Another article, unfortunately, that makes heavier weather of its argument than is really necessary. Karen Collins sets out to convince us of, as her subtitle has it, “the commonalities between cyberpunk literature and industrial music.” Except, straight away —
Although cyberpunk began as a literary movement, it is often referred to as more than that — it is, rather, a concept reflected in many disciplines sharing a similarity of approaches and attitudes.
— and the argument she goes on to construct depends rather heavily on the inclusion of films, from the obvious (Blade Runner, The Matrix) to the slightly less so (The Terminator). Which is fine in principle, obviously; it’s just not what the title promises. There are other carelessnesses. In an initial list of characteristics associated with cyberpunk, Collins eyebrow-raisingly includes “technophilia”; but later in the article comes round to the more sensible “Cyberpunk, therefore, has an arguably ambiguous relationship to technology”. Mondo 2000 is described as “the original cyberpunk fanzine”, and Cheap Truth isn’t mentioned. Etc etc.
Some of the points made are actually more general than they need to be, to the point of banality. In describing shared influences on cyberpunk and industrial — focusing on “Dada, William S Burroughs and the punk movement” — Collins ends up pointing out that “Cyberpunk fiction similarly incorporates many references to popular culture”, and perhaps even better in terms of failing to establish a unique relationship, that both forms are “rife with neologisms”. This is despite the fact that the shared influences seem undeniable, based on the numerous specific examples from both cyberpunks and industrial artists that Collins is able to provide.
The section on “recurrent dystopian themes” is a bit more wobbly, I think, in part because Collins starts with this list of “themes fundamental to dystopia”:
Although these themes are not necessarily in every dystopia, at least one will always be present. The primary themes of a dystopia can be summarised as; the socio-economic system of the West will lead to an apocalypse. The apocalypse will lead to, or be caused by, a totalitarian elite controlling the masses through technology, which brings about a need for a resistance, usually led by an outsider-hero.
Personally, I’d have thought canonical cyberpunk texts fit this schema somewhat less well than the mainstream of dystopias — although they do fit, sure, particularly if you allow, as Collins does, that “in cyberpunk, the apocalypse is often a metaphoric one”. Collins also has less evidence on the industrial side, here, able to establish the anti-capitalist bona fides of the genre pretty easily, but not doing so well on the other points.
More interesting is the discussion of “unconventional sound-making devices” — that is, bits of discarded technology — used in industrial music, although a consideration of the use of robot voices seems like a sidetrack; it makes for an interesting contrast with the version of HipHop described in “Feenin“, but robots don’t seem to me a core concern of cyberpunk.
Lastly, and most entertainingly, Collins identifies a similar mood of “anguish, darkness and the future”, on the basis of lists of keywords, although it’s not clear whether the cyberpunk list is based on a spectrum of reader responses, or just the one guy:
Cavallaro links cyberpunk and gothic horror with a series of keyword similarities relating to the moods evoked by the narratives: decay, decomposition, disorder, helplessness, horror, irresolution, madness, paranoia, persecution, secrecy, unease and terror.  Similarly, my study of connotations of industrial music, using free-inductive methods of listener response tests on a selection of industrial recordings, found that the most common responses were sad, dark, anxious, futuristic, death, urban, violent, and anguish.
That footnote, incidentally: “Cyberpunk and industrial could also be argued to sometimes have an underlying humour that helps to lighten this mood.” Which, yes, that’s probably a good thing. And although Collins never quite says this explicitly, although each of these correspondences on its own is rather loose, all of them together do make the case that “these artists are branches on the same tree” fairly convincing.
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