippling injury inflicted by the vengeful partners, Case unexpectedly receives a once-in-a-lifetime opportunity to be healed by expert medical care but only if he participates in another criminal enterprise with a new crew.
Like Case, many cyberpunk protagonists are manipulated, placed in situations where they have little or no choice, and although they might see things through, they do not necessarily come out any further ahead than they previously were. These anti-heroes?"criminals, outcasts, visionaries, dissenters and misfits" call to mind the private eye of detective fiction. This emphasis on the misfits and the malcontents is the "punk" component of cyberpunk.
Society and government.
Cyberpunk can be intended to disquiet readers and call them to action. It often expresses a sense of rebellion, suggesting that one could describe it as a type of culture revolution in science fiction. In the words of author and critic David Brin:
...a closer look [at cyberpunk authors] reveals that they nearly always portray future societies in which governments have become wimpy and pathetic ...Popular science fiction tales by Gibson, Williams, Cadigan and others do depict Orwellian accumulations of power in the next century, but nearly always clutched in the secretive hands of a wealthy or corporate elite.
Cyberpunk stories have also been seen as fictional forecasts of the evolution of the Internet. The earliest descriptions of a global communications network came long before the World Wide Web entered popular awareness, though not before traditional science-fiction writers such as Arthur C. Clarke and some social commentators such as James Burke began predicting that such networks would eventually form.
Media.
Literature.
See also: List of cyberpunk works § Print media and Cyborgs in fiction
The science-fiction editor Gardner Dozois is generally acknowledged as the person who popularized the use of the term "cyberpunk" as a kind of literature, although Minnesota writer Bruce Bethke coined the term in 1980 for his short story "Cyberpunk," which was published in the November 1983 issue of Amazing Science Fiction Stories. The term was quickly appropriated as a label to be applied to the works of William Gibson, Bruce Sterling, Pat Cadigan and others. Of these, Sterling became the movement's chief ideologue, thanks to his fanzine Cheap Truth. John Shirley wrote articles on Sterling and Rucker's significance. John Brunner's 1975 novel The Shockwave Rider is considered by many to be the first cyberpunk novel with many of the tropes commonly associated with the genre, some five years before the term was popularized by Dozois.
William Gibson with his novel Neuromancer (1984) is likely the most famous writer connected with the term cyberpunk. He emphasized style, a fascination with surfaces, and atmosphere over traditional science-fiction tropes. Regarded as ground-breaking and sometimes as "the archetypal cyberpunk work," Neuromancer was awarded the Hugo, Nebula, and Philip K. Dick Awards. Count Zero (1986) and Mona Lisa Overdrive (1988) followed after Gibson's popular debut novel. According to the Jargon File, "Gibson's near-total ignorance of computers and the present-day hacker culture enabled him to speculate about the role of computers and hackers in the future in ways hackers have since found both irritatingly naïve and tremendously stimulating."
Early on, cyberpunk was hailed as a radical departure from science-fiction standards and a new manifestation of vitality. Shortly thereafter, however, some critics arose to challenge its status as a revolutionary movement. These critics said that the SF New Wave of the 1960s was much more innovative as far as narrative techniques and styles were concerned. Furthermore, while Neuromancer's narrator may have had an unusual "voice" for science fiction, much older examples can be found: Gibson's narrative voice, for example, resembles that of an updated Raymond Chandler, as in his novel The Big Sleep (1939). Others noted that almost all traits claimed to be uniquely cyberpunk could in fact be found in older writers' works?often citing J. G. Ballard, Philip K. Dick, Harlan Ellison, Stanis?aw Lem, Samuel R. Delany, and even William S. Burroughs. For example, Philip K. Dick's works contain recurring themes of social decay, artificial intelligence, paranoia, and blurred lines between objective and subjective realities, and the influential cyberpunk movie Blade Runner (1982) is based on his book, Do Androids Dream of Electric Sheep?. Humans linked to machines are found in Pohl and Kornbluth's Wolfbane (1959) and Roger Zelazny's Creatures of Light and Darkness (1968).
In 1994, scholar Brian Stonehill suggested that Thomas Pynchon's 1973 novel Gravity's Rainbow "not only curses but precurses what we now glibly dub cyberspace." Other important predecessors include Alfred Bester's two most celebrated novels, The Demolished Man and The Stars My Destination, as well as Vernor Vinge's novella True Names.
Reception and impact.
Science-fiction writer David Brin describes cyberpunk as "the finest free promotion campaign ever waged on behalf of science fiction." It may not have attracted the "real punks," but it did ensnare many new readers, and it provided the sort of movement that postmodern literary critics found alluring. Cyberpunk made science fiction more attractive to academics, argues Brin; in addition, it made science fiction more profitable to Hollywood and to the visual arts generally. Although the "self-important rhetoric and whines of persecution" on the part of cyberpunk fans were irritating at worst and humorous at best, Brin declares that the "rebels did shake things up. We owe them a debt."
Fredric Jameson considers cyberpunk the "supreme literary expression if not of postmodernism, then of late capitalism itself".
Cyberpunk further inspired many professional writers who were not among the "original" cyberpunks to incorporate cyberpunk ideas into their own works,[citation needed] such as George Alec Effinger's When Gravity Fails. Wired magazine, created by Louis Rossetto and Jane Metcalfe, mixes new technology, art, literature, and current topics in order to interest today?s cyberpunk fans, which Paula Yoo claims "proves that hardcore hackers, multimedia junkies, cyberpunks and cellular freaks are poised to take over the world."
Film and television.
See also: List of cyberpunk works § Films and List of cyberpunk works § Television_and_Web_Series.
A futuristic Los Angeles in Blade Runner.
The film Blade Runner (1982), adapted from Philip K. Dick's Do Androids Dream of Electric Sheep?, is set in 2019 in a dystopian future in which manufactured beings called replicants are slaves used on space colonies and are legal prey on Earth to various bounty hunters who "retire" (kill) them. Although Blade Runner was largely unsuccessful in its first theatrical release, it found a viewership in the home video market and became a cult film. Since the movie omits the religious and mythical elements of Dick's original novel (e.g. empathy boxes and Wilbur Mercer), it falls more strictly within the cyberpunk genre than the novel does. William Gibson would later reveal that upon first viewing the film, he was surprised at how the look of this film matched his vision when he was working on Neuromancer. The film's tone has since been the staple of many cyberpunk movies, such as The Matrix (1999), which uses a wide variety of cyberpunk elements.
The number of films in the genre or at least using a few genre elements has grown steadily since Blade Runner. Several of Philip K. Dick's works have been adapted to the silver screen. The films Johnny Mnemonic and New Rose Hotel, both based upon short stories by William Gibson, flopped commercially and critically.
In addition, "tech-noir" film as a hybrid genre, means a work of combining neo-noir and science fiction or cyberpunk. It includes many cyberpunk films such as Blade Runner, Burst City, The Terminator, Robocop, 12 Monkeys, The Lawnmower Man, Hackers, Hardware, and Strange Days.
Anime and manga.
See also: List of cyberpunk works § Animation.
Cyberpunk themes are widely visible in anime and manga. In Japan, where cosplay is popular and not only teenagers display such fashion styles, cyberpunk has been accepted and its influence is widespread. William Gibson?s Neuromancer, whose influence dominated the early cyberpunk movement, was also set in Chiba, one of Japan?s largest industrial areas, although at the time of writing the novel Gibson did not know the location of Chiba and had no idea how perfectly it fit his vision in some ways. The exposure to cyberpunk ideas and fiction in the mid 1980s has allowed it to seep into the Japanese culture.
Cyberpunk anime and manga draw upon a futuristic vision which has elements in common with western science fiction and therefore have received wide international acceptance outside of Japan. ?The conceptualization involved in cyberpunk is more of forging ahead, looking at the new global culture. It is a culture that does not exist right now, so the Japanese concept of a cyberpunk future, seems just as valid as a Western one, especially as Western cyberpunk often incorporates many Japanese elements.? William Gibson is now a frequent visitor to Japan, and he came to see that many of his visions of Japan have become a reality:
Modern Japan simply was cyberpunk. The Japanese themselves knew it and delighted in it. I remember my first glimpse of Shibuya, when one of the young Tokyo journalists who had taken me there, his face drenched with the light of a thousand media-suns?all that towering, animated crawl of commercial information?said, "You see? You see? It is Blade Runner town." And it was. It so evidently was.
Cyberpunk has influenced many anime and manga including the ground-breaking Akira, Ghost in the Shell, Ergo Proxy, Battle Angel Alita, Megazone 23, Neo Tokyo, Goku Midnight Eye, Cyber City Oedo 808, Bubblegum Crisis, A.D. Police: Dead End City, Angel Cop, Extra, Blame!, Armitage III, Texhnolyze and Psycho-Pass.
Games.
See also: List of cyberpunk works § Video games and List of cyberpunk works § Role-playing games.
Several role-playing games (RPGs) called Cyberpunk exist: Cyberpunk, Cyberpunk 2020 and Cyberpunk v3, by R. Talsorian Games, and GURPS Cyberpunk, published by Steve Jackson Games as a module of the GURPS family of RPGs. Cyberpunk 2020 was designed with the settings of William Gibson's writings in mind, and to some extent with his approval[citation needed], unlike the approach taken by FASA in producing the transgenre Shadowrun game. Both are set in the near future, in a world where cybernetics are prominent. In addition, Iron Crown Enterprises released an RPG named Cyberspace, which was out of print for several years until recently being re-released in online PDF form.
In 1990, in a convergence of cyberpunk art and reality, the United States Secret Service raided Steve Jackson Games's headquarters and confiscated all their computers. This was allegedly because the GURPS Cyberpunk sourcebook could be used to perpetrate computer crime. That was, in fact, not the main reason for the raid, but after the event it was too late to correct the public's impression. Steve Jackson Games later won a lawsuit against the Secret Service, aided by the new Electronic Frontier Foundation. This event has achieved a sort of notoriety, which has extended to the book itself as well. All published editions of GURPS Cyberpunk have a tagline on the front cover, which reads "The book that was seized by the U.S. Secret Service!" Inside, the book provides a summary of the raid and its aftermath.
Cyberpunk has also inspired several tabletop, miniature and board games. Netrunner is a collectible card game introduced in 1996, based on the Cyberpunk 2020 role-playing game.
There are many cyberpunk video games. Popular series include the Deus Ex series, the Syndicate series, System Shock and its sequel. Other games, like Blade Runner, Ghost in the Shell, and the Matrix series, are based upon genre movies, or role-playing games (for instance the various Shadowrun games). CD Projekt RED are currently developing a Cyberpunk game, Cyberpunk 2077.
Music.
See also: List of cyberpunk works § Music.
"Much of the industrial/dance heavy 'Cyberpunk'?recorded in Billy Idol's Macintosh-run studio?revolves around Idol's theme of the common man rising up to fight against a faceless, soulless, corporate world."
?Julie Romandetta.
Some musicians and acts have been classified as cyberpunk due to their aesthetic style and musical content. Often dealing with dystopian visions of the future or biomechanical themes, some fit more squarely in the category than others. Bands whose music has been classified as cyberpunk include Psydoll, Front Line Assembly, Atari Teenage Riot, and Sigue Sigue Sputnik. Some musicians not normally associated with cyberpunk have at times been inspired to create concept albums exploring such themes. Nine Inch Nails' concept album Year Zero fits into this category. Billy Idol's Cyberpunk drew heavily from cyberpunk literature and the cyberdelic counter culture in its creation. 1. Outside, a cyberpunk narrative fueled concept album by David Bowie, was warmly met by critics upon its release in 1995. Many musicians have also taken inspiration from specific cyberpunk works or authors, including Sonic Youth, whose albums Sister and Daydream Nation take influence from the works of Phillip K. Dick and William Gibson respectively.
Vaporwave is also influenced by cyberpunk. It often relies on the commercial side of Neo-Futurists.
Social impact.
Art and architecture.
Berlin's Sony Center.
Some Neo-Futurism artworks and cityscapes have been influenced by cyberpunk, such as the Sony Center in the Potsdamer Platz public square of Berlin, Germany, Cyberport in Hong Kong, and Shanghai.
Society and counterculture.
Several subcultures have been inspired by cyberpunk fiction. These include the cyberdelic counter culture of the late 1980s and early 90s. Cyberdelic, whose adherents referred to themselves as "cyberpunks", attempted to blend the psychedelic art and drug movement with the technology of cyberculture. Early adherents included Timothy Leary, Mark Frauenfelder and R. U. Sirius. The movement largely faded following the dot-com bubble implosion of 2000.
Cybergoth is a fashion and dance subculture which draws its inspiration from cyberpunk fiction, as well as rave and Gothic subcultures. In addition, a distinct cyberpunk fashion of its own has emerged in recent years[when?] which rejects the raver and goth influences of cybergoth, and draws inspiration from urban street fashion, "post apocalypse", functional clothing, high tech sports wear, tactical uniform and multifunction. This fashion goes by names like "tech wear", "goth ninja" or "tech ninja". Important designers in this type of fashion are ACRONYM, Demobaza, Boris Bidjan Saberi, Rick Owens and Alexander Wang.
Furthermore several dubstep producers, like Machine Man and Ghosthack, have found inspiration in cyberpunk themes for their works.
The Kowloon Walled City in Hong Kong (demolished in 1994) is often referenced as the model cyberpunk/dystopian slum as, given its poor living conditions at the time coupled by the city's political, physical, and economic isolation has caused many in academia to be fascinated by the ingenuity of its spawning.
Related genres.
See also: Cyberpunk derivatives.
As a wider variety of writers began to work with cyberpunk concepts, new subgenres of science fiction emerged, some which could be considered as playing off the cyberpunk label, others which could be considered as legitimate explorations into newer territory. These focused on technology and its social effects in different ways. One prominent subgenre is "steampunk," which is set in an alternate history Victorian era that combines anachronistic technology with cyberpunk's bleak film noir world view. The term was originally coined around 1987 as a joke to describe some of the novels of Tim Powers, James P. Blaylock, and K.W. Jeter, but by the time Gibson and Sterling entered the subgenre with their collaborative novel The Difference Engine the term was being used earnestly as well.
Another subgenre is "biopunk" (cyberpunk themes dominated by biotechnology) from the early 1990s, a derivative style building on biotechnology rather than informational technology. In these stories, people are changed in some way not by mechanical means, but by genetic manipulation. Paul Di Filippo is seen as the most prominent biopunk writer, including his half-serious ribofunk. Bruce Sterling's Shaper/Mechanist cycle is also seen as a major influence. In addition, some people consider works such as Neal Stephenson's The Diamond Age to be postcyberpunk.
Cyberpunk works have been described as well-situated within postmodern literature.
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