Henry Adam SvecMillsaps College [Abstract] Introduction It has been tempting, for fans of folk music, to celebrate the creative possibilities afforded by Web 2.0 as a sign of the resurgence of something like a folk revival. [1] David Dunaway (2010), for instance, has divided the history of folk revivalism in the United States into three periods. His first wave lumps together a wide range of collectors, researchers, and activists, from ethnographers to the more overtly political and propagandising efforts of Alan Lomax and others in the thirties and forties. Next is the ‘folk boom’, which featured the mass-commercial success in the fifties of the Weavers and then the Kingston Trio (Dunaway, 2010). Happily, the folk revival has returned again, according to Dunaway, beginning in the late eighties and early nineties, and the World Wide Web has been a key source of the new varieties of folk expression recently on offer:…
Introduction [1] In William Gibson’s recent futurist novel The Peripheral, the planet has been devastated by a massive eco-techno-political catastrophe (‘the jackpot’) but remaining inhabitants are still able to enjoy the luxury of activating digital devices simply by tapping their tongues on the roof of their mouths. This touch is sufficient to set into play systems that communicate across space and time – enabling the establishment of connections back in time, for example, to people closer to our own present-day, for whom mobiles are still (somewhat) separate from the body. Thirty years ago, in his first novel Neuromancer, Gibson immortalised cyberspace with the account of what now sounds like an amazingly clunky process whereby the hero ‘jacks-in’ to virtual reality. But in The Peripheral the process of translation and transition into networks is streamlined – occluded, internal, intimate and implanted – right at the tip of the tongue. This issue…