In his novel Neuromancer, first published in 1984, the US-american author William Gibson coined the term cyberspace for the virtual reality generated by computers. On the basis of an etymological analysis this term can be interpreted as the traditional relation between helmsman and space. In the medium of sci-fi-literature and sci-fi-film this phenomenon of cyberspace changed rapidly between 1980 and today. In early examples, for instance in the film Tron produced in 1982, the virtual figures act in a disintegrated space without any destination or orientation. In later examples, for instance in the film Matrix produced in 1999, the cyberspace becomes a substitute world for a dark, chaotic or destructive vision of reality. Contemporary forms of cyberspace, as visualized in the 3D-online-city Second Life, are in contrast used for financial activities and symbolize the hard world of economic policy. This development of cyberspace can be seen either as an evolutionary process or a dichotomy primary defined by different facets of space simulation in virtual reality.
Posts Tagged ‘ Cyberspace ’
Fortschritt als Fraktur im frühen Science Fiction Film. Metaphorologische Überlegungen zu Auf- und Einbrüchen in LE VOYAGE DANS LA LUNE und LE VOYAGE À TRAVERS L`IMPOSSIBLE von G. MélièsSep 24th, 2009 | By Jörg Hartmann | Category: Mobility, Topics, Transcultural analysis
Fantasies of man travelling into space form a main part of the popular movie genre ‘Science Fiction‘. These celluloid visions are not only fantasies of improving transport, they also convey a meaning in a figurative sense. They can be seen as a modern adoption of one of humanities oldest metaphors, ‘life as a sea fare voyage‘: the meaning, which was once expressed by this ‘nautical metaphor‘, has been transferred and can nowadays be found in films, which show astro-nauts crossing the frontier from known space into the unknown space. In order to conclude on their attitude towards technological progress in the early 20th century, the two oldest space travel movies, Le Voyage dans la Lune (F 1902) and Le Voyage a Travers L’Impossible (F 1904) will be analyzed.