Johanna Blakley

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Archive for cyberpunk

Mad Max & the Aesthetics of the Hack

I’d never seen an earlier installment in the Mad Max franchise when I went to see Fury Road at Grauman’s Chinese IMAX Theatre. I felt it was a movie I needed to see because so many people were asking me whether it succeeded in its effort to be a feminist action flick. But what really captured my imagination – and inspired me to watch all three of the previous films – was its singular vision and its relentless originality.

I often judge the sci fi I read by its ability to avoid exposition – to simply immerse me a world that is completely unfamiliar. This is a standard feature of cyberpunk style, which Bruce Sterling recently summarized at a terrific conference I attended at USC called Cyberpunk: Past and Future (videos are available).

Turns out that Sterling’s description fits Mad Max to a T. Read the rest of this entry »

Fashioning the Future


When I saw a recent piece about success implanting a worm’s brain into a Lego robot, I immediately thought of William Gibson’s most recent novel, The Peripheral.  Placed simultaneously in the near future and another one 70 years further away, characters traverse the time gap dropping into low-fi or high-fi versions of that Lego robot.

I’ve always enjoyed Gibson’s obvious interest in the ironies that emerge when physical bodies blend into virtual realities. Gibson’s brand of virtual reality is never disengaged from a suffering body. A common complaint among characters in The Peripheral, and his earlier novel Pattern Recognition, is jet lag. One of the many clever conceits in The Peripheral is that traveling back or forward in time, to another point on the space/time continuum, can only be done in real time, in different time zones, in a persistent world ticking its way to different versions of the future.

In Gibson’s cyberpunk extrapolations, technologies that seem miraculous in our present moment always reflect the inconvenient limits of human capacity. In the distant future of The Peripheral, the supercomputer that allows the wealthiest hobbyists to fiddle with people’s real lives in the past is of unknown provenance. No one seems to know how it works or who created it, though everyone presumes it’s Chinese.

Likewise no one knows how an extremely powerful predictive algorithm that aids police in preventing crimes works – apparently because it’s self-taught and no one kept track of its accumulation of datasets. When “the Aunties,” as the system is called, makes a prediction, it has the taint of mindless unscientific human gossip. It’s the gut instinct gone hyperdigital. Read the rest of this entry »