Showing posts sorted by relevance for query Cyberpunk. Sort by date Show all posts

Monday, June 11, 2018

Cyberpunk:

https://en.wikipedia.org/wiki/List_of_cyberpunk_works#Print_media

https://the-loaf-etc.blogspot.com/search?q=Cyberpunk

https://databits-jf.blogspot.com/2018/06/cyberpunk.html

https://akashicmultiverse.blogspot.com/2018/06/cyberpunk.html

Thursday, February 25, 2021

The MATRIX intersection with WG and U2

https://en.wikipedia.org/wiki/William_Gibson#Film_adaptations,_screenplays,_and_appearances

"Gibson's work has influenced several popular musicians: references to his fiction appear in the music of Stuart Hamm,^[d] Billy Idol,^[e] Warren Zevon,^[f] Deltron 3030, Straylight Run (whose name is derived from a sequence in Neuromancer)^[141] and Sonic Youth. U2's Zooropa album was heavily influenced by Neuromancer,^[44] and the band at one point planned to scroll the text of Neuromancer above them on a concert tour, although this did not end up happening. Members of the band did, however, provide background music for the audiobook version of Neuromancer as well as appearing in No Maps for These Territories, a biographical documentary of Gibson.^[142] He returned the favour by writing an article about the band's Vertigo Tour for Wired in August 2005.^[143] The band Zeromancer take their name from Neuromancer.^[144]

The film The Matrix (1999) drew inspiration for its title, characters and story elements from the Sprawl trilogy.^[145] The characters of Neo and Trinity in The Matrix are similar to Bobby Newmark (Count Zero) and Molly ("Johnny Mnemonic", Neuromancer).^[98] Like Turner, protagonist of Gibson's Count Zero, characters in The Matrix download instructions (to fly a helicopter and to "know kung fu", respectively) directly into their heads, and both Neuromancer and The Matrix feature artificial intelligences which strive to free themselves from human control.^[98] Critics have identified marked similarities between Neuromancer and the film's cinematography and tone.^[146] In spite of his initial reticence about seeing the film on its release,^[13] Gibson later described it as "arguably the ultimate 'cyberpunk' artifact." https://en.wikipedia.org/wiki/William_Gibson#Cultural_significance

https://en.wikipedia.org/wiki/William_Gibson#Visionary_influence_and_prescience

Gibson first used the word “cyberspace” in 1981, in a short story called “Burning Chrome.” He worked out the idea more fully in his first novel, “Neuromancer,” published in 1984, when he was thirty-six. Set in the mid-twenty-first century, “Neuromancer” follows a heist that unfolds partly in physical space and partly in “the matrix”—an online realm. “The matrix has its roots in primitive arcade games,” the novel explains, “in early graphics programs and military experimentation with cranial jacks.” By “jacking in” to the matrix, a “console cowboy” can use his “deck” to enter a new world:

Cyberspace. A consensual hallucination experienced daily by billions of legitimate operators, in every nation. . . . A graphic representation of data abstracted from the banks of every computer in the human system. Unthinkable complexity. Lines of light ranged in the nonspace of the mind, clusters and constellations of data. Like city lights, receding.

Gibson was far from the first sci-fi writer to explore computers and their consequences; a movement, soon to be known as cyberpunk, was already under way. But “Neuromancer” changed science fiction by imagining a computer-saturated world that felt materially and aesthetically real. Gibson’s hardboiled prose was fanatically attentive to design and texture.

https://www.newyorker.com/magazine/2019/12/16/how-william-gibson-keeps-his-science-fiction-real