Cyberpunk 2.0 by Herlander Elias

By Herlander Elias

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Even though there was punk music, the 70s were a time of segregated speed and distortion of the “real” machines. Famous slogan “too fast to live, too young to die” expressed those who will to escape, such dependence on the liberation and projection speed. The punker figure was tired of the urban prison, he wanted to runaway into a less compressed world. That is how the neo-romantic imaginary started to unfold itself, beginning to assault urban cultures during the 80s decade, because social and technical machines hadn’t been shut up, therefore having revealed themselves unable to be disrupted, they had to be powered up.

In this well-known Neuromancer’s excerpt he [Gibson] defines it as: “Cyberspace. A consensual hallucination experienced daily by billions of legitimate operators, in every nation, by children being taught mathematical concepts. . A graphic representation of data abstracted from the banks of every computer in the human system. Unthinkable complexity. Lines of light ranged in the non space of the mind, clusters and constellations of data. Like city lights, receding. . 65). Its origin is very precise: “The matrix has its roots in primitive arcade games, (.

The information society reached its last level in the networks’ cybernetic space, where everything was at stake in such space intersecting all realities, both interior and external. In the cybernetic space, information allowed establishment of all connections, to which Gibson refers by completing his cyberspace definition, entitling it “an unthinkable complexity”. The complexity of cyberspace was about the movement of a digital on-constitution under file morphology contents. The gibsonian cyberspace was a dense information territory, the cybernetics solidified at the Matrix, the net of all the meshes of digital information, the global net of all of the consciousnesses interconnected by wires jacked straight to the brain in surgical manner.

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