By Anna Everett
Lines the increase of black participation in our on-line world.
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Extra resources for Digital Diaspora: A Race for Cyberspace
The widespread installation of television sets into suburban homes was essential in selling a new and improved, highly constructed “antiseptic” image of social space in postwar America. 9 For Spigel, nineteenth-century utopian beliefs in “the magical powers” of electrical telegraphy to purify the environment of “the grime and noise of industrialization” (110) have their corollaries in much of the early promotional hypes extolling the benefits of radio and television. Not surprisingly, this “antiseptic model” of mechanically and electronically driven participatory democracy has morphed into present-day utopian discourses promulgating the new digital democracy as society’s panacea for the dawning millennium.
T]he implications are obvious: national borders are increasingly disappearing within cyberspace. (48) Not only do national borders increasingly disappear in cyberspace; they are replaced by new kinship structures now predicated on the fluidity of cybernetic virtual communities and homelands. In his important work Imagined Communities: Reflections on the Origin and Spread of Nationalism, Benedict Anderson reminds us that “nationality, or . . [the] world’s mutiple significations, nation-ness, as well as nationalism, are cultural artefacts of a particular kind” (4).
Again, stressing the profound intersection of mechanization and funk, and black musicians’ virtuoso mastery of new musical instruments within old musical traditions, Rose asserts: Digital music technology—samplers, sequencers, drum machines—are themselves cultural objects, and as such they carry cultural ideas. These machines force black musicians into certain ways of producing sound inside certain parameters, in this case nineteeth-century European musical constructions. . I resist the reading that by definition suggests that being black and funky means that one can’t occupy certain spaces.