Cyberculture.hu

Rendhagyó módon levelezőlistáról idézünk. Az alábbi írást Gareth Branwyn küldte az American Dialect Society listájára 2002 júliusában.

Good one, Paul. I created the 1991 e-book/catalog Beyond Cyberpunk! (on
HyperCard) that covered the various sub-genres of cyberpunk sci-fi and
the burgeoning "cyberculture" of the Internet. Some other cyberpunk
"micro-genres" of the time:

Ribofunk - Created by sci-fi author Paul DeFilippo, ribofunk was sort of
an inversion of cyberpunk. Where c-punk focused on the mind, computers,
logic, the virtualizing of the human body, ribofunk emphasized the body,
bio-technology, the libido, A-life (artificial life), etc. Where
cyberpunk's musical muse was punk rock, ribofunk's was funk and soul.

Splatterpunk - Took the alienation, dystopian near-futures and
amphetimine-fueled prose of c-punk into the horror genre. Chief
practitioners were Clive Barker and John Shirley (a.k.a. "cyberpunk
patient zero").

Cybergoth - More of a marketing tag than anything else, "cybergoth" was
used by Games Workshop to describe their Road Warrior meets Eldritch
magick post-apocalyptic game Dark Future (and used in the series of
novels that supported it). Some of this "cybergoth" influence lives on
in Games Workshop's far-future "gothic sci-fi" game Warhammer 40,000.

Freestyle - A shortlived sub-genre of c-punk practiced by then-Bay Area
writers Rudy Rucker, Marc Laidlaw, Richard Kadrey and others. Inspired
by freestyle surfing and chaos theory (no, really). The idea was to damn
all genres and "write like yourself, only moreso."

Transrealism - Taking off on the "write like yourself, only moreso"
adage of freestyle, Rudy Rucker published his Transrealist Manifesto. It
called for combining the intensity of cyberpunk prose and the "fifteen
minutes into the future" immediacy of the genre with the anything-goes
openess of freestyle and the use of your own life experiences as your
muse in writing fiction. Rucker claims that all of his work has become
"transrealist." He takes real characters and situations from his life,
grossly exaggerates them and projects them into the near future. Rucker
says that, eventually, he wants to publish a CD-ROM will all of
his novels on it. The reader will be able to click on any passage, in
any book, and be linked to Rucker's journals, so one can see what was
going on in his real life at that point and how it got mutated into fiction.

Re: Steampunk
One of the central inspirations of steampunk was Charles Babbage's
"Difference Engine," a proposed computational device that many speculate
would have worked if the technology had existed at the time to machine
the many mechanical parts. So steampunk asks the question: what would
have happened to history if computers and the information age had
existed concurrently with the industrial revolution of the 19th century?

Gar

Paul McFedries wrote:

 > steampunk (STEEM.punk) n.
 >
 > A literary genre that applies science fiction or fantasy elements to
 > historical settings and that features steam-powered, mechanical
 > machines rather than electronic devices. Also: steam-punk.
 >
 > Arcanum is a prime example of steampunk, a subgenre of science
 > fiction that explores the displacement of ancient ways by modern
 > technology. Like Thief, with its steam-powered mechanical robot
 > guards, Arcanum reconfigures the fantasy genre by imagining a past of
 > magic and sorcery clashing with a present distinguished by advanced
 > mechanical technology.
 > --Charles Herold, "Yielding (or Not) to the Magic of Exotica," The
 > New York Times, October 4, 2001
 >
 > (...)

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