Social and temporal geographies of the near future music, fiction and youth culture

Futures

Volumn 30, Issue 10, 1998, Pages 1003-1016

  Moody, Nickianne ^a  

^a LIVERPOOL JOHN MOORES UNIVERSITY   (United Kingdom)

Author keywords

[No Author keywords available]

Indexed keywords

CULTURAL IDENTITY; IDENTITY CONSTRUCTION; MEDIA ROLE; MUSIC; SPATIOTEMPORAL ANALYSIS;

EID: 0032466949     PISSN: 00163287     EISSN: None     Source Type: Journal    
DOI: 10.1016/s0016-3287(98)00102-5     Document Type: Article

References (72)

1. From the entry for 'cyberpunk' in Gunn, J. (ed)., The New Encyclopaedia of Science Fiction. Viking, London, 1988.
2. Womack, J., Random Acts of Senseless Violence. Harper Collins, London, 1994.
3. For a further discussion see Moody, N., Representations of Disability/Special Ability in the Cyberpunk Workforce. In Convergence, Vol. 3, no. 3, 1997.
4. Bruce Sterling became a major spokesperson for the Cyberpunk literary movement of the 1980s through his fanzine Cheap Truth, his own fiction and editing especially Mirrorshades: The Cyberpunk Anthology in 1986. The text referenced here is the British edition, Paladin, London, 1988.
5. The first free festival at Stonehenge, Wiltshire, Southern England was held in 1974 and continued annually around the summer solstice of the 21st June. In 1985 a legal injunction blocked the roads around the monument to traffic. On 1st June 1985 a convoy of 140 vehicles moved towards the site and was met by police road blocks. To escape arrest and escalating violence some of the convoy turned off the road and into a field planted with beans. Here a 'pitched' battle between the convoy and police ensued which was widely reported by the attendant news media. See the account published by the NCCL Stonehenge, 1986, London
6. Bailey, E., So here it is, Merry Christmas: 'tis the season to get back on the dance floor. Independent on Sunday, 15/12/96.
7. See Jameson, F., Postmodernism and Consumer Society and Baudrillard, J., The Ecstasy of Communication. In Postmodern Culture, ed. H. Foster. Pluto, London, 1985.
8. Cawelti, J. G., Adventure, Mystery and Romance. University of Chicago Press, 1976, p. 34.
9. Cawelti, J. G., Adventure, Mystery and Romance. Ibid, p. 35.
10. Bromley, R., Natural Boundaries: The Social Function of Popular Fiction. In Red Letters, no. 7, 1978.
11. Gibson's Neuromancer was originally published in 1984, the text referenced here is the 1986 British paperback edition, Grafton, London.
12. Released in 1982 after a considerable production process the film was based on the New Wave and yet commercial fiction of P. K. Dick's novel, Do Androids Dream of Electric Sheep? 1972.
13. Champion, S. (ed)., Disco Biscuits. Sceptre, London, 1997. Her recent second anthology Disco 2000, 1998, makes the point even more effectively as American cyberpunk writers Pat Cadigan, Paul di Filippo and Neal Stephenson are contributors.
14. Published commercially as Dead Meat. Sceptre, London, 1997.
15. Tracing Paper: Black Writing in London, 1770-1997 October 15th 1997.
16. By N. Blincoe who has also turned to a hardboiled narrative style in his novels Acid Casuals, Jello Salad and Manchester Slingback.
17. The fiction is referencing The Entertainments (Increased Penalties) Act of 1990 which required the licensing of raves. The Criminal Justice and order Act of 1995 amended loop holes in the previous act and outlawed free parties especially those where the music was 'sounds wholly or predominantly created by the emission of a succession of repetitive beats'. This changed 'rave music' but a third piece of legislation the Public Entertainment Licenses (Drug Misuse) Act 1997 also had a major impact on rave culture.
18. Aylett, S., Disco Biscuits.1997 in Champion, op cit, pp. 285-286.
19. Aylett, S., Disco Biscuits. Ibid, p. 289.
20. Science fiction writers such as Peter F. Hamilton do look at near future England and extrapolations based on new information technology, but see corporate capital as the power which has produced an economic renaissance.
21. Gibson, W., Mona Lisa Overdrive. Gollancz, London, 1988, p. 45.
22. Interzone was subsidised by the Arts Council of Great Britain during the 1980s. A quarterly magazine which stressed its intention to publish 'radical science fiction' see Hanna, J., editorial, 1986 no. 15, Spring.
23. Gibson, W., Mona Lisa Overdrive., 1988 op cit, p. 114.
24. Piercy, M., He She and It. Fawcett Crest, New York, 1992. Published in Britain as Body of Glass. For a further discussion of the relationship between feminist and cyberpunk science fiction see; Moody, N., Angels of the Revolution and Saints of the Apocalypse. In Decadence and Danger, ed. T. Hill. Sulis Press Bath, 1997.
25. Gibson, W., Mona Lisa Overdrive., 1988 op cit, p. 60.
26. Redhead, S., The End of the Century Party. Manchester University Press, 1990, p. 30.
27. See also Goodlad, L., Postmodern gothic: The Lost Brides of Frankenstein and the Dark Taste of Fear, Diegesis no. 1, Winter.
28. Gibson, op cit, p. 19.
29. Gibson, W. and Sterling, B., The Difference Engine. Gollancz, London, 1991;
30. and Stephenson, N., The Diamond Age. Bantam Spectra, New York, 1995.
31. Sterling, op cit, pp. xi-xii.
32. From an interview with G. Ryman, Interzone, 1994, no. 88, Oct.
33. Noon, J., Nymphomation. Doubleday, London, 1997.
34. Tomas, D., The Technophilic Body: On Technicity in William Gibson's Cyborg Culture. New Formations, no 8, summer 1989.
35. Interview with D. Barrett, The Lucidity Switch. Interzone, 1997, no. 115, Jan.
36. Metcalfe, S., Psychedelic Warriors and Ecstasy Evangelists. In Psychedelia Britannica: Hallucinogenic Drugs in Britain, ed. A. Melechi. Turnaround, London, 1997.
37. Coupland, D., Generation X: Tales for an Accelerated Generation. Abacus, London, 1992, p. 5.
38. This story was originally published in 1981 by the science and fiction magazine Omni. It became the title story of Gibson's short story anthology published by Gollancz in 1986 and has been reprinted by Dann and Dozois edited collection, Hackers. Ace, New York, 1996.
39. Originally published in 1988 this article has been reprinted in: Kempster, C., History of House. Sanctuary Publishing Ltd, London, 1996.
40. Kempster, C., History of House. Ibid, p. 57.
41. Set aside fields are farmland which is subsidised to be left fallow by the European Common Agricultural Policy.
42. Kempster, C., History of House. Champion, op cit, p. xvi.
43. Kempster, C., History of House.Ibid, p. xv.
44. Welsh, I., Trainspotting. Martin Seeker and Warburg Ltd, London, 1993. A genuine bestseller before the 1996 film version (which cost $3 million to make and grossed over $64 million worldwide), the book was reprinted 30 times between 1994 and 1996.
45. Bruno, G., Ramble City: Postmodernism and Blade Runner. October no. 41, summer, p. 64.
46. Noon, J., Vurt. Pan, London, 1994, p. 63.
47. Noon, J., Vurt. Pan, Ibid, p. 64.
48. See also S. Shaviro's essay on Bottletown in Stranded in the Jungle 12. http:dhalgren.english.washington.edu/%7Esteve/stranded/12.html
49. Noon, J., Vurt. Pan, Noon, 1994, op cit, p.219.
50. Noon, J., Automated Alice. Corgi, London, 1997, p. 11.
51. Ibid, p. 128.
52. Ibid, p. 187.
53. Shaviro, op cit.
54. Tomas, op cit, p. 114.
55. Ibid, p. 115.
56. Ibid, p. 117.
57. Pondsmith, M., View From the Edge: The Cyberpunk Handbook. 1988 R. Talsorian Games Inc. Aptos, California.
58. Champion, S., And God Created Manchester. Wordsmith, Manchester, 1990.
59. Ibid, p.41.
60. Redhead, op cit, p.18.
61. Ibid, p. 64.
62. Ibid, p.81.
63. Ibid, p. 87.
64. Hewison, R., Too Much. Methuen, London, 1986.
65. Redhead, op cit, p. 81. Redhead explains this term as a concept born out of shambolic and refers his readers to Dessau's article, 'Shamble City' in City Limits, April 1 7-24th 1986.
66. Ibid.
67. Ibid, p. 58.
68. See Moody, N., Interacting with the Divine Comedy. In Fractal Dreams: New Media in Social Context, ed. J. Dovey. Lawrence and Wishart, London, 1996.
69. Noon, op cit, p. 67.
70. Ibid, p. 11.
71. Ibid, p. 320.
72. Pondsmith, op cit, p. 64. These are directions to players from the specifications for Cyberpunk: The Role Playing Game of the Dark Future.