Colonizing Virtual Reality
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New Alt.Cyberpunk FAQ
New alt.cyberpunk FAQ Frank April 1998 This is version 4 of the alt.cyberpunk FAQ. Although previous FAQs have not been allocated version numbers, due the number of people now involved, I've taken the liberty to do so. Previous maintainers / editors and version numbers are given below : - Version 3: Erich Schneider - Version 2: Tim Oerting - Version 1: Andy Hawks I would also like to recognise and express my thanks to Jer and Stack for all their help and assistance in compiling this version of the FAQ. The vast number of the "answers" here should be prefixed with an "in my opinion". It would be ridiculous for me to claim to be an ultimate Cyberpunk authority. Contents 1. What is Cyberpunk, the Literary Movement ? 2. What is Cyberpunk, the Subculture ? 3. What is Cyberspace ? 4. Cyberpunk Literature 5. Magazines About Cyberpunk and Related Topics 6. Cyberpunk in Visual Media (Movies and TV) 7. Blade Runner 8. Cyberpunk Music / Dress / Aftershave 9. What is "PGP" ? 10. Agrippa : What and Where, is it ? 1. What is Cyberpunk, the Literary Movement ? Gardner Dozois, one of the editors of Isaac Asimov's Science Fiction Magazine during the early '80s, is generally acknowledged as the first person to popularize the term "Cyberpunk", when describing a body of literature. Dozois doesn't claim to have coined the term; he says he picked it up "on the street somewhere". It is probably no coincidence that Bruce Bethke wrote a short story titled "Cyberpunk" in 1980 and submitted it Asimov's mag, when Dozois may have been doing first readings, and got it published in Amazing in 1983, when Dozois was editor of1983 Year's Best SF and would be expected to be reading the major SF magazines. -
Paradise Lost , Book III, Line 18
_Paradise Lost_, book III, line 18 %%%%%%%%%%%%%%%%%%%%%%%% ++++++++++Hacker's Encyclopedia++++++++ ===========by Logik Bomb (FOA)======== <http://www.xmission.com/~ryder/hack.html> ---------------(1997- Revised Second Edition)-------- ##################V2.5################## %%%%%%%%%%%%%%%%%%%%%%%% "[W]atch where you go once you have entered here, and to whom you turn! Do not be misled by that wide and easy passage!" And my Guide [said] to him: "That is not your concern; it is his fate to enter every door. This has been willed where what is willed must be, and is not yours to question. Say no more." -Dante Alighieri _The Inferno_, 1321 Translated by John Ciardi Acknowledgments ---------------------------- Dedicated to all those who disseminate information, forbidden or otherwise. Also, I should note that a few of these entries are taken from "A Complete List of Hacker Slang and Other Things," Version 1C, by Casual, Bloodwing and Crusader; this doc started out as an unofficial update. However, I've updated, altered, expanded, re-written and otherwise torn apart the original document, so I'd be surprised if you could find any vestiges of the original file left. I think the list is very informative; it came out in 1990, though, which makes it somewhat outdated. I also got a lot of information from the works listed in my bibliography, (it's at the end, after all the quotes) as well as many miscellaneous back issues of such e-zines as _Cheap Truth _, _40Hex_, the _LOD/H Technical Journals_ and _Phrack Magazine_; and print magazines such as _Internet Underground_, _Macworld_, _Mondo 2000_, _Newsweek_, _2600: The Hacker Quarterly_, _U.S. News & World Report_, _Time_, and _Wired_; in addition to various people I've consulted. -
Catalogue 16
CATALOGUE 16 CATALOGUE 16 4 E. Holly St., Suite 217, Pasadena, Ca 91103 · Tel. (626) 297-7700 · [email protected] www.WhitmoreRareBooks.com Books may be reserved by email: info @WhitmoreRareBooks.com and by phone: (626) 297-7700 We welcome you to come visit our gallery by chance or appointment at: 4 E. Holly St., Suite 217, Pasadena, Ca 91103 For our complete inventory, including many first editions, signed books and other rare items, please visit our website at: www.WhitmoreRareBooks.com Follow us on social media! @WRareBooks @whitmorerarebooks whitmorerarebooks The Writings of Benjamin Franklin - item 28 Catalogue 16 First Edition of Sebastian Brant’s Greatly Expanded Aesop With Numerous Woodcuts. 1. Aesop, Sebastian Brant Appologi sive Mythologi cum quibusdam Carminum et Fabularum additionibus Sebastiani Brant Basel: Jacob Wolff of Pforzheim, 1501. First edition thus. An early illustrated edition of Aesop’s Fables, augmented and edited by Sebastian Brant, and the first edition to include his additional 140 sections. Two parts in one volume, folio (leaves measuring 297 x 208 mm). Collates complete, retaining one of the two blank leaves (M6 lacking). Collation identical to the Fairfax-Murray copy: a-b8, c6-o8 (alternately), p-s6 (s6 blank and original); A-B8, C-D6, E8-K6 (alternately), L4, M5, (M6, final blank, lacking). With the famous woodcut portrait of Aesop on the verso of a1 and a smaller woodcut portrait of Brant on the verso of A1 in part two. A total of 335 woodcuts divided into 194 in part one and 141 in part two (inclusive of the portraits). -
2. Mondo 2000'S New Media Cool, 1989-1993
UvA-DARE (Digital Academic Repository) The web as exception: The rise of new media publishing cultures Stevenson, M.P. Publication date 2013 Link to publication Citation for published version (APA): Stevenson, M. P. (2013). The web as exception: The rise of new media publishing cultures. General rights It is not permitted to download or to forward/distribute the text or part of it without the consent of the author(s) and/or copyright holder(s), other than for strictly personal, individual use, unless the work is under an open content license (like Creative Commons). Disclaimer/Complaints regulations If you believe that digital publication of certain material infringes any of your rights or (privacy) interests, please let the Library know, stating your reasons. In case of a legitimate complaint, the Library will make the material inaccessible and/or remove it from the website. Please Ask the Library: https://uba.uva.nl/en/contact, or a letter to: Library of the University of Amsterdam, Secretariat, Singel 425, 1012 WP Amsterdam, The Netherlands. You will be contacted as soon as possible. UvA-DARE is a service provided by the library of the University of Amsterdam (https://dare.uva.nl) Download date:02 Oct 2021 2. Mondo 2000’s new media cool, 1989-1993 To understand how it was possible for the web to be articulated as an exceptional medium when it surfaced in the 1990s - that is, as a medium that would displace its mass and mainstream predecessors while producing web-native culture - one must see the historical and conceptual ties between web exceptionalism and cyberculture. -
DEAD CHANNEL SURFING: Cyberpunk and Industrial Music
DEAD CHANNEL SURFING: Cyberpunk and industrial music In the early 1980s from out of Vancouver, home of cyberpunk writer William Gibson and science fiction film-maker David Cronenberg, came a series of pioneering bands with a similar style and outlook. The popular synth-pop band Images in Vogue, after touring with Duran Duran and Roxy Music, split into several influential factions. Don Gordon went on to found Numb, Kevin Crompton to found Skinny Puppy, and Ric Arboit to form Nettwerk Records, which would later release Skinny Puppy, Severed Heads, Moev, Delerium and more. Controversial band Numb ended up receiving less attention than the seminal Skinny Puppy. Kevin Crompton (now called Cevin Key) joined forces with Kevin Ogilvie (Nivek Ogre) and began their career by playing in art galleries. After their friend Bill Leeb quit citing ‘creative freedom’ disputes, they embarked on a new style along with the help of newly recruited Dwayne Goettel. Leeb would go on to found Front Line Assembly with Rhys Fulber in 1986. The style of music created by these bands, as well as many similar others, has since been dubbed ‘cyberpunk’ by some journalists. Cyberpunk represents an interesting coupling of concepts. It can be dissected, as Istvan Csiscery-Ronay has shown, into its two distinct parts, ‘cyber’ and ‘punk’. Cyber refers to cybernet- ics, the study of information and control in man and machine, which was created by U.S. American mathematician Norbert Wiener fifty years ago. Wiener fabricated the word from the Greek kyber- netes, meaning ‘governor’, ‘steersman’ or ‘pilot’ (Leary, 1994: 66). The second concept, punk, in the sense commonly used since 1976, is a style of music incorporating do-it-yourself (d.i.y) techniques, centred on independence and touting anarchist attitudes. -
The Philosophy of Human Psychology (PHP) Essay 1
1 The Philosophy of Human Psychology (PHP): An Essay Exploring Identity Theory by Alex Burns ([email protected]), June 1999 2 Comment (27th November 2007) In June 1999 I took a philosophy class at La Trobe University with Simon Knight, who would become the manager of the SubFM radio station, and conduct interviews for The La Trobe Philosophy Radio Show in 2004 and 2005. Each week we kept self‐ reflective journals and discussed them with Knight in a tutorial group. Essentially, I set out to show the Philosophy department’s limits in its epistemology or “theory of knowledge”. To do so, I drew on the 1970s maturation of the Human Potential movement, and the mid‐1990s fascination with cyberpunk fiction, postmodernist philosophies and pre‐millennialist conspiracy theories. This was not “traditional” academic work. Nor were Lilly, Leary, Wilson et. al. “empirical” as I wanted to justify but rather phenomenological. I was very lucky that Knight was familiar with the territory. The Wachowski Brothers would crystallise these academic fringes into a potent subcultural force with The Matrix (1999). Phenomenology’s major insight is that the core “identity” can undergo a change in existence, or ontology, through direct experience of consciousness. Thus, this essay lists a range of “technics” of change, influenced by cybernetics, information theory and existential phenomenology. I took much of this from the Temple of Set’s Dr. Michael Aquino and the Tetsuo Working (1997), a research project I conducted whilst a Temple of Set member from 1996‐98. Thus, conspiracy theorists and fringe subcultures often explore this territory in an “anything goes” and unstructured way. -
Mo Yan in Context: Nobel Laureate and Global Storyteller Angelica Duran Purdue University
Purdue University Purdue e-Pubs Purdue University Press Books Purdue University Press Fall 9-15-2014 Mo Yan in Context: Nobel Laureate and Global Storyteller Angelica Duran Purdue University Yuhan Huang Purdue University Follow this and additional works at: https://docs.lib.purdue.edu/purduepress_ebooks Part of the Comparative Literature Commons Recommended Citation Duran, Angelica, and Huang, Yuhan., Mo Yan in Context: Nobel Laureate and Global Storyteller. (2014). Purdue University Press. (Knowledge Unlatched Open Access Edition.) This document has been made available through Purdue e-Pubs, a service of the Purdue University Libraries. Please contact [email protected] for additional information. Mo Yan in Context: Nobel Laureate and Global Storyteller Comparative Cultural Studies Steven Tötösy de Zepetnek, Series Editor The Purdue University Press monograph series of Books in Comparative Cultural Studies publishes single-authored and thematic collected volumes of new scholarship. Manuscripts are invited for publication in the series in fields of the study of culture, literature, the arts, media studies, communication studies, the history of ideas, etc., and related disciplines of the humanities and social sciences to the series editor via e- mail at <[email protected]>. Comparative cultural studies is a contextual approach in the study of culture in a global and intercultural context and work with a plurality of methods and approaches; the theoretical and methodological framework of comparative cultural studies is built on tenets borrowed from the disciplines of cultural studies and comparative literature and from a range of thought including literary and culture theory, (radical) constructivism, communication theories, and systems theories; in comparative cultural studies focus is on theory and method as well as application. -
The Emic Sociology of New Edge Celebrating Augmentation And
New edge : technology and spirituality in the San Francisco Bay Area Zandbergen, A.D. Citation Zandbergen, A. D. (2011, May 25). New edge : technology and spirituality in the San Francisco Bay Area. Retrieved from https://hdl.handle.net/1887/17671 Version: Not Applicable (or Unknown) Licence agreement concerning inclusion of doctoral License: thesis in the Institutional Repository of the University of Leiden Downloaded from: https://hdl.handle.net/1887/17671 Note: To cite this publication please use the final published version (if applicable). Chapter One: The Emic Sociology of New Edge Celebrating Augmentation and Dissociation In the first editorial of the magazine Mondo 2000, founded in 1989 by Ken Goffman (1952) and Allison Kennedy in Berkeley, the editors describe the magazine as "New Edge, not New Age". As Goffman told me in an interview, with the term ‘New Edge’ he wanted to articulate a simultaneous embrace and rejection of New Age.21 Informed by the understanding that New Age is largely about the rejection of high-tech, the term New Edge expressed the dedication of the magazine creators and editors to explore New Age spirituality via ‘edgy’ technoscientific concepts and products. In this first chapter, I seek to understand how 'technology' and 'New Age spirituality' are made relevant to each other from the perspective of New Edge. What is it about 'New Age spirituality' that invites New Edgers to relate it to 'technology', and what is it about 'technology' that New Edgers deem related to 'spirituality'? And what kinds of 'technology' and what kinds of 'spirituality' are thereby related? Without seeking to answer this question in an all-encompassing way, in this chapter I focus in particular on the gnostic epistemology of New Age and the way this gnosticism is made to correlate with high-tech. -
Proquest Dissertations
INTERVIEWS AT WORK: READING THE PARIS REVIEW INTERVIEWS 1953-1978 by Kelley Penfield Lewis Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy at Dalhousie University Halifax, Nova Scotia August 2008 © Copyright by Kelley Penfield Lewis, 2008 Library and Bibliotheque et 1*1 Archives Canada Archives Canada Published Heritage Direction du Branch Patrimoine de I'edition 395 Wellington Street 395, rue Wellington Ottawa ON K1A0N4 Ottawa ON K1A0N4 Canada Canada Your file Votre reference ISBN: 978-0-494-43928-9 Our file Notre reference ISBN: 978-0-494-43928-9 NOTICE: AVIS: The author has granted a non L'auteur a accorde une licence non exclusive exclusive license allowing Library permettant a la Bibliotheque et Archives and Archives Canada to reproduce, Canada de reproduire, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par telecommunication ou par I'lnternet, prefer, telecommunication or on the Internet, distribuer et vendre des theses partout dans loan, distribute and sell theses le monde, a des fins commerciales ou autres, worldwide, for commercial or non sur support microforme, papier, electronique commercial purposes, in microform, et/ou autres formats. paper, electronic and/or any other formats. The author retains copyright L'auteur conserve la propriete du droit d'auteur ownership and moral rights in et des droits moraux qui protege cette these. this thesis. Neither the thesis Ni la these ni des extraits substantiels de nor substantial extracts from it celle-ci ne doivent etre imprimes ou autrement may be printed or otherwise reproduits sans son autorisation. -
K the Science K
The Science Fiction Genre FITV 3571; Summer 2017 Dr. Lance Strate, Faculty Memorial Hall, Rm. 434A Telephone: (718) 817-4864 E-mail: [email protected] Office Hours: Mondays 4:30-5:30 or by appointment Required Texts: • Vivian Sobchack, Screening Space, The American Science Fiction Film (2nd Ed.) • Philip K. Dick, Do Androids Dream of Electric Sheep William Gibson, Neuromancer H.G. Wells, War of the Worlds • Additional Readings available via ARES (http://reserves.library.fordham.edu) Course Objectives: 1. To explore the science fiction film and media genre, including its history, economics, aesthetics, and semiotics (use of signs and symbols to convey meaning). 2. To examine the larger field of media and popular culture theory and criticism through a case study of the science fiction genre. 3. To become familiar with the variety of media analysis techniques, such as the sociological, ideological, psychoanalytic, semiotic, aesthetic, auteurist, industrial, and media/technological, that are used to study science fiction films and media. 4. To engage in criticism and analysis of science fiction films and media. 2 Evaluation: 1. Participation. Participation will account for 25% of the final grade. You are expected to attend our weekly class meetings), to arrive on time and attend the full class session, and to participate sensibly based on the readings and other assignments, and to participate in our online discussions in a timely and sensible fashion. 2. Papers. You will be required to write two papers for this class in which you engage in analysis of some aspect of the science fiction genre, drawing on the assigned readings, screenings, etc., and additional sources. -
CHAPTER FIVE the Virtual Body in Cyberspace
116 CHAPTER FIVE The Virtual Body in Cyberspace This chapter speculates about the body on the electronic frontier. In one sense, this frontier is an imaginary construction that identifies a horizon of contemporary cultural thought. But in another sense it is a real space on the fringe of mainstream culture: the "electronic frontier" names the space of information exchange that already exists in the flow of databases, telephone and fiber-optic networks, computer memory, and other parts of electronic networking services.1 The frontier metaphor suggests the possibility of a vast, unexplored territory. Computer enthusiasts, also known as hackers, populate frontier villages; advance scouts/pilgrims include the by now infamous computer viruses, worms, and Trojan horses that were designed very simply to "map" the network into which they were released. In elaborating the Western frontier metaphor, John Perry Barlow explains that in the new small towns, "Main Street is a central minicomputer.... Town Meetings are continuous and discussions range on everything from sexual kinks to depreciation schedules. "2 In a more material sense, the electronic frontier includes workstations, file servers, networks, and bulletin boards, as well as the code of application programs, information services such as Prodigy and CompuServe, and online databases.3 This frontier functions as the infrastructure of the computer/information industry and, as such, structures the further development and dissemination of computer technologies and services. One of the most publicized computer applications of the last decade has been the construction of "virtual environments," now more widely known as "virtual reality."4 Since 1987, virtual reality (VR) has further evolved into an industry in itself; it is also at the heart of an emergent (sub)culture that includes computer-generated realities, science fiction, fictional sciences, and powerfully evocative new visualization technol- 117 ogies.5 My guiding question for this chapter concerns the role of the body in this formation. -
Cyberpunk - Terminal Chic ?
Cyberpunk - Terminal Chic ? Nathan Cobb 24 November 1992 It was nearly midnight deep inside Venus de Milo, a dark and sweaty Boston dance emporium. The Shamen, a British musical duo augmented by an assortment of digital gewgaws, was unleashing a storm of high-energy technopop that was cyberpunk through and through. "We can see tomorrow in each other's eyes", they sang at one point as the bouncing crowd raised its collective fist, presumably in the direction of cyberspace. But what was most interesting about the 800 or so raving souls in attendance was that they didn't look like they'd stumbled in from the set of Blade Runner. Instead, they were merely members of the Lansdowne Street night shift : postpunks, Eurokids, college students, young professionals, twentynothings, geeks, nerds, rastas, slackers and even a few bodybuilders in tank tops who appeared to have taken a wrong turn coming off the Tobin Bridge. Considerably more beer was chugged than the high-nutrient "smart" drinks that are touted as the cyberpunk libation du jour. So you are forgiven for wondering if cyberpunk is an authentic subculture or a media buzzword. Actually, it's both. Forget for a moment that it was born as a word to describe a dark, morbid, near-future science-fiction movement of the 1980's. "Cyberpunk" is now more commonly a handy term for combining the related cadres of techno- bohemians-primarily hackers, crackers and phreaks - who populate the computer underground. But the word is also used to describe the trappings of this cantankerous, decentralized, and antiestablishment subset that have surfaced in popular culture.