The Null Device
In VICE's Motherboard forum, Claire Evans (one half of hippyish art-rave duo YACHT) interviews various science fiction authors about what happened to cyberpunk:
William Gibson: Cyberpunk today is a standard Pantone shade in pop culture. You know it when you see it.
Benjamin Rosenbaum: Just as the innovation of the early rock and rollers and the British Invasion had degenerated (from the punk rock perspective) into the bloated pretensions, the light shows and orchestral follies, of 70s dinosaur bands, so too the authentic speculation of Golden Age SF had degenerated into a series of tropes — FTL galactic empires, humanoid aliens, nefarious AIs, loyal robots — which represented (to the cyberpunks), not thinking about the future, but merely using it as a set dressing. The real future was happening all around them, in waves of privatization and deregulation and postindustrialism and the end of jobs-for-life, in the Apple ][s and 7800 baud modems and BBSs… and the dinosaur bands of SF were ignoring it in favor of the light shows of interstellar colonialist adventure. Now, of course, cyberpunk itself has suffered the same fate. Noir antiheroes in mirrorshades and black trenchcoats hacking into corporate and government systems, the internet envisioned as an immersive (even physically invasive) world — these are no longer daring speculations: they are Hollywood staples. The internet is here and much of its nomenclature derives from cyberpunk’s visions; the world is full of the real-life successors of Case and Hiro — network manipulators with flexible moralities, independent streaks, and a willingness to hide in the nooks and crannies of the Matrix — from Nigerian scammers to Julian Assange. But of course, now that they’re real, they’re harder to imagine as Keanu Reeves saving the day.
Pat Cadigan: Nothing “happened,” it’s just more evenly distributed now.
Douglas Rushkoff: For most people, it was surrendered to the cloud. For those who understand, it stayed on their hard drives.
Neal Stephenson: It evolved into birds.
Bruce Bethke: But out here in the larger world time has moved on, and those kinds of stories look as quaint now as did Chesley Bonestell’s beautiful 1950s spaceship art after Apollo landed on the Moon. The cyberpunk trope, as a literary form, is still stuck firmly in the 1980s, with no hope of ever breaking free.
Jack Womack: Last time I saw cyberpunk I threw 25 cents in its hat.