*Cybergoth.*
As a reply to Ana Teresa (art student), who asked about the difference between the cyberpunk derivatives mythpunk and cybergoth, this may be useful for others here. Since both mythpunk and cybergoth may use elements of mythological figures (and/or urban myths), one might be tempted to include them in the same genre, but I'd classify, for instance, a Lord of the Rings-based punk sci fi line to be mythpunk but not cybergoth. (P.S. Pinhead can be considered as cybergoth.) Here's the reply: *C'est l'Ennui! —l'œil chargé d'un pleur involontaire,* *Il rêve d'échafauds en fumant son houka.* *Tu le connais, lecteur, ce monstre délicat,* *—Hypocrite lecteur,—mon semblable,—mon frère!* Baudelaire The cybergoth subculture can be though of as a cultural synthesis, of a gothic-oriented literature and cultural tradition that is critical of society, in particular, of the normal standards of the surface. In the gothic literature the monster (Dracula, Hyde, Lucifer, etc.) may be the deviation to the society's norm, the declination, it may be the expression of the Id, or the rational reaction to a hypocrite normative society that normalizes its predatorial exploitation of the bodies and souls of its prey - the people. The devil gentleman, the vampire gentleman, the trajectory from monster to gentleman, and from gentleman to monster (Hyde), and the monster that, in the end, becomes the mirror image/critic of society. This more noble role of the monster is conserved in some tendencies of cybergoth and lost in others. The subject of the monster, and the attempt of a social assimilation of the monster, becomes a cornerstone that allows for a clear distinction with regards to the other cyberpunk derivatives, in particular, with regards to the previously addressed here mythpunk. The two cultural lines can be distinguished by this monster dynamics, which in the cybergoth appears complexified. There are two fundamental lines of cybergoth monster orbit: on the one hand, you have the assimilation of the monster into a market-oriented scheme that strips the monster from its fundamental critical role; on the other hand, you have the celebration of the monster as the only sane response to a society whose normal functioning is insane. The diversity of this genre is great, some authors do keep alive the 19thCentury gothic interest and the critical role of the monster, for instance: Marilyn Manson; Hannibal Lecter (the Silence of the Lambs version); the Joker; etc. For the more lovable cybergoth I leave you with Abby: http://www.youtube.com/watch?v=Obd_Y9kgHw8 http://www.youtube.com/watch?v=xIwfw2T53DY&feature=related http://www.youtube.com/watch?v=PxG98Ypu0Tg&feature=related --~--~---------~--~----~------------~-------~--~----~ You received this message because you are subscribed to the Google Groups "Cosmology, Mathematics and Philosophy" group. To post to this group, send email to cosmology-mathematics-and-philosophy@googlegroups.com To unsubscribe from this group, send email to cosmology-mathematics-and-philosophy+unsubscr...@googlegroups.com For more options, visit this group at http://groups.google.com/group/cosmology-mathematics-and-philosophy?hl=en -~----------~----~----~----~------~----~------~--~---
