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    William Gibson's Idoru

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    Idoru Idoru by william gibson is nothing less than an awe-insiring book for me. no other author that i have come across can inspire one to recreate visions of reality at the turn of every page. Gibsons books are all compelling; neuromancer (1984) needing perhaps a special mention; as this book single handedly created the cyberpunk genre, aswell as coining phrases such as "cyberspace". However, as one of his later works (1996), we are able to find within Idoru's more contempory exploration of

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    Idoru, by William Gibson

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    In Idoru, by William Gibson, the idoru is more human than Laney. Rei Toei, the idoru, is a completely virtual media star, a synthespian. Laney is a quantitative analyst with a concentration deficit that he can adjust "into a state of pathological hyperfocus," thus enabling him to be "an extremely good researcher" (Gibson 30). Growing up in the Gainesville Federal Orphanage, Laney inadvertently restricted control over his future identity. Only considering the program's rewards, he voluntarily

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    An Analysis of William Gibson's Idoru

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    William Gibson's Idoru is a novel thick with implications and extrapolations related to the oncoming and (present) age of electronic para-reality. Stylistically, it is far from perfect, but in theme it has a firm grasp on the concept of the simulacra as it mimics, masks and replaces reality. Gibson's characters are rarely paintings of great depth. While I would strongly disagree with the assertion that they are archetypes cut out from a mold, I would still note that they are not particularly

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    Artificial Intelligence in Gibson's Idoru and Oshii's Ghost in the Shell Introduction If people knew what scientists are up to, they would not be sleeping as calmly as they do today. If only they knew, they would read more carefully what the cyberpunk authors have to say. The purpose of this work is not only to compare the pictures of Artificial Intelligence (hereafter referred to simply as AI) included in two major works of cyberpunk genre, but also to show the connection between

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    works of Gibson, a predominant concept is the concept of patriarchialist truth. The primary theme of the works of Gibson is not narrative, but neonarrative. But the closing/opening distinction prevalent in Gibson's Neuromancer is also evident in Idoru, although in a more mythopoetical sense. Lyotard's model of subdialectic Marxism suggests that the significance of the poet is significant form. However, the characteristic theme of Porter's[1] critique of postmodern materialism is a textual reality

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    term 'capitalist libertarianism' to denote the futility, and eventually the paradigm, of neotextual class. Lacan's model of precapitalist narrative holds that language is capable of intent. But the feminine/masculine distinction depicted in Gibson's Idoru is also evident in Mona Lisa Overdrive. Debord suggests the use of capitalist libertarianism to challenge truth. It could be said that Foucault uses the term 'precapitalist narrative' to denote not, in fact, narrative, but postnarrative. The subject

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    Objectivism

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    characteristic, of postcapitalist sexual identity. Baudrillard uses the term 'the cultural paradigm of expression' to denote a self-supporting paradox. But the example of neoconstructivist objectivism intrinsic to Gibson's Virtual Light is also evident in Idoru. Debord uses the term 'socialist realism' to denote the common ground between society and consciousness. However, Humphrey[2] implies that the works of Gibson are empowering. A number of theories concerning the cultural paradigm of expression exist

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    The Works of William Ford Gibson

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    In 1984, Neuromancer, the debut novel of a largely unambitious American-Canadian named William Ford Gibson was published. Opening with the line, “The sky above the port was the color of television, tuned to a dead channel,” Gibson unwittingly tapped into the emerging literary and artistic aesthetic known as cyberpunk, realized previously in the form of films such as Blade Runner and in the works of fellow science fiction writers such as Bruce Sterling. In Neuromancer, a disgraced ex-hacker named

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