Difference between revisions of "The Sentimental Futurist: Cybernetics and Art in William Gibson's Neuromancer"
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[[Csicsery-Ronay, Istvan, Jr.]] "The Sentimental Futurist: Cybernetics and Art in William Gibson's ''Neuromancer''." ''Critique'' 33.3 (Spring 1992): 221-40. | [[Csicsery-Ronay, Istvan, Jr.]] "The Sentimental Futurist: Cybernetics and Art in William Gibson's ''Neuromancer''." ''Critique'' 33.3 (Spring 1992): 221-40. | ||
− | Thesis summarized by IC-R as "[…] 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 restore value and meaning to their lives through technospheres that have appropriated the realm of transcendence. In Neuromancer […] every character is an artist or a work of art, for all are functional parts of a transcendentally evolving artistic creation," including the AI's in M-F Tessier-Ashpool's "grand unified Artificial Intelligence, the consciousness of cyberspace." Compares ''Neuromancer'''s "vision and style" to "Italian Futurism's image of futuristic technological transcendence" and concludes the summary with "Hence, Neuromancer expresses a sentimental futurism" (headnote to IC-R's "[[Antimancer: Cybernetics and Art in | + | Thesis summarized by IC-R as "[…] 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 restore value and meaning to their lives through technospheres that have appropriated the realm of transcendence. In Neuromancer […] every character is an artist or a work of art, for all are functional parts of a transcendentally evolving artistic creation," including the AI's in M-F Tessier-Ashpool's "grand unified Artificial Intelligence, the consciousness of cyberspace." Compares ''Neuromancer'''s "vision and style" to "Italian Futurism's image of futuristic technological transcendence" and concludes the summary with "Hence, Neuromancer expresses a sentimental futurism" (headnote to IC-R's "[[Antimancer: Cybernetics and Art in Gibson's Count Zero]]" essay). (Maly, 01/07/02, RDE, 15/08/02) |
[[Category:Literary Criticism]] | [[Category:Literary Criticism]] |
Latest revision as of 22:29, 20 May 2019
Csicsery-Ronay, Istvan, Jr. "The Sentimental Futurist: Cybernetics and Art in William Gibson's Neuromancer." Critique 33.3 (Spring 1992): 221-40.
Thesis summarized by IC-R as "[…] 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 restore value and meaning to their lives through technospheres that have appropriated the realm of transcendence. In Neuromancer […] every character is an artist or a work of art, for all are functional parts of a transcendentally evolving artistic creation," including the AI's in M-F Tessier-Ashpool's "grand unified Artificial Intelligence, the consciousness of cyberspace." Compares Neuromancer's "vision and style" to "Italian Futurism's image of futuristic technological transcendence" and concludes the summary with "Hence, Neuromancer expresses a sentimental futurism" (headnote to IC-R's "Antimancer: Cybernetics and Art in Gibson's Count Zero" essay). (Maly, 01/07/02, RDE, 15/08/02)