By Herlander Elias
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Extra info for Cyberpunk 2.0 Fiction and Contemporary
The punk side in cyberpunk resumes itself in the appropriation of the “values” in which the 70’s punk music was based on. This is the other side of the city smart youngster, here empowered by all the power cyberculture inputs on him as the computer culture is instituted, existing inclusively a whole mash of elements youth related, street credit, alienation, no to mention the aggressiveness for the technocracy establishment. Cyberpunk is the heir of a real which was by then schizoid and fragmented punk’s environment.
So much it can be the Real I see with background music, like in video clip form, as it can be the images that my eye saw under the disturbing alcoholic states; as well as it can be the state of art awe provoked by sophisticated graphic and acoustic technologies, specially when these are mediated or fine-tuned with psychoactive substances, able to send us in a more convincing way to a virtually infinite universe. 0: Fiction and Contemporary What Gibson did, according to his own arguments that stated in some interviews, he was all about coming out with a concept to imply media and our attitude before our time, whose anthropology is inseparable from the media rhythm.
This is why the cyberpunk movement happened with an enormous intensity, being a new stratum, with “new articulation lines” and “new territories”. Cyberpunk was pretty much vigorous by then considering that all previous movements performed sinfully by appearing root-like, while cyberpunk was hard to hold due to its multidimensional culture, though there were unaltered questions. For example what Erik Davis mentions in relation to the electronic music culture is, the fact that, in dub music. It is easy to verify strata inexistent in reggae.
Cyberpunk 2.0 Fiction and Contemporary by Herlander Elias