Cyberpunks: A Sociological Analysis With Special
Interest In The Description Of Their Online Activities
By Markus Wiemker (email) at the University of Aachen RWTH Germany.
1. Cyberpunk - an etymological enquiry
2. Cyberpunk - a literary enquiry
3. Cyberpunk - a sociological enquiry
4. The online activities of Cyberpunks by the example of Internet newsgroups
5. The future relevance of the Cyberpunk phenomenon
1. Cyberpunk - an etymological enquiry
In the first section I try to examine the origin and word history
of the term 'Cyberpunk'. In order to make a more exact investigation
I will split up the term into its two constituents 'Cyber' and
'Punk'.
According to the American Heritage Dictionary the word 'Cyber'
means " the theoretical study of control of processes in electronic,
mechanical, and biological systems, especially the flow of information
in such system" (as cited by Timothy Leary - The Cyberpunk, in
McCaffery 1991: 250). The term 'Cyber' comes from the English
word 'Cybernetics'.
" The Word 'cybernetics' was coined by Norbert Wiener (1948),
who wrote, ' We have decided to call the entire field of control
and communication theory, whether in the machine or in the animal,
by the name of Cybernetics, which we form from the Greek word
for steersman. ' "
(Timothy Leary - The Cyberpunk, in McCaffery 1991: 249)
But the term 'Cybernetics' derives, other than Norbert Wiener
assumes in his statement, from the latin word 'gubernetes'.
" The basic verb gubernare means to control the actions or behavior of, to direct, to exercise sovereign authority, to regulate, to keep under, to restrain, to steer. " (Timothy Leary - The Cyberpunk in McCaffery 1991: 249)
This latin verb has its roots in the Greek word kubernetes - pilot.
" The Greek word 'pilot' becomes 'governor or director' ; the word 'to steer' becomes 'to control.' " (Timothy Leary - The Cyberpunk, in McCaffery 1991: 250)
One can now see the difference between the Greek and the Roman
concept, the controlling pilot is replaced by the controlling
and regulating leader.
"Pilots, those who navigate on the seven seas or in the sky, have
to devise and execute course changes continually in
response to the changing environment. They respond continually
to feedback, information about the environment.
Dynamic. Alert. Alive. The Latinate 'steersman', by contrast,
is in the situation of following orders."(Timothy Leary -
The Cyberpunk, in McCaffery 1991: 251)
According to Timothy Leary, the term 'Cyber' follows the Greek
meaning pilot and emphasizes the responsibility for one's own
actions. The second part of the term 'Cyberpunk' - 'Punk' - has
its roots in Anglo-American language and means 'miserable, 'worthless',
'waste' or 'muck'. Additionally, the term 'Punk' denotes a youth
movement that began at the end of the 70's and which refused civil
norms, arising before the background of increasing economic and
social crises. Norman Spinrad says about this movement:
"... the new Punks of the seventies were intellectual anti-intellectuals;
no naive, naturally nihilistic rebels without aim and direction,
but self-confident nihilistic pessimists, who raised cynicism
to a more or less compact philosophy, and knew what they were
doing. "
(Norman Spinrad 1986 in Gibson 1987: 353)
This refusal of civil norms is also outwardly recognizable as
consciously chosen conspicuous appearance, e.g. loud,dyed hair,
torn clothes, metal chains and the like. Furthermore, the word
'Punk' also implies, generally speaking, an oppositional attitude
towards dominant life-styles and capitalism, the rejection of
bourgeois norms, criticism of consumption and a sort of preference
for anarchy and chaos.
The term 'Cyberpunk' in its entirety comprises persons which are
- according to Leary - characterized by the following features:
"... the resourceful, skillful individual who accesses and steers
knowledge/communication technology towards his/her own private
goals. For personal pleasure, profit, principle, or growth. "
(Timothy Leary - The Cyberpunk, in McCaffery 1991: 253)
Cyberpunks use their technical skills, without applying physical
force or theft of material objects, searching for theories, models,
paradigms, metaphors, pictures and symbols, in order to get along
in reality. They normally do not try to gain control over others,
however.
As Leary sees it, most Cyberpunks live in accord with the code
' Think for Yourself, Question Authority (TFYQA) '. One meets
such persons at various places and in different occupations, e.g.:
?Cyberpunks are the inventors, innovative writers, techno-frontier
artists, risk-taking film directors, icon-shifting
composers, expressionist artists, free-agent scientists,
innovative show-biz entrepreneurs, techno-creatives,
computer visionaries, elegant hackers, bit-blipping Prolog
adepts, special-effectives, video wizards, neurological
test pilots, media explorers - all of those who boldly package
and steer ideas out there where no thoughts have
gone before. Cyberpunks are sometimes authorized by the governors."
(Timothy Leary - The Cyberpunk, in McCaffery 1991: 253)
Leary thinks Cyberpunk will become the prominent role model in the information age of the 21st century.
2. Cyberpunk - a literary enquiry
Norman Spinrad writes that the term 'Cyberpunk' was invented by
Gardner Dozois, publisher of the Isaac Asimov's Science Fiction
Magazine, and that it denotes a sub-genre of the Science Fiction
novel. This literary movement developed out of Hard Science Fiction
and the New Wave movement of the 60's. The most important authors
of this new sub-genre are Bruce Sterling, Rudi Rucker, Lewis Shiner,
John Shirley, Pat Cadigan and William Gibson.
Bruce Sterling describes what made these authors so unique:
?The cyberpunks (scien ce fiction writers) are perhaps the first SF generation to grow up not only within the literary tradition of science fiction but in a truly science-fic tion world."
(Bruce Sterling in Bukatman 1993: 6)
The trigger of this at first only literary movement was William
Gibson's novel 'Neuromancer' in 1984. Neuromancer, which was awarded
with the Hugo, Nebula, Locus and Philip K. Dick Awards, combines
in an exemplary way New Wave and Hard Science Fiction.
Gibson makes his scientific and technical extrapolations and speculations
just as thoroughly as Hard Science Fiction authors like Heinlein,
Poul Anderson, Hal Clement or Gregory Benford. But his style,
philosophy, aesthetics and his psychological - characterial position
are rather related to New Wave authors such as Ellison or William
S. Burroughs.
" In a postmodern manner different genres are combined, the narrative
styles of cinema, computer games, TV advertisements and MTV are
integrated, as well as established literary forms are imitated
and playfully used. "
(Winters 1996: 3)
In general, Cyberpunk literature is concerned with humans who
live in highly technicized logical-cultural systems at the margin
of society.
In these stories, the environment normally is controlled by a
system which domi
nates the life of normal humans, e.g. a repressive
government, a group of corporations or fundamentalist religions.
This system is supported by different technologies, mostly information
technologies such as computers or mass media. Often, these technical
systems extend themselves on human beings by the means of brain
implants, artificial organs or prostheses. Thus man becomes part
of machines. This could be called the literary 'Cyber' aspect
of the term Cyberpunk.
In all cultural systems, however, exist human beings who live
on the periphery and others, who live on frontiers or who try
to cross and change boundaries like criminals, outsiders or visionaries.
Individuals, who often simply seek their own personal peace or
want to go their own way. Cyberpunk literature is concerned with
this kind of human beings and how they use the technological system
for their own advantage. This could be called the literary 'Punk'
aspect of the term Cyberpunk.
Cyberpunk stories are frequently set in urban areas, with a dark
atmosphere and a pessimistic mood. Concepts are presented to the
reader without explanation, just as new technical developments
often are presented to us. A moral ambiguity can also be made
out often, as only fighting the system doesn't make the protagonists
of these novels automatically heroes. These specified features
can be disc
erned very easily in the novel Neuromancer by William
Gibson.
In Neuromancer, Case - a cyber-cowboy whom one could also call
a Cyberpunk - tries his luck by retrieving and the selling data.
To this end, he directly connects his nervous system with a computer
network - the matrix. This matrix (also called Cyberspace by other
authors) is in the 21st century, a time where information is capital,
under control of transnational corporations.
But like every good Science Fiction novel, Neuromancer goes beyond
only giving a view of the future.
" 'Neuromancer' takes place in the near future, but the novel deals with social processes and social transformations, which have already begun in our time and points out their possible consequences. " (Winter 1996: 3)
3. Cyberpunk - a sociological enquiry
A New York Times article describes Cyberpunks as outwardly inconspicuous, jeans and T-shirt wearing computerfreaks, who spend their spare time in the world of electronic networks (cf. Winter 1996). But today's Cyberpunks mainly have in common with normal hackers the preoccupation with electronic networks and the love for technology. Erich Schneider describes the b eginning of the Cyberpunks' development as follows:
"Spurred on by cyberpunk literature, in the mid-1980's certain
groups of people started referring to themselves as
cyberpunk, because they correctly noticed the seeds of the fictional
"techno-system" in Western society today, and
because they identified with the marginalized characters in cyberpunk
stories. Within the last few years, the mass
media has caught on to this, spontaneously dubbing certain people
and groups 'cyberpunk' ". (Erich Schneider in
Cyberpunk FAQ list 1996: 2)
Hackers, Crackers, Phreaks and often Cypherpunks and Ravers too
are seen or see themselves as persons associated with Cyberpunk.
Hackers are the magicians of the computer community, they have
a large understanding for their work with computers and spend
most of the time in electronic data networks. Crackers are the
console-cowboys, persons who - mostly for their personal satisfaction
and not for material reasons - remove the copy protection of computer
programs and pass them on. Phreaks use and manipulate the telephone
system. They do so not only for their personal pleasure, but to
direct attention to possible risks, too. It should be noted that
the US telephone system offers many more possibilities (e.g. virtual
- acousti
c rooms) for manipulation than the European does so far.
Additionally, there are the Cypherpunks and Ravers. Cypherpunks
spend their spare time collecting and spreading encryption software
to beat or impair " the system ". Ravers mainly have contact with
computers when producing their sampled and synthesized music or
computer-generated psychedelic images.
Beyond this, Cyberpunks are a subculture or a neo-tribe, distinguishable
outwardly and by content from dominant culture.
" Thus the Cyberpunk style is a conspicuous, wild looking fashion, with ties to the shock aesthetics of Punks. 'Industrial waste' is recycled, put together with the black garb of Rockers and enhanced with new technological gadgets. " (Winter 1996: 1)
If we follow Winter in his view that Cyberpunks represent a special
media culture, we should detect clear preferences for certain
media texts, (literature, movies, music or games), specific ways
of behavior, unique rituals, a special fashion and a particular
world view.
Among the aforementioned media texts of literature are Cyberpunk
and Science Fiction novels or such magazines as Hot Wired or Mondo
2000. Among the movies are Science Fiction movies like Bladerunner
(Director's Cut 1992) by Ridley Scott or Strange Days (1995) by
Kathryn Bigelow. Industrial, electronic Independent or Techno
music can be categorized as Cyberpunk music. Real (i.e. played
at a table and on a board) or computer role playing games are
the preferred games.
The Cyberpunk culture is a mixture of high-tech special culture
and urban street culture. Besides some few local meeting places
like Internet Cafés, it is computer networks which enable Cyberpunks
to meet similar minded people. Their anarchistic attitude and
subversive use of information and communication technologies make
Cyberpunks an avant-garde in the field of technology and culture.
" They rebel by designing to their own purposes and against established structures and authorities new functions for the computer, also at the same time on the search for new, non everyday experiences. " (Winter 1996: 3)
Their work with new information and co mmunication technologies enables Cyberpunks to obtain power and control, but also provides a possibility for the construction and demonstration of identity. Cyberpunks defy monopolizing, centralization and censorship. The fight against censorship is demonstrated for example by the Internet " Blue Ribbon Campaign for Free Speech Online ". Time and again the Cyberpunks' demand for free access to all information is most central.
4. The online activities of Cyberpunks by the example of Internet newsgroups
In this section I will try to work out the specific topics this particular media culture is concerned with, on the basis of an investigation of Cyberpunk newsgroups.
Objects of investigation :
4 Cyberpunk newsgroups in the Internet were observed: alt.cyberpunk,
alt.cyberpunk.movement, alt.cyberpunk.tech, alt.cyberpunk.chatsubo.
Method of proceeding:
1.) On my request for more information on the topic, sent to the
4 newsgroups mentioned above, I received 3 e-mails. The first
e-mail from Moroni gave a very interesting World Wide Web address;
the second mail - written by Gerald La Corte - offered me assistance.
The third e-mail from Electric Hea
d was typical of Cyberpunk attitudes,
since it recommended that I should independently inform myself
about the subject.
The fact that my inquiry was to be seen in the network for only
one day explains, I think, why I only received 3 mails in reply.
Old messages are deleted after a relatively short time, due to
the great quantity of newly published messages.
The Web address turned out to lead to a collection of "Insider"
Web addresses, where material on topics as Hacking, Cracking and
Phreaking could be found, but also manuals on building bombs and
the like.
2.) a.) Investigation of topics discussed in the newsgroup alt.cyberpunk:
(listing of 12/18/95, chronological selection)
2.) b.) Topic summary:
(not according to frequency)
·Definition of Cyberpunk and the subculture
·Cyberpunk music
·Cyberpunk movies
·Cyberpunk literature
·References to other Cyberpunk sources of information
·Censorship and politics
·Future technologies
3.) Results:
·The discussion about censorship and democracy and what can be done to preserve the latter is very intense. Cyberpunks regard the Internet as a base-democratic technology and see each act of censorship as an attack on the by corrupt government already endangered democracy. Contrary to other subcultures they do not limit themselves to discussion, but also give concrete instructions to possible reforms. In extreme cases see Terrorist Handbook 1.5 or the instructions on how to build atom bombs.
·Cyberpunks do not, however, assume that everyone should build bombs to reform the system, but that the relevant information should be available for everyone. Following the formula INFORMATION IS POWER, everybody and not only the governing should have access to it. Of probably more use to mo st Cyberpunks is the information on how to deal with the FBI and other (in their eyes) repressive instruments of the state.
·Cyberpunk as a subculture shows us new methods of communication and delimitation . The new communication is not face-to-face anymore. Instead, Cyberpunks have a special language, which consists to a large extent of abbreviations. These are remainders from the beginning of networking, originally introduced to save time when working with very slow modems.
·The great, technophile interest in future technologies is characteristic
of Cyberpunks. They see revolutionary possibilities in new computer
technologies, but more often than not also the possibility of
abuse by those in power.
5. The future relevance of the Cyberpunk phenomenon
Thesis: CYBERPUNKS AS PIONEERS OF THE COMING INFORMATION ELITE.
I believe that one will find the Cyberpunks to have higher education,
a large interest in (high-) technology and a strong, critical
consciousness of politics. I furthermore believe this subculture
can - both now and during the coming restructuring of society
- point out new forms and ways of future social lif
e.
As I see it, this restructuring of society will be brought about
by the new information and communication technologies and will
bring the transition from industrial society to an information
and service-oriented society.
It will become very important for us to acquire such Cyberpunk
skills like navigating through information.
Because of the exploding quantities of data and information, a
change will take place from the importance of "what we know"
to "how can we find the appropriate knowledge". Important strategies
will have to be learned, on the basis of which one can judge the
importance and reliability of information.
Literature
1. Bukatman, Scott: Terminal Identity. The Virtual Subjekt In
Postmodern Science Fiction
Durham & London
Duke University Press
1993
2. Faßler, Manfred & Halbach, Wulf (Hrsg.): Cyberspace. Gemeinschaften,
Virtuelle Kolonien, Öffentlichkeiten
Munich
Wilhelm Fink Verlag
1994
3. Gibson, William: Neuromancer
Munich
Wilhelm Heyne Verlag
1987 (deutsch)
4. McCaffery, Larry (Editor): Storming The Reality Studio. A Casebook
of Cyberpunk and Postmodern Science Fiction
Durham & London
Duke University Press
1991
5. Waffender, Manfred: Cyberspace
RoRoRo
1995
6. Wetzstein, Th. A. et al: Datenreisende. Die Kultur der Computernetze
Opladen
Westdeutscher Verlag
1995
7. Winter, Rainer: Punks im Cyberspace. Einblicke in eine postmoderne
Spezialkultur
Zeitschrift: Medien Praktisch
1996