‘Anthropomorphic drones’ and colonized bodies: William Gibson’s the peripheral

William Gibson tends to write in trilogies, as his first nine novels show. These series – the Sprawl, the Bridge, and the Blue Ant trilogies – are set in three different time periods and are populated by characters who reappear from one book to the next. Given this pattern in Gibson’s writing habits, 2014’s The Peripheral can be considered a new work, set in a separate universe from any of Gibson’s previous novels. However, in terms of its philosophical position, The Peripheral is the continuation of a career-long trajectory. Gibson’s work is consistently concerned with the relationship of the individual to their society and the interface between the two, as mediated through the senses. The Sprawl trilogy and the Bridge trilogy privileged vision as the most important of the senses, particularly in cyberspace where the body is left behind and engagement with virtual reality happens mainly through the eyes gazing on a computer screen. 2003’s Pattern Recognition, the first novel in the Blue Ant trilogy which went on to include Spook Country (2007) and Count Zero (2010), began to resituate the body and specifically the haptic as key to engaging with the world while The Peripheral takes this philosophical journey further, privileging the haptic as a key site of phenomenological engagement

Neal Stephenson’s Readme: a critique of gamification

Neal Stephenson’s writing has in many ways shaped post-cyberpunk science fiction as well as having a massive influence on real-world technology, so his move to realism with 2011’s Reamde offers an opportunity to understand science fiction’s changing relationship to realism in the twenty-first century. Stephenson is considered a core cyberpunk writer thanks to 1992’s Snow Crash, a novel that depicts an online virtual world known as the ‘Metaverse’. This novel is based on the premise that the actions of an online world could have a material impact on participants outside of the game: namely, gamers can be brain damaged by a computer virus. Stephenson has continued to explore these themes throughout his career, but recently through contemporary settings, rather than the futures of his science fiction. Stephenson’s Reamde could therefore be considered an example of ‘science fiction realism’, a term coined by Veronica Hollinger to describe William Gibson’s Pattern Recognition (2003), a novel which also uses science fictional tropes and techniques, but in a contemporary setting

Imagining Action in/Against the Anthropocene: Narrative Impasse and the Necessity of Alternatives to Effect Resistance

The Anthropocene has emerged as the dominant conception of the contemporary moment, centering the human individual as both responsible for and bearing the responsibility to counteract its numerous interrelated socioeconomic, political, and environmental issues including the staggering loss of biodiversity across the globe and the reality of anthropogenic climate change. This constitutes a significant psychological impasse that disempowers and disenfranchises humans living in this epoch, discouraging any substantive individual effort. Drawing on the posthuman feminist philosophy of theorists such as Rosi Braidotti and Stacy Alaimo together with a reflection of the power of science fiction as a literature of cognitive estrangement highlighting social issues, this paper reads “The Boston Hearth Project” by T.X. Watson as a short story demonstrative of an ethos of community and hope that resists the negative affects and oppressive social structures of the Anthropocene. I argue in the course of this paper that theorists and activists alike must turn to alternative narratives, such as those modelled in the emergent science fiction genre of solarpunk, in order to reject essentializing and individualizing forces and think multiply in order to realize meaningful resistance in a time of increasing fragmentation in society and destruction of the more-than-human world

Science Fiction

Science fiction (SF) emerges as a distinct literary and cultural genre out of a familiar set of world-famous texts ranging from Mary Shelley’s Frankenstein (1818) to Gene Roddenberry’s Star Trek (1966–) to the Marvel Cinematic Universe (2008–) that have, in aggregate, generated a colossal, communal archive of alternate worlds and possible future histories. SF’s dialectical interplay between utopian optimism and apocalyptic pessimism can be felt across the genre’s now centuries-long history, only intensifying in the 20th century as the clash between humankind’s growing technological capabilities and its ability to use those powers safely or wisely has reached existential-threat propositions, not simply for human beings but for all life on the planet. In the early 21st century, as in earlier cultural moments, the writers and critics of SF use the genre’s articulation of different societies and different possible futures as the occasion to reflect on our own present, in ways that range from full-throated defense of the status quo to the ruthless denunciation of all institutions that currently exist in the name of some other, better world. SF’s global popularity has grown to the point where it now looms quite large over cultural production generally, becoming arguably the most popular narrative genre in existence, particularly in the sorts of SF action spectacles that have dominated the global box office of the first two decades of the 21st century. It has also become increasingly difficult to tell the difference between the things we used to think of as SF and the advanced communication, transportation, and entertainment technologies that have become so ubiquitous and familiar that we now take them for granted, as well as the growing prevalence of political, economic, and ecological crises now erupting out of the pages of our science fictions, like our very worst dreams come to life

Computer Mediated Communication and the Connection between Virtual Utopias and Actual Realities

People have generally been very ambivalent about the potential future roles of new technologies (and the internet specifically) and their possible effects on human society. Indeed, there has been a tendency for polarization between attitudes or perceptions of naive enthusiasm and cynical resistance towards the use of computers and computer networks, and for such related concepts as ‘the information superhighway’ and ‘cyberspace’. The projection of such ambivalent perceptions into naively utopian (or even ironically dystopian) images and narratives might be seen as the latest and uniquely global permutation of a basic function of human culture - that is, to imagine ‘a better future’ or represent ‘an ideal past’. This paper will consider the extent to which the kinds of virtual utopias made possible by computer-mediated communications are\ud ‘connected’ to the actual individual and social realities of human participants. In other words, how important might it be to recognise a distinction between the use of virtual utopias (and utopian representations in any culture) as merely escapist, self-indulgent fantasy on one hand, and\ud as a useful, transformative media for reinventing the human condition on the other? Whether we live in a Panoptic or democratic Net ten years from now depends, in no small measure, on what you and I know and do now. Howard Rheingold, Afterword to The Virtual Community (1994, p. 310

Becoming plant and posthumanism in Jeff Noon's Pollen (1995)

This article examines Jeff Noon’s cyberpunk novel Pollen (1995), arguing for its innovative treatment of spatial and species identities. In addition to the challenging representations of gender and feminism identified by Val Gough, there are other kinds of decentering enacted, notably in the novel’s speculative treatment of “becoming plant” and the location of the action in the North of England

Жанр киберпанка в «Хрониках Незримой империи» Наля Подольского

The article investigates the nature of genre transformation in N.Podolskiy’s novel «Chronicles of the Invisible Empire», considers the identifiers of cyberpunk and the specifics of their implementation in this literary work, discloses the nature of anti-utopian model and cyberpunk interaction.В статье исследуется жанровая природа романа Н. Подольского «Хроники Незримой империи», рассматриваются жанровые идентификаторы киберпанка и специфика их реализации в данном произведении, раскрывается характер взаимодействия антиутопической модели и киберпанка

Subcultural and social innovations in the campaign for nuclear disarmament

In times of war and rumours of peace, when ‘terrorism’ and ‘torture’ are being revisited and redefined, one of the things some of us should be doing is talking and writing about cultures of peace. In what follows, I ask questions about the place of culture in protest by considering the cluster of issues around the Campaign for Nuclear Disarmament (CND) from its founding in London in 1958. I look at instances of (sub)cultural innovation within the social and political spaces CND helped make available during its two high periods of activity and membership: the 1950s (campaigning against the hydrogen bomb) and the 1980s (campaigning against U.S.-controlled cruise missiles). What particularly interests me here is tracing the reticence and tensions within CND to the (sub)cultural practices with which it had varying degrees of involvement or complicity. It is not my wish to argue in any way that there was a kind of dead hand of CND stifling cultural innovation from within; rather I want to tease out ambivalences in some of its responses to the intriguing and energetic cultural practices it helped birth. CND was founded at a significant moment for emerging political cultures. Its energies and strategies contributed to the rise of the New Left, to new postcolonial identities and negotiations in Britain, and to the Anti-Apartheid Movement. In what ways did it attempt to police the ‘outlaw emotions’ it helped to release