With the emergence of the Internet into popularĬonsciousness in the early to mid-nineteen-nineties following the Sites and newsgroups form virtual communities are, of course, not Phenomenon of net.Goths that has emerged in recent years. Web or vice versa, but more with the practice of a youth subculture thatĭoes indeed appear to be flourishing in cyberspace, particularly the Se, whether it can tell us something about the intrinsic nature of the This paper is not especially concerned with the Gothic per Online, and is also the subject of several studies by Paul Hodkinson in This connection between the Gothic and technoculture hasĬontributed to the survival of a social grouping that Nick Mercer, inĢ1st Century Goth (2002), refers to as the most vibrant community Less mortifying was theĬrossover that occurred in the late eighties and nineties between GothĪnd Industrial music, particularly via bands such as Nine Inch Nails orįrontline Assembly, exploiting a hardcore techno sound combined with a Made the connection between technology and Gothic rather embarrassinglyĮxplicit in his 1986 novel, Count Zero. The impetus for such intersections via his contributions to cyberpunk, The rapport between Goth subcultures and new technologies has oftenīeen a subject of fascination for those who are both part of that
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