Difference between revisions of "Antimancer: Cybernetics and Art in Gibson's Count Zero"

From Clockworks2
Jump to navigationJump to search
Line 5: Line 5:
 
============================
 
============================
 
EXPANSION:
 
EXPANSION:
The article has no Abstract at the end — but this from the long, first-person headnote that replaces it (''italics'' removed).  
+
The article has no Abstract at the end — but this from the long, first-person headnote that replaces it (''italics'' removed). IC-R starts from the thesis from the opening of "Sentimental Futurist"
  My departure point is the thesis
+
  that Gibson's fiction returns continually to the question of how artists can represent the human condition in a world saturated by cybernetic technologies that not only undermine earlier ethical and aesthetic categories, but also collapse the distance between the sense of real social existence and science-fictional  speculation. The cyberspace novels' protagonists all work to restor value and meaning to their lives through techno spheres that have appropriated the realm of transcendence.
  
  

Revision as of 22:39, 20 May 2019

Csicsery-Ronay, Istvan, Jr. "Antimancer: Cybernetics and Art in Gibson's Count Zero." SFS #65 = 22.1 (March 1995): 63-86.

Second essay in a trilogy of essays beginning with IC-R's "The Sentimental Futurist: Cybernetics and Art in William Gibson's Neuromancer" essay (with the third essay on Mona Lisa Overdrive). Claims that Count Zero fails as a "penance" or "antimancer" to Gibson's Neuromancer, because "Gibson's counterforce is too abstract and theoretical to affect the language of power that drives the action of both novels." (RDE, 15/08/02)

================

EXPANSION: The article has no Abstract at the end — but this from the long, first-person headnote that replaces it (italics removed). IC-R starts from the thesis from the opening of "Sentimental Futurist"

that Gibson's fiction returns continually to the question of how artists can represent the human condition in a world saturated by cybernetic technologies that not only undermine earlier ethical and aesthetic categories, but also collapse the distance between the sense of real social existence and science-fictional  speculation. The cyberspace novels' protagonists all work to restor value and meaning to their lives through techno spheres that have appropriated the realm of transcendence.