A Cyberpunk Timeline
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Cyberpunking a Library
Cyberpunking a Library Collection assessment and collection Leanna Jantzi, Neil MacDonald, Samantha Sinanan LIBR 580 Instructor: Simon Neame April 8, 2010 “A year here and he still dreamed of cyberspace, hope fading nightly. All the speed he took, all the turns he’d taken and the corners he’d cut in Night City, and he’d still see the matrix in his sleep, bright lattices of logic unfolding across that colorless void.” – Neuromancer, William Gibson 2 Table of Contents Table of Contents ................................................................................................................................................ 2 Introduction ......................................................................................................................................................... 3 Description of Subject ....................................................................................................................................... 3 History of Cyberpunk .................................................................................................................................................... 3 Themes and Common Motifs....................................................................................................................................... 3 Key subject headings and Call number range ....................................................................................................... 4 Description of Library and Community ..................................................................................................... -
A Very Short History of Cyberpunk
A Very Short History of Cyberpunk Marcus Janni Pivato Many people seem to think that William Gibson invented The cyberpunk genre in 1984, but in fact the cyberpunk aesthetic was alive well before Neuromancer (1984). For example, in my opinion, Ridley Scott's 1982 movie, Blade Runner, captures the quintessence of the cyberpunk aesthetic: a juxtaposition of high technology with social decay as a troubling allegory of the relationship between humanity and machines ---in particular, artificially intelligent machines. I believe the aesthetic of the movie originates from Scott's own vision, because I didn't really find it in the Philip K. Dick's novel, Do Androids Dream of Electric Sheep (1968), upon which the movie is (very loosely) based. Neuromancer made a big splash not because it was the "first" cyberpunk novel, but rather, because it perfectly captured the Zeitgeist of anxiety and wonder that prevailed at the dawning of the present era of globalized economics, digital telecommunications, and exponential technological progress --things which we now take for granted but which, in the early 1980s were still new and frightening. For example, Gibson's novels exhibit a fascination with the "Japanification" of Western culture --then a major concern, but now a forgotten and laughable anxiety. This is also visible in the futuristic Los Angeles of Scott’s Blade Runner. Another early cyberpunk author is K.W. Jeter, whose imaginative and disturbing novels Dr. Adder (1984) and The Glass Hammer (1985) exemplify the dark underside of the genre. Some people also identify Rudy Rucker and Bruce Sterling as progenitors of cyberpunk. -
Models of Time Travel
MODELS OF TIME TRAVEL A COMPARATIVE STUDY USING FILMS Guy Roland Micklethwait A thesis submitted for the degree of Doctor of Philosophy of The Australian National University July 2012 National Centre for the Public Awareness of Science ANU College of Physical and Mathematical Sciences APPENDIX I: FILMS REVIEWED Each of the following film reviews has been reduced to two pages. The first page of each of each review is objective; it includes factual information about the film and a synopsis not of the plot, but of how temporal phenomena were treated in the plot. The second page of the review is subjective; it includes the genre where I placed the film, my general comments and then a brief discussion about which model of time I felt was being used and why. It finishes with a diagrammatic representation of the timeline used in the film. Note that if a film has only one diagram, it is because the different journeys are using the same model of time in the same way. Sometimes several journeys are made. The present moment on any timeline is always taken at the start point of the first time travel journey, which is placed at the origin of the graph. The blue lines with arrows show where the time traveller’s trip began and ended. They can also be used to show how information is transmitted from one point on the timeline to another. When choosing a model of time for a particular film, I am not looking at what happened in the plot, but rather the type of timeline used in the film to describe the possible outcomes, as opposed to what happened. -
Première Européenne Du Thriller NIGHTCRAWLER Rene Russo Et Le Réalisateur Dan Gilroy, Invités Star Au ZFF
Communiqué de Presse Première européenne du thriller NIGHTCRAWLER Rene Russo et le réalisateur Dan Gilroy, invités star au ZFF Zurich, le 8 septembre 2014 Le thriller palpitant NIGHTCRWALER, mettant en scène Rene Russo, Jake Gyllenhaal et Bill Paxton, célébrera sa Première européenne au 10ème Zurich Film Festival. Rene Russo et le réalisateur Dan Gilroy présenteront le film de gala le mardi 30 septembre à Zurich. Commençant sa carrière comme top-modèle, la Californienne Rene Russo se lance dans le cinéma dès 1989, dans des films comme DANS LA LIGNE DE MIRE (1993), GET SHORTY (1995), L'AFFAIRE THOMAS CROWN (1999) ou THOR (2011), donnant la réplique à de grandes stars comme Mel Gibson, Clint Eastwood, John Travolta ou Pierce Brosnan. Productrice TV blindée Les nightcrawlers sont des reporters vidéo qui, dès la tombée de la nuit, sillonnent les rues de Los Angeles pour se retrouver aux premières loges lors d'un accident ou d'un crime. Rene Russo y incarne Nina Romina, une productrice TV blindée pour une chaîne qui relate en exclusivité les crimes de la nuit. Son nightcrawler, Lou Bloom (Jake Gyllenhaal) part, avec sa caméra, à la chasse aux accidents de voiture, aux cambriolages et aux meurtres dans le but de capturer des images les plus scandaleuses possibles. Le réalisateur Dan Gilroy nous livre, avec NIGHTCRAWLER, un thriller à la fois fascinant et horriblement réaliste. Il s'agit de son premier travail de réalisation. En effet, il a jusqu'ici fait ses preuves en qualité de scénariste pour des films comme FREEJACK (1992), TWO FOR THE MONEY (2005), JASON BOURNE: L'HÉRITAGE (2012) et, enfin, NIGHTCRAWLER, produit par Jennifer Fox, Tony Gilroy, Michel Litvak , Jake Gyllenhaal et David Lancaster. -
Ho! Let's Go: Ramones and the Birth of Punk Opening Friday, Sept
® The GRAMMY Museum and Delta Air Lines Present Hey! Ho! Let's Go: Ramones and the Birth of Punk Opening Friday, Sept. 16 Linda Ramone, Billy Idol, Seymour Stein, Shepard Fairey, And Monte A. Melnick To Appear At The Museum Opening Night For Special Evening Program LOS ANGELES (Aug. 24, 2016) — Following its debut at the Queens Museum in New York, on Sept. 16, 2016, the GRAMMY Museum® at L.A. LIVE and Delta Air Lines will present the second of the two-part traveling exhibit, Hey! Ho! Let's Go: Ramones and the Birth of Punk. On the evening of the launch, Linda Ramone; British pop/punk icon Billy Idol; Seymour Stein, Vice President of Warner Bros. Records and a co-founder of Sire Records, the label that signed the Ramones to their first record deal; artist Shepard Fairey; and Monte A. Melnick, longtime tour manager for the Ramones, will participate in an intimate program in the Clive Davis Theater at 7:30 p.m. titled "Hey! Ho! Let’s Go: Celebrating 40 Years Of The Ramones." Tickets can be purchased at AXS.com beginning Thursday, Aug. 25 at 10:30 a.m. Co-curated by the GRAMMY Museum and the Queens Museum, in collaboration with Ramones Productions Inc., the exhibit commemorates the 40th anniversary of the release of the Ramones' 1976 self-titled debut album and contextualizes the band in the larger pantheon of music history and pop culture. On display through February 2017, the exhibit is organized under a sequence of themes — places, events, songs, and artists —and includes items by figures such as: Arturo Vega (who, along with the Ramones, -
The Uk's Top 200 Most Requested Songs in 1980'S
The Uk’s top 200 most requested songs in 1980’s 1. Billie Jean - Michael Jackson 2. Into the Groove - Madonna 3. Super Freak Part I - Rick James 4. Beat It - Michael Jackson 5. Funkytown - Lipps Inc. 6. Sweet Dreams (Are Made of This) - Eurythmics 7. Don't You Want Me? - Human League 8. Tainted Love - Soft Cell 9. Like a Virgin - Madonna 10. Blue Monday - New Order 11. When Doves Cry - Prince 12. What I Like About You - The Romantics 13. Push It - Salt N Pepa 14. Celebration - Kool and The Gang 15. Flashdance...What a Feeling - Irene Cara 16. It's Raining Men - The Weather Girls 17. Holiday - Madonna 18. Thriller - Michael Jackson 19. Bad - Michael Jackson 20. 1999 - Prince 21. The Way You Make Me Feel - Michael Jackson 22. I'm So Excited - The Pointer Sisters 23. Electric Slide - Marcia Griffiths 24. Mony Mony - Billy Idol 25. I'm Coming Out - Diana Ross 26. Girls Just Wanna Have Fun - Cyndi Lauper 27. Take Your Time (Do It Right) - The S.O.S. Band 28. Let the Music Play - Shannon 29. Pump Up the Jam - Technotronic feat. Felly 30. Planet Rock - Afrika Bambaataa and The Soul Sonic Force 31. Jump (For My Love) - The Pointer Sisters 32. Fame (I Want To Live Forever) - Irene Cara 33. Let's Groove - Earth, Wind, and Fire 34. It Takes Two (To Make a Thing Go Right) - Rob Base and DJ EZ Rock 35. Pump Up the Volume - M/A/R/R/S 36. I Wanna Dance With Somebody (Who Loves Me) - Whitney Houston 37. -
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. -
William Gibson Fonds
William Gibson fonds Compiled by Christopher Hives (1993) University of British Columbia Archives Table of Contents Fonds Description o Title / Dates of Creation / Physical Description o Biographical Sketch o Scope and Content o Notes File List Catalogue entry (UBC Library catalogue) Fonds Description William Gibson fonds. - 1983-1993. 65 cm of textual materials Biographical Sketch William Gibson is generally recognized as the most important science fiction writer to emerge in the 1980s. His first novel, Neuromancer, is the first novel ever to win the Hugo, Nebula and Philip K. Dick awards. Neuromancer, which has been considered to be one of the influential science fiction novels written in the last twenty-five years, inspired a whole new genre in science fiction writing referred to as "cyberpunk". Gibson was born in 1948 in Conway, South Carolina. He moved to Toronto in the late 1960s and then to Vancouver in the early 1970s. Gibson studied English at the University of British Columbia. He began writing science fiction short stories while at UBC. In 1979 Gibson wrote "Johnny Mnemonic" which was published in Omni magazine. An editor at Ace books encouraged him to try writing a novel. This novel would become Neuromancer which was published in 1984. After Neuromancer, Gibson wrote Count Zero (1986), Mona Lisa Overdrive (1988), and Virtual Light (1993). He collaborated with Bruce Sterling in writing The Difference Engine (1990). Gibson has also published numerous short stories, many of which appeared in a collection of his work, Burning Chrome (1986). Scope and Content Fonds consists of typescript manuscripts and copy-edited, galley or page proof versions of all five of Gibson's novels (to 1993) as well as several short stories. -
Mirrorshade Women: Feminism and Cyberpunk
Mirrorshade Women: Feminism and Cyberpunk at the Turn of the Twenty-first Century Carlen Lavigne McGill University, Montréal Department of Art History and Communication Studies February 2008 A thesis submitted to McGill University in partial fulfilment of the requirements of the degree of Doctor of Philosophy in Communication Studies © Carlen Lavigne 2008 2 Abstract This study analyzes works of cyberpunk literature written between 1981 and 2005, and positions women’s cyberpunk as part of a larger cultural discussion of feminist issues. It traces the origins of the genre, reviews critical reactions, and subsequently outlines the ways in which women’s cyberpunk altered genre conventions in order to advance specifically feminist points of view. Novels are examined within their historical contexts; their content is compared to broader trends and controversies within contemporary feminism, and their themes are revealed to be visible reflections of feminist discourse at the end of the twentieth century. The study will ultimately make a case for the treatment of feminist cyberpunk as a unique vehicle for the examination of contemporary women’s issues, and for the analysis of feminist science fiction as a complex source of political ideas. Cette étude fait l’analyse d’ouvrages de littérature cyberpunk écrits entre 1981 et 2005, et situe la littérature féminine cyberpunk dans le contexte d’une discussion culturelle plus vaste des questions féministes. Elle établit les origines du genre, analyse les réactions culturelles et, par la suite, donne un aperçu des différentes manières dont la littérature féminine cyberpunk a transformé les usages du genre afin de promouvoir en particulier le point de vue féministe. -
Transreal in Los Gatos
Transreal in Los Gatos by Rudy Rucker A TEDx talk given in Los Gatos, October 26, 2011 Text and Images Copyright © Rudy Rucker 2011. 2,100 Words. I got a Ph. D. in mathematics, and I’ve published popular science books about infinity and about the fourth dimension. I was one of the cyberpunk science fiction writers in the 1980s. I spent about twenty years as a computer science professor at San Jose State. And over the last ten years I’ve become something of a painter—and you’ll see some of my pictures here. I guess the main thing I do is to write science fiction novels. By now I’ve published twenty of them. A special approach that I often use for my fantastic novels is something I call transrealism. Transrealism means writing science fiction about your real life. The “real” part of transreal—is that the characters of my novels are inspired by actual people. And the situtations come from the world around me. It’s liberating to have quirky, unpredictable characters. The “trans” part of transreal—I like to use the power chords of SF as a way to thicken and intensify the material. Time travel is a way of talking about memory, aliens are other people, and telepathy is the fleeting hope of finally being fully understood. I like blending my worlds: mathematics, computer science, literature and real life. How did I end up in Los Gatos? Before this, I was a mathematics professor, and then a freelance writer. My family and I were living in Lynchburg, Virginia. -
The Machineries of Uncivilization: Technology and the Gendered Body
The Machineries of Uncivilization: Technology and the Gendered Body in the Fiction of Margaret Atwood and William Gibson by Annette Lapointe A thesis submitted to the Faculty of Graduate Studies of The University of Manitoba in partial fulfillment of the requirements of the degree of DOCTOR OF PHILOSOPHY Department of English, Film, and Theatre University of Manitoba Winnipeg Copyright © 2010 by Annette Lapointe For Patricia Lapointe reader, teacher, literary guide my mom Table of Contents Acknowledgements iv Abstract v Introduction Factory Girl @ the Crossroads 1 Chapter 1 Cyborg Pathology: Infection, Pollution, and Material Femininity in Tesseracts 2 15 Chapter 2 Girls on Film: Photography, Pornography, and the Politics of Reproduction 56 Chapter 3 Meat Puppets: Cyber Sex Work, Artificial Intelligence, and Feminine Existence 96 Chapter 4 Manic Pixie Dream Girls: Viral Femininity, Virtual Clones, and the Process of Embodiment 138 Chapter 5 Woman Gave Names to All the Animals: Food, Fauna, and Anorexia 178 Chapter 6 The Machineries of Uncivilization: Gender, Disability, and Cyborg Identity 219 Conclusion New Maps for These Territories 257 Works Cited 265 iii Acknowledgements Many thanks to Dr. Mark Libin, my dissertation adviser, for all of his guidance in both my research and my writing. Dr Arlene Young guided me to a number of important nineteenth century texts on gender and technology. My foray into disability studies was assisted by Dr. Nancy Hansen and by Nadine Legier. melanie brannagan-frederiksen gave me insight into the writings of Walter Benjamin. Patricia Lapointe read every draft, provided a sounding board and offered a range of alternate perspectives. The Histories of the Body Research Group guided me through to literary and non-literary approaches to body studies. -
Souvenirs Du Futur Le Robot Dans Le Steampunk Français
Souvenirs Du futur Le robot dans le Steampunk Français SOREAU CAROLINE MEMOIRE DE MASTER 2 – SOUTENU EN MAI 2014 SOUS LA DIRECTION DE NICOLAS DEVIGNE ET EDDIE PANIER 1 Université de Valenciennes et du Hainaut-Cambrésis Faculté de Lettres Langues Arts et Sciences Humaines Département Arts Plastiques Page de garde : Didier Graffet, Notre Dame 1900, Acrylique sur toile 65 x 100 cm, 2013 2 3 Remerciements En préambule de ce mémoire, je tiens d'abord à remercier M. Nicolas DEVIGNE, qui s’est montré d’une grande disponibilité et d’une aide précieuse tout au long de mon Master et aux différentes étapes de la réalisation de ce mémoire. Pour sa rigueur et son exigence, aussi, qui m’ont poussée à toujours plus de réflexion. M. Eddie PANIER, pour sa confiance en mes capacités, ses encouragements et les lectures précieuses qu’il a pu me conseiller tout au long de ces deux années de travail. Mme. CHOMARAT-RUIZ, pour son engagement au sein du Master Recherche et ses nombreux conseils. Mes parents et mon compagnon, toujours présents, y compris quand je peine à avoir confiance en mon travail et à croire en moi, au point d’en devenir invivable (je plaide coupable !) Pour leurs longues heures passées à relire ces pages et à essayer de comprendre « l’obscur » mouvement steampunk dans le but de pouvoir toujours dialoguer avec l’automate que je deviens lorsque je travaille. Pour leur présence, tant dans les bons que dans les mauvais moments. Mes différents relecteurs, qui ont pris le temps de relever nombre de mes coquilles.