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cyberpunk
(encz) | cyberpunk,kyberpunk n: Petr Prášek |
cyberpunk
(wn) | cyberpunk
n 1: a programmer who breaks into computer systems in order to
steal or change or destroy information as a form of cyber-
terrorism [syn: hacker, cyber-terrorist, cyberpunk]
2: a writer of science fiction set in a lawless subculture of an
oppressive society dominated by computer technology
3: a genre of fast-paced science fiction involving oppressive
futuristic computerized societies |
cyberpunk
(foldoc) | cyberpunk
/si:'ber-puhnk/ (Originally coined by SF writer Bruce Bethke
and/or editor Gardner Dozois) A subgenre of SF launched in
1982 by William Gibson's epoch-making novel "Neuromancer"
(though its roots go back through Vernor Vinge's "True Names"
to John Brunner's 1975 novel "The Shockwave Rider"). Gibson's
near-total ignorance of computers and the present-day hacker
culture enabled him to speculate about the role of computers
and hackers in the future in ways hackers have since found
both irritatingly na"ive and tremendously stimulating.
Gibson's work was widely imitated, in particular by the
short-lived but innovative "Max Headroom" TV series. See
cyberspace, ice, jack in, go flatline.
Since 1990 or so, popular culture has included a movement or
fashion trend that calls itself "cyberpunk", associated
especially with the rave/techno subculture. Hackers have
mixed feelings about this. On the one hand, self-described
cyberpunks too often seem to be shallow trendoids in black
leather who have substituted enthusiastic blathering about
technology for actually learning and *doing* it. Attitude is
no substitute for competence. On the other hand, at least
cyberpunks are excited about the right things and properly
respectful of hacking talent in those who have it. The
general consensus is to tolerate them politely in hopes that
they'll attract people who grow into being true hackers.
[Jargon File]
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cyberpunk
(jargon) | cyberpunk
/si:'ber·puhnk/, n.,adj.
[orig. by SF writer Bruce Bethke and/or editor Gardner Dozois] A subgenre
of SF launched in 1982 by William Gibson's epoch-making novel Neuromancer
(though its roots go back through Vernor Vinge's True Names (see the
Bibliography in Appendix C) to John Brunner's 1975 novel The Shockwave
Rider). Gibson's near-total ignorance of computers and the present-day
hacker culture enabled him to speculate about the role of computers and
hackers in the future in ways hackers have since found both irritatingly
naïve and tremendously stimulating. Gibson's work was widely imitated, in
particular by the short-lived but innovative Max Headroom TV series. See {
cyberspace}, ice, jack in, go flatline.
Since 1990 or so, popular culture has included a movement or fashion trend
that calls itself ‘cyberpunk’, associated especially with the rave/techno
subculture. Hackers have mixed feelings about this. On the one hand,
self-described cyberpunks too often seem to be shallow trendoids in black
leather who have substituted enthusiastic blathering about technology for
actually learning and doing it. Attitude is no substitute for competence.
On the other hand, at least cyberpunks are excited about the right things
and properly respectful of hacking talent in those who have it. The general
consensus is to tolerate them politely in hopes that they'll attract people
who grow into being true hackers.
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