"Every Home Is Wired": 1 -- The Net in Relation to Music Subcultures

"Every Home Is Wired":
1 -- The Net in Relation to Music Subcultures

This also means a potential shift from a determination of dominant musical styles by the mainstream media and the music industry (through their considerable marketing muscle) back to a renewed importance of consumers' choices as the final deciding instance. Harasim writes, therefore, that the Internet creates what she calls new 'networlds': "networlds are distinguished by place-independent communication, expanding the human neighbourhood to global proportions. Networlds enable people to socialise, work, and learn based on who they are rather than where they are located. People have more choice" (22).	Bit 6
This can only work, though, if there is a sufficient variety of styles to choose from. "The key to the persistence of musical diversity is the assurance that local productive opportunities will continue for musicians everywhere" (Campbell Robinson et al. xii), but ironically it is the other major characteristic of the Internet that can be regarded as threatening this diversity: its role as the latest of a series of increasingly globalised and globalising media. The trend towards a global approach to business and entertainment (both are closely interlinked, of course) has long been seen as threatening local cultural production.	Bit 7

This also means a potential shift from a determination of dominant musical styles by the mainstream media and the music industry (through their considerable marketing muscle) back to a renewed importance of consumers' choices as the final deciding instance. Harasim writes, therefore, that the Internet creates what she calls new 'networlds': "networlds are distinguished by place-independent communication, expanding the human neighbourhood to global proportions. Networlds enable people to socialise, work, and learn based on who they are rather than where they are located. People have more choice" (22).

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This can only work, though, if there is a sufficient variety of styles to choose from. "The key to the persistence of musical diversity is the assurance that local productive opportunities will continue for musicians everywhere" (Campbell Robinson et al. xii), but ironically it is the other major characteristic of the Internet that can be regarded as threatening this diversity: its role as the latest of a series of increasingly globalised and globalising media. The trend towards a global approach to business and entertainment (both are closely interlinked, of course) has long been seen as threatening local cultural production.

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Section 1 -- Go on to Bite:

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