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By Dani Cavallaro

Cyberpunk is the fiction of a tradition saturated by way of digital know-how. Its vocabulary is the language of cybernetics, biotechnology, corporational greed and concrete subcultures. vastly capable in either ebook and movie shape, cyberpunk has redefined not just modern technology fiction but additionally, via its potential to count on "technology" and its cultural impression, analytical paintings within the social technology and arts. this article explores the paintings of a variety of writers, atmosphere their paintings within the context of technological know-how fiction, different literary genres, style cinema and modern paintings at the tradition of expertise. Seven major subject matters are addressed: the impression of digital applied sciences on identification, area and neighborhood; the interaction of technological and mythological motifs; reconfigurations of the physique initiated by means of technoscience; problems with gender and sexuality; the siginificance of the sprawling megacity; cyberpunk's Gothic characteristics of monstrosity, transgresison and social unrest; and the modifying of heritage and reminiscence.

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A paradox: simultaneously a sublime vision of human power over chance and a dreary augmentation of multinational capitalism’s mechanical process of expansion. . 36 Punk constructed a whole aesthetic out of a reality of socioeconomic alienation and discrimination. This aesthetic did not merely show how and why dominant ideologies marginalize dispossessed strata of the population. In fact, it cultivated and magnified anything that mainstream culture would deem least savoury; it deliberately exaggerated the features that would make it the object of revulsion and aversion and intensify the establishment’s desire to outlaw it.

Scarcely concerned with conventional science-fictional themes such as interplanetary travel or indeed with the representation of a distant future, Ballard’s narratives focus on the catastrophic side of science fiction to intimate that catastrophe is not a destiny that awaits humans but rather something that has already happened. Furthermore, as the writer states in his introduction to Crash: ‘the future is ceasing to exist, devoured by the all-voracious present. ’9Crash (1973) corroborates this idea by foregrounding disturbing images of junk-strewn urban scenes and horribly mutilated bodies that convey, in a surrealist fashion, a distinctively Gothic sense of loss.

36 Punk constructed a whole aesthetic out of a reality of socioeconomic alienation and discrimination. This aesthetic did not merely show how and why dominant ideologies marginalize dispossessed strata of the population. In fact, it cultivated and magnified anything that mainstream culture would deem least savoury; it deliberately exaggerated the features that would make it the object of revulsion and aversion and intensify the establishment’s desire to outlaw it. Punk sought rejection with a self-destructive determination by defiantly constructing a simultaneously desecrated and self-desecrating subculture.

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