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By Herlander Elias

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Pt ✐ ✐ ✐ ✐ ✐ ✐ ✐ ✐ Herlander Elias 37 of the existence of the abyss between the Real and the Imaginary. The interrogation of the future, of a premature future, of the “immense continent of the possible”, was a New Wave’s constant, that undoubtedly impassioned the neo-romantic writers. About the patent representation in the historiography records, on the reaccomplishment of the past carried out by media, about the paganism and the atheism was, in fact, technology that tried to respond to the legitimate inexistence of a creative entity author of everything, the reason is that a demiurgical figure has been eliminated.

What cyberpunk writers did was that to assume the project of a world they thought no longer to be fiction, and that, soon, it would stopped being just a subculture but to become a global pop culture (then unknown as cyberpunk), in the “mcluhanesque” sense. To the cyberpunks writers, as for Ballard, “We live inside an enormous novel. It is now less and less necessary for the writer to invent the fictional content of his novel. The fiction is already there. 3). 0: Fiction and Contemporary vented the idea of the “Real”, alleging like K.

7). Besides the sunglasses, its golden mirror effect, perverse and protector, other elements were portrayed as being ingredients of the cyberpunk visual aesthetics. In Neuromancer, Case contributed to the cyberpunk style with his collar lifted up, bent in his black leather jacket; Molly exhibited some Nikon mirrored lenses, wearing black leather from high heels boots, showing sometimes a plastic pink gabardine over a white color t-shirt. Blade Runner, the magic film which helped to trigger the cyberpunk concept, before Neuromancer, there was already a ground for replicant characters, as sophisticated as nostalgic, and it even provided some models for futuristic casual fashion, as it is easily observed in the scene of the replicant stripteaser wearing just a bra underneath a transparent vinyl gabardine.

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