賽博龐克文學描繪一個由高科技建立的烏托邦社會，它不僅預示了一個更美好的未來，也揭發了完美社會隱藏的後現代癥狀及焦慮。如果文學的主要任務是溝通意見、傳達情感、及交流思考，那麼速度作為賽博文化的主要元素之一，妨礙了這些互動。賽博龐克敍事再現了數位社會中，偏重視覺而忽略其他感官經驗的情況。本論文探索速度與視覺的概念在賽博文化與賽博龐克文學作家威廉．吉布森與弗諾．文奇小說中的呈現。各面向的議題如—普適運算、媒介化、幻像、超越與存在的厭煩、大監控，腦內突觸的塑造、擴增實境、類比－數位的共同賽踐—皆納入討論，以增進對數位文化更進一步的瞭解。第一部份闡述賽博文化的幻像，並檢視賽博龐克作者如何再現一個被圖像統治的社會，以及現時被即時殖民的現象。第二部份解碼賽博文化和賽博龐克小說裡類比—數位的創意實踐，並分析它們與上述議題的對話。第三部份證明類比—數位實踐創造關懷的論述、促成政治對話的空間、並生產異質的知識系統。此知識是逆轉現今工業化程式設計的種子，也是將機器視像與加速的毒藥轉化為療癒人性解藥的開端。

Cyberpunk literature constructs both a utopian society based on advanced technology and a dystopian society ruled by totalitarian, technocratic, militarist and late capitalist regimes; it thus envisions a better future as it, at the same time, unveils postmodern conditions and anxieties. If literature’s ultimate task is to communicate feelings, ideas, and states of mind, speed as one of contemporary cyberculture’s major symptoms inhibits such communication. Depictions of privileging ocular perceptions as repetitively represented in cyberpunk narratives are reflective of such reduction of scope of human experiences. This dissertation delves into the notions of speed and vision as demonstrated by cybercultural practices and contemporary cyberpunk literature writers William Gibson and Vernor Vinge. Dealing with cybercultural issues—such as accelerated cyberculture, spectacular mediatization, fantasy, symptoms of malaise in cybernauts, transcendence and boredom, mass surveillance, the shaping of synapses, and analogico-digital practices—cyberpunk fiction constantly incorporates diversified perspectives to extend its understanding of the contemporary world. Going against the grain of seeing cyberculture as a potentially risky practice to the shaping of humanity and history, as is demonstrated in Guy Debord’s and Paul Virilio’s concepts of technological and digital dystopia and of a society turning into ideological spectacles, Bernard Stiegler envisions that a new paradigm of perception and of knowledge will emerge from analogico-digital practices. I approach the works of the contemporary cyberpunk writers with Gibson’s idea of the phantasmagoric aspect of cyberculture and examine how cyberpunk writers inform and represent a society that is mediated by images and in which lived time is colonized by real time. I decode the creative analogico-digital practices consistently manifested and portrayed in cyberculture and cyberpunk narratives and explore how these practices can be related to the issues of speed, vision, fantasy, media, metaphysics, and memory. In doing so I make evident that these cultural practices as forms of resistance gradually are turned into a politically contested site in which lived lives are erased by real time and culture is commodified, while they also provide us with new formations of knowledge. The alternative knowledge is a seed to reverse engineer an industrialized programming, which is a means to making the poison of machine vision and speed into the cure of humanity.