https://www.clockworks2.org/wiki/index.php?title=The_Arc_of_Our_Destruction:_Reversal_and_Erasure_in_Cyberpunk&feed=atom&action=history The Arc of Our Destruction: Reversal and Erasure in Cyberpunk - Revision history 2024-03-29T05:58:17Z Revision history for this page on the wiki MediaWiki 1.32.1 https://www.clockworks2.org/wiki/index.php?title=The_Arc_of_Our_Destruction:_Reversal_and_Erasure_in_Cyberpunk&diff=10036&oldid=prev Erlichrd at 02:23, 22 July 2019 2019-07-22T02:23:49Z <p></p> <table class="diff diff-contentalign-left" data-mw="interface"> <col class="diff-marker" /> <col class="diff-content" /> <col class="diff-marker" /> <col class="diff-content" /> <tr class="diff-title" lang="en"> <td colspan="2" style="background-color: #fff; color: #222; text-align: center;">←Older revision</td> <td colspan="2" style="background-color: #fff; color: #222; text-align: center;">Revision as of 02:23, 22 July 2019</td> </tr><tr><td colspan="2" class="diff-lineno" id="mw-diff-left-l1" >Line 1:</td> <td colspan="2" class="diff-lineno">Line 1:</td></tr> <tr><td class='diff-marker'>−</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>[[Easterbrook, Neil]].  &quot;The Arc of Our Destruction: Reversal and Erasure in Cyberpunk.&quot;  ''SFS'' #58, 19.3 (Nov. 1992): 378-94.   </div></td><td class='diff-marker'>+</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins class="diffchange diffchange-inline">'''</ins>[[Easterbrook, Neil]].  &quot;The Arc of Our Destruction: Reversal and Erasure in Cyberpunk.&quot;<ins class="diffchange diffchange-inline">''' </ins> ''SFS'' #58, 19.3 (Nov. 1992): 378-94.   </div></td></tr> <tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td></tr> <tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>In the debate on whether cyberpunk is radical and subversive or mostly conservative of &quot;corporate culture,&quot; NE looks at the imagery and finds cyberpunk conservative.  Concentrates on [[Gibson, William|W. Gibson]]'s ''[[Neuromancer]]'' and [[Sterling, Bruce|B. Sterling]]'s ''[[The Artificial Kid]]''.  Excellent comments on cyberspace, the image of the wasps' nest, the opening line of ''Neuromancer'', and the ethical implications of the cyberpunk handling of technology and life within what we would call a corporate apparat (see 382-83).  Argues that there is &quot;a neat reversal&quot; in cyberpunk &quot;of the natural/artificial opposition and an erasure implied by that reversal: advanced technology erases human morality. . . .  Logos is replaced by logo, an affirmation of great corporate houses that ushers in the inconsequence of individual will&quot;—which NE regrets (394; Abstract).  Cf. and contrast R. Schmitt's &quot;[[Mythology and Technology: The Novels of William Gibson]]&quot; and J. G. Voller's &quot;[[Neuromanticism: Cyberspace and the Sublime]].&quot; (RDE, 21/03/93){{DEFAULTSORT:Arc}}</div></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>In the debate on whether cyberpunk is radical and subversive or mostly conservative of &quot;corporate culture,&quot; NE looks at the imagery and finds cyberpunk conservative.  Concentrates on [[Gibson, William|W. Gibson]]'s ''[[Neuromancer]]'' and [[Sterling, Bruce|B. Sterling]]'s ''[[The Artificial Kid]]''.  Excellent comments on cyberspace, the image of the wasps' nest, the opening line of ''Neuromancer'', and the ethical implications of the cyberpunk handling of technology and life within what we would call a corporate apparat (see 382-83).  Argues that there is &quot;a neat reversal&quot; in cyberpunk &quot;of the natural/artificial opposition and an erasure implied by that reversal: advanced technology erases human morality. . . .  Logos is replaced by logo, an affirmation of great corporate houses that ushers in the inconsequence of individual will&quot;—which NE regrets (394; Abstract).  Cf. and contrast R. Schmitt's &quot;[[Mythology and Technology: The Novels of William Gibson]]&quot; and J. G. Voller's &quot;[[Neuromanticism: Cyberspace and the Sublime]].&quot; (RDE, 21/03/93){{DEFAULTSORT:Arc}}</div></td></tr> </table> Erlichrd https://www.clockworks2.org/wiki/index.php?title=The_Arc_of_Our_Destruction:_Reversal_and_Erasure_in_Cyberpunk&diff=5393&oldid=prev Erlichrd at 04:50, 23 December 2014 2014-12-23T04:50:12Z <p></p> <table class="diff diff-contentalign-left" data-mw="interface"> <col class="diff-marker" /> <col class="diff-content" /> <col class="diff-marker" /> <col class="diff-content" /> <tr class="diff-title" lang="en"> <td colspan="2" style="background-color: #fff; color: #222; text-align: center;">←Older revision</td> <td colspan="2" style="background-color: #fff; color: #222; text-align: center;">Revision as of 04:50, 23 December 2014</td> </tr><tr><td colspan="2" class="diff-lineno" id="mw-diff-left-l1" >Line 1:</td> <td colspan="2" class="diff-lineno">Line 1:</td></tr> <tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>[[Easterbrook, Neil]].  &quot;The Arc of Our Destruction: Reversal and Erasure in Cyberpunk.&quot;  ''SFS'' #58, 19.3 (Nov. 1992): 378-94.   </div></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>[[Easterbrook, Neil]].  &quot;The Arc of Our Destruction: Reversal and Erasure in Cyberpunk.&quot;  ''SFS'' #58, 19.3 (Nov. 1992): 378-94.   </div></td></tr> <tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td></tr> <tr><td class='diff-marker'>−</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>In the debate on whether cyberpunk is radical and subversive or mostly conservative of &quot;corporate culture,&quot; NE looks at the imagery and finds cyberpunk conservative.  Concentrates on [[Gibson, William|W. Gibson]]'s ''[[Neuromancer]]'' and [[Sterling, Bruce|B. Sterling]]'s ''[[The Artificial Kid]]''.  Excellent comments on cyberspace, the image of the wasps' nest, the opening line of ''Neuromancer'', and the ethical implications of the cyberpunk handling of technology and life within what we would call a corporate apparat (see 382-83).  Argues that there is &quot;a neat reversal&quot; in cyberpunk &quot;of the natural/artificial opposition and an erasure implied by that reversal: advanced technology erases human morality. . . .  Logos is replaced by logo, an affirmation of great corporate houses that ushers in the inconsequence of individual will&quot;—which NE regrets (394; Abstract).  Cf. and contrast R. Schmitt's &quot;[[Mythology and Technology: The Novels of William Gibson]]&quot; and J. G. Voller's &quot;[[Neuromanticism: Cyberspace and the Sublime]].&quot; (RDE, 21/03/93)</div></td><td class='diff-marker'>+</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>In the debate on whether cyberpunk is radical and subversive or mostly conservative of &quot;corporate culture,&quot; NE looks at the imagery and finds cyberpunk conservative.  Concentrates on [[Gibson, William|W. Gibson]]'s ''[[Neuromancer]]'' and [[Sterling, Bruce|B. Sterling]]'s ''[[The Artificial Kid]]''.  Excellent comments on cyberspace, the image of the wasps' nest, the opening line of ''Neuromancer'', and the ethical implications of the cyberpunk handling of technology and life within what we would call a corporate apparat (see 382-83).  Argues that there is &quot;a neat reversal&quot; in cyberpunk &quot;of the natural/artificial opposition and an erasure implied by that reversal: advanced technology erases human morality. . . .  Logos is replaced by logo, an affirmation of great corporate houses that ushers in the inconsequence of individual will&quot;—which NE regrets (394; Abstract).  Cf. and contrast R. Schmitt's &quot;[[Mythology and Technology: The Novels of William Gibson]]&quot; and J. G. Voller's &quot;[[Neuromanticism: Cyberspace and the Sublime]].&quot; (RDE, 21/03/93)<ins class="diffchange diffchange-inline">{{DEFAULTSORT:Arc}}</ins></div></td></tr> <tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td></tr> <tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>[[Category:Literary Criticism]]</div></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>[[Category:Literary Criticism]]</div></td></tr> <tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>[[Category:Easterbrook, Neil]]</div></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>[[Category:Easterbrook, Neil]]</div></td></tr> </table> Erlichrd https://www.clockworks2.org/wiki/index.php?title=The_Arc_of_Our_Destruction:_Reversal_and_Erasure_in_Cyberpunk&diff=1713&oldid=prev Fitzador at 23:31, 11 April 2007 2007-04-11T23:31:29Z <p></p> <table class="diff diff-contentalign-left" data-mw="interface"> <col class="diff-marker" /> <col class="diff-content" /> <col class="diff-marker" /> <col class="diff-content" /> <tr class="diff-title" lang="en"> <td colspan="2" style="background-color: #fff; color: #222; text-align: center;">←Older revision</td> <td colspan="2" style="background-color: #fff; color: #222; text-align: center;">Revision as of 23:31, 11 April 2007</td> </tr><tr><td colspan="2" class="diff-lineno" id="mw-diff-left-l1" >Line 1:</td> <td colspan="2" class="diff-lineno">Line 1:</td></tr> <tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>[[Easterbrook, Neil]].  &quot;The Arc of Our Destruction: Reversal and Erasure in Cyberpunk.&quot;  ''SFS'' #58, 19.3 (Nov. 1992): 378-94.   </div></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>[[Easterbrook, Neil]].  &quot;The Arc of Our Destruction: Reversal and Erasure in Cyberpunk.&quot;  ''SFS'' #58, 19.3 (Nov. 1992): 378-94.   </div></td></tr> <tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td></tr> <tr><td class='diff-marker'>−</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>In the debate on whether cyberpunk is radical and subversive or mostly conservative of &quot;corporate culture,&quot; NE looks at the imagery and finds cyberpunk conservative.  Concentrates on [[Gibson, William|W. Gibson]]'s ''[[Neuromancer]]'' and [[Sterling, Bruce|B. Sterling]]'s ''[[The Artificial Kid]]''.  Excellent comments on cyberspace, the image of the wasps' nest, the opening line of ''Neuromancer'', and the ethical implications of the cyberpunk handling of technology and life within what we would call a corporate apparat (see 382-83).  Argues that there is &quot;a neat reversal&quot; in cyberpunk &quot;of the natural/artificial opposition and an erasure implied by that reversal: advanced technology erases human morality. . . .  Logos is replaced by logo, an affirmation of great corporate houses that ushers in the inconsequence of individual will&quot;—which NE regrets (394; Abstract).  Cf. and contrast R. Schmitt's &quot;[[Mythology and Technology <del class="diffchange diffchange-inline">. . .</del>]]&quot; and J. G. Voller's &quot;[[Neuromanticism <del class="diffchange diffchange-inline">. . .</del>]].&quot; (RDE, 21/03/93)</div></td><td class='diff-marker'>+</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>In the debate on whether cyberpunk is radical and subversive or mostly conservative of &quot;corporate culture,&quot; NE looks at the imagery and finds cyberpunk conservative.  Concentrates on [[Gibson, William|W. Gibson]]'s ''[[Neuromancer]]'' and [[Sterling, Bruce|B. Sterling]]'s ''[[The Artificial Kid]]''.  Excellent comments on cyberspace, the image of the wasps' nest, the opening line of ''Neuromancer'', and the ethical implications of the cyberpunk handling of technology and life within what we would call a corporate apparat (see 382-83).  Argues that there is &quot;a neat reversal&quot; in cyberpunk &quot;of the natural/artificial opposition and an erasure implied by that reversal: advanced technology erases human morality. . . .  Logos is replaced by logo, an affirmation of great corporate houses that ushers in the inconsequence of individual will&quot;—which NE regrets (394; Abstract).  Cf. and contrast R. Schmitt's &quot;[[Mythology and Technology<ins class="diffchange diffchange-inline">: The Novels of William Gibson</ins>]]&quot; and J. G. Voller's &quot;[[Neuromanticism<ins class="diffchange diffchange-inline">: Cyberspace and the Sublime</ins>]].&quot; (RDE, 21/03/93)</div></td></tr> <tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td></tr> <tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>[[Category:Literary Criticism]]</div></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>[[Category:Literary Criticism]]</div></td></tr> <tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>[[Category:Easterbrook, Neil]]</div></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>[[Category:Easterbrook, Neil]]</div></td></tr> </table> Fitzador https://www.clockworks2.org/wiki/index.php?title=The_Arc_of_Our_Destruction:_Reversal_and_Erasure_in_Cyberpunk&diff=1686&oldid=prev Fitzador at 18:34, 22 March 2007 2007-03-22T18:34:27Z <p></p> <p><b>New page</b></p><div>[[Easterbrook, Neil]]. &quot;The Arc of Our Destruction: Reversal and Erasure in Cyberpunk.&quot; ''SFS'' #58, 19.3 (Nov. 1992): 378-94. <br /> <br /> In the debate on whether cyberpunk is radical and subversive or mostly conservative of &quot;corporate culture,&quot; NE looks at the imagery and finds cyberpunk conservative. Concentrates on [[Gibson, William|W. Gibson]]'s ''[[Neuromancer]]'' and [[Sterling, Bruce|B. Sterling]]'s ''[[The Artificial Kid]]''. Excellent comments on cyberspace, the image of the wasps' nest, the opening line of ''Neuromancer'', and the ethical implications of the cyberpunk handling of technology and life within what we would call a corporate apparat (see 382-83). Argues that there is &quot;a neat reversal&quot; in cyberpunk &quot;of the natural/artificial opposition and an erasure implied by that reversal: advanced technology erases human morality. . . . Logos is replaced by logo, an affirmation of great corporate houses that ushers in the inconsequence of individual will&quot;—which NE regrets (394; Abstract). Cf. and contrast R. Schmitt's &quot;[[Mythology and Technology . . .]]&quot; and J. G. Voller's &quot;[[Neuromanticism . . .]].&quot; (RDE, 21/03/93)<br /> <br /> [[Category:Literary Criticism]]<br /> [[Category:Easterbrook, Neil]]</div> Fitzador