By Sidney Eve Matrix
Cyberpop is an research of cyberculture and its renowned cultural productions. The examine starts off with a Foucaultian version of cyberculture as a discursive formation, and explains how a few key innovations (such as 'virtuality,' 'speed,' and 'Connectivity') function as a conceptual structure community linking applied sciences to info and person topics. The chapters then each one concentrate on a selected cyberfiguration, together with Hollywood movies (GATTACA, The Matrix), well known literature (William Gibson's Neuromancer, Scott Westerfeld's Polymorph), ads for electronic services (Apple Computer's '1984/McIntosh' crusade, AT&T's 'mLife' campaign), electronic artistic endeavors (including digital ladies reminiscent of Motorola's 'Mya' and Elite Modeling Agency's 'Webbie Tookay,' and paintings via visible artist Daniel Lee for Microsoft's 'Evolution' campaign), and games (Tomb Raider). every one shut interpreting illustrates the ways that representations of electronic existence and identities - which generally fetishize desktops and have a good time a 'high tech' aesthetic inspire participation in electronic capitalism and commodity cyberculture. Matrix argues that well known representations of cyberculture usually functionality as varieties of social feedback that creatively motivate audiences to 'think different' (in the phrases of Mac ads) concerning the results of the digitalization of daily life.
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Additional info for Cyberpop: Digital Lifestyles and Commodity Culture (Routledge Studies in New Media and Cyberculture)
In advertising for PDAs, the quality of connectivity is a defining fea‑ ture of the BLURred (computerized) subject. To be connected to the flow of information—the central commodity exchanged in digital capitalism—is syn‑ onymous with being informed. As a result, in The Information Subject Mark Poster observes that Information is presented as the key to contemporary living and soci‑ ety is divided between the information rich and the information poor. The ‘informed’ individual is a new social ideal (8).
Similarly, as various media shift and blur together, so too do the ideas they report and reflect. In the same way that digital technologies converge, the rules of cyberculture overlap, connect, and reify each other in a discursive formation or web. Through a process of citation, cut and paste, and what Jay David Bolter and Richard Grusin call “remediation,” the codes of cybercul‑ ture are repurposed and/or redelivered continuously. Operating in a kind of discursive synergism, the rules produce a set of self‑referential norms which are then applied in the design and marketing of computerized machines and digital services, as well as to the operations of corporations, the management of communities and the natural environment, and the construction of sub‑ jectivities.
There they sit in rows before a large screen, transfixed/mesmer‑ ized by what appears to be a propaganda film, dominated by the image of a white man’s face, wearing glasses, and directly addressing the audience. The speaker’s words appear in type on the screen beneath his image: For today, we celebrate the first glorious anniversary of the Information Purification Directives. We have created, for the first time in all history, a garden of pure ideology. Where each worker may bloom secure from the pests of contradictory and confusing truths.
Cyberpop: Digital Lifestyles and Commodity Culture (Routledge Studies in New Media and Cyberculture) by Sidney Eve Matrix