An introduction to cybercultures by David Bell

By David Bell

An creation to Cybercultures presents an available consultant to the main types, practices and meanings of this rapidly-growing box. From the evolution of and software program to the emergence of cyberpunk movie and fiction, David Bell introduces readers to the major facets of cyberculture, together with e-mail, the net, electronic imaging applied sciences, desktop video games and electronic lighting tricks. every one bankruptcy comprises "hot hyperlinks" to key articles in its better half quantity, The Cybercultures Reader, feedback for additional analyzing, and information of appropriate websites.
Individual chapters examine:
• Cybercultures: an introduction
• Storying cyberspace
• Cultural stories in our on-line world
• group and cyberculture
• Identities in cyberculture
• our bodies in cyberculture
• Cybersubcultures
• getting to know cybercultures

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Pop culture stories Of course, cyberpunk is only one of the cultural sites where symbolic stories around cyberspace get produced – and though it is often held up as central in terms of its themes and visions, it is perhaps less central in terms of its mass exposure. While there have been some attempts to make cyberpunk movies (such as the Gibson-derived Johnny Mnemonic or the Gibson-inspired The Matrix), and while sci-fi movies have also evolved a cyberpunkish aesthetic and narrative style (embodied in the ‘tech-noir’ of Blade Runner, for example), a lot of the discussions of ‘symbolic’ versions of cyberspace tend to neglect the other genres and forms of what we might call ‘popular cybercultures’.

Memories’, see Fox 1997). The song hyperlinked intertextually for me with the melancholy of Deckard in Blade Runner, sat at the piano, looking at old photos, and made me pause for thought about the personal memories a computer might hold – both in its memory, and in the memory of past scenes played out around it. It’s that kind of intertextual moment that I think makes ‘mainstream’ depictions of cyberspace in popular culture important to consider. It raises some interesting particular questions, too: in what ways is the discourse of cyberculture legible within something like Country and Western music?

While there have been some attempts to make cyberpunk movies (such as the Gibson-derived Johnny Mnemonic or the Gibson-inspired The Matrix), and while sci-fi movies have also evolved a cyberpunkish aesthetic and narrative style (embodied in the ‘tech-noir’ of Blade Runner, for example), a lot of the discussions of ‘symbolic’ versions of cyberspace tend to neglect the other genres and forms of what we might call ‘popular cybercultures’. Dodge and Kitchin (2001: 184), for example, quickly dismiss ‘mainstream cyberfiction’ – typified by ‘the spate of ‘cyberthrillers’ and romantic ‘You’ve Got Mail’ novels’ – as lacking ‘the dark, edgy style that characterises cyberpunk’.

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