Seminar paper from the year 2010 in the subject American Studies - Literature, grade: 1,0, University of Bayreuth, language: English, abstract: Understanding gender as a performative act defining womanliness and manliness, this paper analyses why women are always linked with nanotechnology education in science fiction as a traditionally masculine genre. By concentrating mainly on the novels "Queen City Jazz" and "Diamond Age" its focus lies not only on the way in which the female pupils are educated, but also on how womanliness is defined and connected with nanotechnology.

The dawning era of nanotechnology promises to transform life as we know it. Visionary scientists are engineering materials and devices at the molecular scale that will forever alter the way we think about our technologies, our societies, our bodies, and even reality itself. Colin Milburn argues that the rise of nanotechnology involves a way of seeing that he calls “nanovision.” Trekking across the technoscapes and the dreamscapes of nanotechnology, he elaborates a theory of nanovision, demonstrating that nanotechnology has depended throughout its history on a symbiotic relationship with science fiction. Nanotechnology’s scientific theories, laboratory instruments, and research programs are inextricable from speculative visions, hyperbolic rhetoric, and fictional narratives. Milburn illuminates the practices of nanotechnology by examining an enormous range of cultural artifacts, including scientific research articles, engineering textbooks, laboratory images, popular science writings, novels, comic books, and blockbuster films. In so doing, he reveals connections between the technologies of visualization that have helped inaugurate nano research, such as the scanning tunneling microscope, and the prescient writings of Robert A. Heinlein, James Blish, and Theodore Sturgeon. He delves into fictive and scientific representations of “gray goo,” the nightmare scenario in which autonomous nanobots rise up in rebellion and wreak havoc on the world. He shows that nanoscience and “splatterpunk” novels share a violent aesthetic of disintegration: the biological body is breached and torn asunder only to be refabricated as an assemblage of self-organizing machines. Whether in high-tech laboratories or science fiction stories, nanovision deconstructs the human subject and galvanizes the invention of a posthuman future.

Paul Durham keeps making Copies of himself: software simulations of his own brain and body which can be run in virtual reality, albeit seventeen times more slowly than real time. He wants them to be his guinea pigs for a set of experiments about the nature of artificial intelligence, time, and causality, but they keep changing their mind and baling out on him, shutting themselves down. Maria Deluca is an Autoverse addict; she’s unemployed and running out of money, but she can’t stop wasting her time playing around with the cellular automaton known as the Autoverse, a virtual world that follows a simple set of mathematical rules as its “laws of physics”. Paul makes Maria a very strange offer: he asks her to design a seed for an entire virtual biosphere able to exist inside the Autoverse, modelled right down to the molecular level. The job will pay well, and will allow her to indulge her obsession. There has to be a catch, though, because such a seed would be useless without a simulation of the Autoverse large enough to allow the resulting biosphere to grow and flourish — a feat far beyond the capacity of all the computers in the world.

Hugo Award Finalist: A near-future novel of artificial intelligence, human nature, and mass murder that “succeeds on virtually every level” (The New York Times Book Review). In Los Angeles in 2047, advances in the science of psychology have made crime a rare occurrence. So it’s utterly shocking when eight bodies are detected in an apartment, and not long afterward the perpetrator is revealed as well: noted poet Emmanuel Goldsmith. The LAPD’s Mary Choy—who has had both her appearance and her police work enhanced by nanotechnology—is tasked with arresting the killer, while psychotherapy pioneer Martin Burke prepares to explore his mind. Meanwhile, Goldsmith’s good friend and fellow writer reels at the news—while, far from all of them, a space probe makes a startling discovery. This “excellent” novel about technology, identity, and the nature of consciousness is a thought-provoking stunner by the Nebula Award–winning author of the Eon series and the Forerunner Saga (Chicago Tribune).

Reporter Maya Andreyeva is a "camera," broadcasting her perceptions to millions from her virtual-reality cranial implants. Maya's discovery of a covert state-approved massacre raises dangerous issues involving conspiracy, tyranny, and mind control. Author Raphael Carter's ingenious tale takes a compelling look at the role of media in shaping historical narrative. "Vibrant, sweet, and tragic ... Carter attempts impossible things and succeeds brilliantly." ― Jonathan Lethem.

Seven men and women, who are immune to nanotechnology, fight machine beings which have been created to destroy what is left of humanity.

Short stories labeled "Mirroshade," "Neuromanatic," "Cyberpunk," etc. by such authors as Greg Bear, Pat Cadigan, William Gibson, Rudy Rucker, Lewis Shiner, John Shirley and others.