Contents
INTRODUCTION: THE MATRIX RELOADING (update)
FOREWORD: WHAT DOES THE FUTURE RESERVES TO SUCH A PRESENT? (update)
I
INTRODUCING THE CYBERPUNK IMAGINARY
CYBERPUNK – BETWEEN PUNKS AND CYBORGS
WHY CYBER?
AND WHY PUNK?
THE RELEVANCY OF CYBERPUNK
ABOUT CYBERSPACE AND THE MATRIX
THE CYBERPUNK VISUAL ARTIFACTS
THE CYBERPUNK PREMISES
II
FAMOUS CYBERPUNK ICONS
BLADE RUNNER: RIDLEY SCOTT’S 1982 MOVIE
NEUROMANCER: WILLIAM GIBSON’S 1984 NOVEL
III
OTHER CYBERPUNK FICTION
COMICS
AKIRA
DARK MINDS (update)
GHOST IN THE SHELL
MOVIES
DARK ANGEL (update)
ESCAPE FROM NEW YORK
GHOST IN THE SHELL 2: INNOCENCE (update)
JOHNNY MNEMONIC
MAX HEADROOM
STRANGE DAYS
TERMINATOR 2 3-D: BATTLE ACROSS TIME (update)
TERMINATOR: THE SARAH CONNOR CHRONICLES (update)
THE MATRIX TRILOGY (update)
THE TERMINATOR
TOTAL RECALL
UNTIL THE END OF THE WORLD
SONGS
NEUROMANCER (BILLY IDOL, 1993)
SHOCK TO THE SYSTEM (BILLY IDOL, 1993)
VIDEOGAMES
ANOTHER WORLD
BENEATH A STEEL SKY
BLADE RUNNER
CYBERSPACE
DELTA V
ENTER THE MATRIX (update)
GHOST IN THE SHELL
INTERPHASE
MIRROR’S EDGE (update)
SKYNET (update)
SYNDICATE/SYNDICATE WARS
THE MATRIX: ONLINE (update)
THE MATRIX: PATH OF NEO (update)
THE TERMINATOR: FUTURE SHOCK (update)
IV
CONTEMPORARY CYBERPUNK FIGURES
ROMANTIC CYBORGS
FUTURE SHOCK: NO FUTURE VERSUS NEW FUTURE
THE END OR GENERALIZING CYBERPUNK?
GRAFFITER: THE INTERTEXTUALITY HIP-HOPPER
RHACKER: WHEN ROCKER AND HACKER ARE CYBORGED
RAVER: THE ACID POLYRHYTHM SURFER
FASHION PUNKS IN MATRIX STYLE (update)
BANKSY: POSTCOMPUTER GRAFFITI (update)
TETSOO: MOTION DESIGN SHOCKWAVES (update)
CULTURE JAMMING: REDESIGN CORPORATE LOGOS (update)
TECKTONIK: BRANDING DANCE CULTURE (update)
V
THE ACOUSTIC CYBERSPACES
OF PRESENT DAY’S ELECTROCULTURE
SOUNDSCAPES: THE SONIC LANDSCAPES
TECHNO: THE CYBERDELIC MUSIC
RAVES: THE CONCENTRATION CAMPS OF THE 90’s
AFTERWORD: SCANNING THE FUTURE (update)
REFERENCES
BOOKS
ONLINE DOCUMENTS (update)
MUSIC (update)
FILMOGRAPHY
VIDEOGRAPHY (update)
GLOSSARY (update)
Cyberpunk 2.0 - Fiction and Contemporary [ Download ]
Herlander Elias
