赛博朋克宣言1993_赛博朋克之后：您需要了解投机小说的最新趋势-CSDN博客

赛博朋克宣言1993

赛博朋克已成为我们流行文化不可或缺的一部分。每个人都至少熟悉某些类型的作品以及反乌托邦技术先进的宇宙的特殊风味。但是科幻小说一直在发展。在这篇文章中，我们将看一下赛博朋克的继任者及其所设想的未来-从泛非帝国到疯狂的购物文化。 (Cyberpunk has become an integral part of our pop culture. Everyone is familiar with at least some works in the genre and their particular flavour of dystopian technologically advanced universes. But science fiction is always evolving. In this piece, we’ll be taking a look at cyberpunk’s successors and the futures they envision — from pan-African empires to shopping culture gone amok.)

^{Quinn Buffing / Unsplash.com奎因·布芬( Quinn Buffing) / Unsplash.com}

From Jonathan Swift to the Wachowski sisters, speculative fiction played an important social and cultural role. These works of art invited us to collectively reassess the choices we were making, look critically at the unstoppable machine of progress. Cyberpunk and its derivatives reigned supreme in the era of computers, raising questions about the ethics of modern technology, the nature of digital reality, and the role of humans in a world run by machines. But now that the Matrix is 20 years old, cyberpunk is on its way out.

从乔纳森·斯威夫特(Jonathan Swift)到沃卓斯基(Wachowski)姐妹，投机小说扮演着重要的社会和文化角色。这些艺术品邀请我们共同重新评估我们所做的选择，批判性地看待不断进步的机器。赛博朋克及其衍生产品在计算机时代占据统治地位，这引发了人们对现代技术的伦理，数字现实的本质以及人类在由机器运行的世界中所扮演的角色的质疑。但是，由于Matrix已有20年历史，因此赛博朋克正在逐渐淘汰。

Many predictions made by these works now seem improbable or irrelevant. The ‘low life, high tech’ settings make for entertaining content, but it’s just as possible that future humans will never live in digital slums and run-down nuclear shelters. Time is ripe to start asking new questions and exploring new possibilities. Thankfully, there are newer genres that do just that. And some of them are on the verge of going mainstream.

这些作品做出的许多预测现在看来是不可能的或无关紧要的。 “低生活，高科技”的设置令人愉悦，但未来的人们也将永远不会生活在数字贫民窟和破旧的核庇护所中。现在是时候开始提出新的问题和探索新的可能性了。值得庆幸的是，有一些新的类型可以做到这一点。其中一些濒临走向主流。

神话朋克：建立我们应有的未来 (Mythpunk: building the future we deserve)

The western world still enjoys a high degree of global cultural influence. But that might not last long. Other cultures are growing in size and importance. People of colour are heard far beyond their local communities, on online platforms and real-life stages alike, and their contribution to our global economy is steadily growing.

西方世界仍然享有高度的全球文化影响力。但这可能不会持续很长时间。其他文化的规模和重要性也在增长。在网上平台和现实生活中，有色人种远远超过了本地社区，他们对我们全球经济的贡献也在稳步增长。

Sociologists predict that the so-called ‘European’ civilization might lose its dominance. What will take its place if that happens? Mythpunk and its subgenres, afrofuturism and chaohuan, attempt to answer this question.

社会学家预测，所谓的“欧洲”文明可能会失去其主导地位。如果发生这种情况，它将取代它吗？神话朋克及其子流派(非洲未来主义和超循环派)试图回答这个问题。

Afrofuturism crafts a radically decolonised, pan-African future. It first appeared in the 1950s, when an avant-garde jazz musician by the name of Sun Ra started using African mythological motifs within a Space Age aesthetic framework. Over the past 10 years, though, the genre far outgrew its original audience. Marvel’s “Black Panther” introduced afrofuturistic thought to millions of superhero fans worldwide. Musical artists like Janelle Monae brought afrofuturism to the Grammies.

非洲未来主义创造了一个彻底非殖民化的泛非未来。它最初出现在1950年代，当时一位名叫Sun Ra的前卫爵士音乐家开始在太空时代的美学框架内使用非洲神话主题。不过，在过去的10年中，这种类型的音乐远远超过了最初的听众。漫威的《黑豹》向全球数百万超级英雄粉丝介绍了未来主义思想。像詹妮尔·莫奈(Janelle Monae)这样的音乐艺术家为葛莱美奖带来了未来主义。

And, of course, there are dozens of popular afrofuturistic books.

当然，还有数十本流行的未来派书籍。

^{Alexander London / Unsplash.com亚历山大·伦敦 / Unsplash.com}

Chinese culture is also spreading faster than we can imagine. Despite being a late bloomer in terms of economic development, and taking its time to master the instruments of soft power, you can safely say that modern China is a global force. But, of course, rapid development comes at a cost, and the Chinese themselves are shaken by this transformation. They live in a too-strange-to-be-true world of instant skyscrapers and unstoppable progress. This surreal feeling is best described by a genre called Chaohuan (lit. “ultra-unreal”).

中国文化的传播速度也超出了我们的想象。尽管在经济发展方面处于落后的地位，并花时间掌握软实力的手段，但您可以肯定地说，现代中国是一支全球力量。但是，当然，快速发展是有代价的，而中国自身也为这种转变所动摇。他们生活在一个瞬息万变的摩天大楼和不可阻挡的进步中，这太真实了。这种超现实的感觉最好用一种称为超环的流派来描述(点燃的“超虚幻”)。

It is a local Chinese brand of magical realist science fiction, characterized by unbelievable storylines that might just happen in real life, and a piercing sense of existential dread. The most famous chaohuan work is Liu Cixin’s Hugo-winning “Three Body Problem”, the first Asian novel to be awarded the prestigious prize. It revolves around a woman astrophysicist, who invites aliens to the Earth during the Chinese cultural revolution.

这是中国本土的神奇现实主义科幻小说品牌，其特征是在现实生活中可能会发生难以置信的故事情节，并带有刺耳的生存恐惧感。最有名的超传作品是刘次新的雨果获奖作品《三体问题》，这是亚洲首部获得此殊荣的小说。它围绕着一位女天体物理学家，这位天文学家在中国文化大革命期间邀请外星人来到地球。

A unique visual identity of its own made chaohuan easily adaptable to visual media. There are multiple installation- and video artists that ventured into the genre. A good starting point in exploring this side of things would be Lawrence Lek’s video essay “Sinofuturism” (video below).

自身的独特视觉标识使超环很容易适应视觉媒体。有多位装置和视频艺术家涉足这一类型。劳伦斯·莱克(Lawrence Lek)的视频文章“ Sinofuturism”(下面的视频)是探索这一方面的一个很好的起点。

伊势凯与追溯未来主义：回到未来 (Isekai and retrofuturism: back to the future)

Works in the “alternative history” genre are undergoing a revival. An increasing number of writers prefer reinventing the past to approximating the future. Their art deals with different time periods and subject matters, but still has a lot in common. Retrofuturism imagines civilizations that evolved differently from ours, typically by foregoing digital tech in favour of steam-based devices (steampunk), diesel engines (dieselpunk) or even stone age technology (stonepunk). In terms of aesthetics, it is unlike any other genre of contemporary science fiction — but you can sense the influence of cyberpunk in the way it approaches philosophical questions.

“另类历史”流派的作品正在复兴。越来越多的作家更喜欢重塑过去而不是近似未来。他们的艺术涉及不同的时期和主题，但仍然有很多共同点。追溯未来主义想象的文明与我们的文明有不同的发展，通常是通过超越数字技术来支持蒸汽设备(steampunk)，柴油发动机(dieselpunk)甚至石器时代的技术(stonepunk)。在美学方面，它不同于当代科幻小说的任何其他类型，但是您可以从赛博朋克处理哲学问题的方式中感受到它的影响。

The main goal of retrofuturism is to help us reassess the role digital tools had in shaping our culture, and free us from our own pre-conceptions of what the future should look like.

未来主义的主要目标是帮助我们重新评估数字工具在塑造我们的文化中所扮演的角色，并使我们摆脱对未来前景的自己的先入之见。

Isekai (jap. “new world”) is a Japanese genre that rose to unprecedented prominence over the last decade, along with its western “portal fantasy” brethren. As the name suggests, isekai stories are fantasies about modern day heroes leaving this universe for another world — a magical kingdom, a VR video game, or a particularly exciting time period from the past. The popularity of such narratives is easy to explain.

Isekai(日语为“新世界”)是一种日本风格，在过去的十年中，它与西方的“门户幻想”弟兄一起崛起，成为前所未有的突出人物。顾名思义，isekai的故事幻想着现代英雄离开这个宇宙去另一个世界，一个神奇的王国，一个VR视频游戏，或者一个特别激动人心的过去。这种叙述的流行很容易解释。

They feed on the modern man’s longing for “simpler times”. Postmodern society has been tasked with exploring exceptionally tough ethical questions. And while the past was just as ethically complex, the 20/20 hindsight colours it black and white. So, we feel the need to redeem our ethical ambivalence by reliving history with our current knowledge at hand. The quality of ‘portal fantasies’ is often lacklustre, but their abundance is a clear sign of a deep-seated need to develop a better understanding of the present.

他们以现代人对“简单时期”的渴望为食。后现代社会的任务是探索异常棘手的道德问题。尽管过去在道德上同样复杂，但20/20的事后洞察力使它变成了黑色和白色。因此，我们感到有必要通过利用当前的现有知识来重温历史，以挽回道德上的矛盾。 “门户幻想”的质量通常不高，但是它们的丰富性清楚表明了对更好地了解当前的深刻需求。

蒸气波：现在作为历史 (Vapourwave: the present as history)

If all of the aforementioned genres existed for decades, in one form or another, vapourwave is a creation of the 21st century. Just like afrofuturism, it was originally a musical genre — and is only now starting to spread to other art forms. It is uniquely modern, surreal, and descriptive of the current cultural struggles. While other speculative frameworks are meant to provoke ethical judgements, vapourwave embraces the ambiguity of the contemporary world. It is occupied with the consumer society of here and now. It makes no distinction between the ‘high culture’ of opera enthusiasts, and the ‘low culture’ of Black Friday deals. It works off the premise that the entirety of our society is ‘low culture’, no matter what we choose to consume. To illustrate this point, vapourwave takes seemingly worthless everyday phenomena, like elevator music, promotional graphics, etc. — and ‘elevates’ them to the status of high-brow art. The end result hits us where it hurts, in all its glorious irony.

如果所有上述类型都以一种形式或另一种形式存在了数十年，那么蒸气波就是21世纪的产物。就像非洲未来主义一样，它最初是一种音乐流派，直到现在才开始传播到其他艺术形式。它具有独特的现代性，超现实性，并描述了当前的文化斗争。尽管其他投机性框架旨在挑起道德判断，但蒸气浪却拥抱了当代世界的模棱两可。它被此时此刻的消费社会所占据。歌剧发烧友的“高文化”与黑色星期五交易的“低文化”没有区别。不管我们选择消费什么，它都以我们整个社会都是“低文化”为前提。为了说明这一点，蒸气波采用了看似毫无价值的日常现象，例如电梯音乐，促销图片等，并将它们“提升”到高调的艺术地位。最终的结果光荣地讽刺了我们，使我们受了伤。

Neo Yokio. It deals with posh exorcists who paint their hair pink and talk fashion, while the rest of the world lives in poverty. Despite being ridiculous, it is a brilliantly numbing critique of our current society.  Neo Yokio 。它与时髦的驱魔人打交道，他们将头发染成粉红色并谈论时尚，而世界其他地区则生活在贫困中。尽管荒谬可笑，但它却是对我们当前社会的精明麻木的批评。

The genres we mentioned above aren’t the end-all-be-all of modern sci-fi. But taking a look at them can greatly enhance our understanding of current social issues, and collective aspirations. We just need to remember that imaginary futures exist for an external purpose. At their worst, they are power fantasies. But more often than not, they are tools to make sense of, and sometimes even redeem our troubled present — and our past.

我们上面提到的类型并不是现代科幻小说的终极目标。但是，看看它们可以极大地增进我们对当前社会问题和集体愿望的理解。我们只需要记住，假想的期货是出于外部目的而存在的。在最坏的情况下，它们就是权力的幻想。但是，它们常常是使我们理解，有时甚至救赎我们陷入困境的现在和过去的工具。