digital futures of literature, theory, criticism, and the arts

Bunny Lee

Dub, Scratch, and the Black Star. Lee Perry on the Mix

Erik Davis listens to Lee Perry's work.

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William Gibson in Neuromancer (1985), by naming his interplanetary ship the Marcus Garvey, formalized the connection between an established Rastafarian and an emerging Cyberpunk culture, helping to mainstream technological and musical countercultures.

William Gibson in Neuromancer (1985), by naming his interplanetary ship the Marcus Garvey, formalized the connection between an established Rastafarian and an emerging Cyberpunk culture, helping to mainstream technological and musical countercultures.

‐ Joseph Tabbi

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It was McKenzie Wark, who brought the dub transformation into cultural criticism (if not the cultural mainstream). As Wark wrote, with numerous variations, in Virtual Geographies (1994): “We no longer have roots, we have aerials..”

It was McKenzie Wark, who brought the dub transformation into cultural criticism (if not the cultural mainstream). As Wark wrote, with numerous variations, in Virtual Geographies (1994): “We no longer have roots, we have aerials..”

‐ Joseph Tabbi

Bunny Lee

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