Phillips, W. (2015). This is why we can't have nice things. MIT Press.
Hollings, K. (2014). The Bright Labyrinth. Chippenham: Strange Attractor Press.
Harkin, J. (2009). Cyburbia. St Ives: Little, Brown.
"A distinctly cybernetic aesthetic has burrowed its way into the stories we watch on TV and in the cinema, and a cybernetic sensibility is also finding an echo in everything from alternative theatre to football to the organisation of the mainstream media."
"The electronic information loop that its prophets imagined would tie us all together has, to a large extent, now been built."
d'Arnault, C. (2015). What is Digital Culture? https://digitalculturist.com/what-is-digital-culture-5cbe91bfad1b, Accessed 9/11/2017
"More contextually, digital culture is using social media as our main mode of interaction with others; sharing every moment of your life on the internet; the selfie phenomenon; the live streaming obsession; the anonymity provided by online communities; Apple Pay and Android Pay; wearable technology; the use of emoji to enhance communication; internet/cell phone addiction; the sharing/on-demand economy; cloud computing and storage; the internet of things."
Bridle, J. (2017). Something is Wrong On The Internet. https://medium.com/@jamesbridle/something-is-wrong-on-the-internet-c39c471271d2
Hilton, A.M. (1963). Computers and Cyberculture. Michigan: The University of Michigan.
“that way of life made possible when an entire process of production is carried out by systems of machines monitored and controlled by one computer.”
Cavallaro, D. (2000). Cyberpunk & Cyberculture: Science Fiction and the Work of William Gibson. London: The Athelone Press.
The configuration of the
female body as a cyborg uterus, its manipulation by the fitness and
beauty industries and its subjection to penetrating technologies bear
witness to the fact that the meat-and-bones body has not melted into
thin air as a result of cybernetic interventions. In fact, it is central to
the perpetuation and reformulation of legion technologies of
subjectivity
Claudia Springer observes that this opposition is embodied,
within cyberculture, by the contrast between the phallic and hypermasculine
cyborgs of popular cinema and the ‘“feminized” computer
with its concealed, passive, and internal workings’.18 Taking
into consideration a further stereotype, the one based on the association
of the female body with a troubling sense of mystery, it could
also be argued that digital technology is metaphorically feminine to
the extent that even experts find it somewhat impenetrable.
Thus, virtual sex does not take the body away but
actually multiplies its users’ experiences of embodiment, to the point
that, as stated in Susie Bright’s Sexual Reality, ‘you could look like
anything and be any gender or combination of genders you want.
There’s no particular reason for you even to be a person.’63
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