Difference between revisions of "21C Magazine"

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  | image_caption          = 21C 2010 Logo
 
  | image_caption          = 21C 2010 Logo
 
  | format                  = [[Zines|Print]]/[[eZines|Digital]]
 
  | format                  = [[Zines|Print]]/[[eZines|Digital]]
−
  | editor                  = Ashley Crawford, Paul D. Miller
+
  | editor                  = Ashley Crawford
−
  | publisher              = ACFF
+
  | publisher              = Gordon & Breach
−
  | origin                  = Australia
+
  | origin                  = Melbourne / New York
 
  | language                = English
 
  | language                = English
 
  | frequency              = ?
 
  | frequency              = ?
−
  | active                  = 1990-1999 (print) 200? - Present (web)
+
  | active                  = 1994-1999 (print)
−
  | categories              = Cyberpunk, Technology
+
  | categories              = Cyberpunk, Technology, culture
 
  | number_issues          = ?
 
  | number_issues          = ?
 
  | follows                = NA
 
  | follows                = NA
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}}
 
}}
  
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'''21C Magazine''' was a magazine originally run by The Commission,a government body in Australia, and the magazine was funded accordingly. After two previous editors, Ashley Crawford worked under the government structure editing the magazine from 1990-93 in that version and even then, although it had a strong Australian flavor, it was beginning to tackle cyberspace, information overload, virtual reality etc.
+
'''21C Magazine''' was a magazine originally run by The Commission for the Future, a government body in Australia, and the magazine was funded accordingly. Ashley Crawford worked under the government structure editing the magazine from 1990-93 in that version and even then, although it had a strong Australian flavour, under Crawford it was beginning to tackle cyberspace, information overload, virtual reality and associated issues.
  
−
In 1994 Crawford was approached by a Swiss-based international company, Gordon & Breach, who wanted to start an international art magazine – [[World Art]]. Crawford accepted but didn’t really want to let go of 21C and so organized a take-over of the magazine. Accordingly Crawford ended up editing and publishing a revised version of the title from 1994 to 1999. Given 21C was suddenly international in scope, Crawford made the most of it and approached folk she had been a fan of for some time, amongst them such people as J.G. Ballard, William Gibson, Kathy Acker, Bruce Sterling, Rudy Rucker, John Shirley, Mark Dery, Andrew Ross, R.U. Sirius, Claudia Springer, McKenzie Wark, Darren Tofts, Michael Moorcock, Thurston Moore, Erik Davis and others.
+
In 1994 Crawford was approached by a Swiss-based international company, Gordon & Breach, who wanted to start an international art magazine – [[World Art]]. Crawford accepted but didn’t really want to let go of 21•C and so organized an amendable take-over of the magazine. Accordingly he ended up editing and publishing a revised version of the title from 1994 to 1999. Given 21•C was suddenly international in scope, Crawford made the most of it and approached folk he had been a fan of for some time, amongst them such people as J.G. Ballard, William Gibson, Mark Dery, Kathy Acker, Bruce Sterling, Rudy Rucker, John Shirley, Margaret Werthiem, Andrew Ross, R.U. Sirius, Claudia Springer, McKenzie Wark, Darren Tofts, Erik Davis and others.
  
−
The earlier version of the magazine extremely parochial with a strong Australian flavor. The format and structure changed entirely in 1994. The earlier version had a strong socio-political flavor whereas the second version, while maintaining some of that eg; covering Noam Chomsky, tended towards the more speculative. The posthuman, cyberpunk etc.
+
Under Crawford the magazine steered a balance between a strong socio-political flavour, covering such figures as Noam Chomsky, Jose Ramos Horta and Mike Davis, the creative philosophical speculations of such figures as Donna Harraway and Sandy Stone, the 'futuristic barbarism' of Mark Pauline and Survival Research Laboratories. It embraced and dissected such historical visionaries as Robert Anton Wilson, Timothy Leary, William Burroughs, Marshall McLuhan, Terence McKenna and Guy Debord. It encompassed the posthuman, cyberpunk, artificial intelligence and popular culture alike.
  
−
The newer material tends to be going weirdly post-cyber. Where once it was replicants and cyborgs later it seems to be zombies. Where once it was the glittering on-line (albeit wonderfully gritty) world of Neuromancer and Snow Crash, later it seems to be the blasted wilderness of Cormac McCarthy, Brian Evenson and Brian Conn or the strange, fantastical but distinctly visceral rituals of Ben Marcus or Matthew Derby.
+
J.G. Ballard described the magazines’ contents as "A brilliant collection of articles that read like news bulletins from the future." William Gibson stated that: "21•C is, flat out, the best looking and most determinedly eclectic pop-futurological publication in the world.... An editorial gestalt willing to fearlessly consider any futurological possibility whatever, to interrogate anything at all for its potential as fast feed into some possible future."
  
−
The DJ Spooky combo came about when a long-term 21C contributor, Mark Dery, invited Crawford on-board as executive editor of a magazine he’d taken editorship of called [[Artbyte]] in New York in 2001 shortly after 21C had died in its print-form. Dery had fantastic ambitions for Artbyte but unfortunately the publisher was, to say the least, eccentric.
+
The funding company collapsed in 1999. Sporadic attempts have been made to reinvigorate the magazine online, but to date with little success.
−
 
 
−
Paul was an contributor to Artbyte. When 21C died he asked if Crawford would be happy for him to try and get it running on-line. But of course Paul’s busily running around the world being DJ Spooky and simply couldn’t put the energy into it to do anything but maintain a fairly token presence, but did release a few online issues.
 
  
 
==Downloads==
 
==Downloads==
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! style="background: #838B8B; color: #ffffff; text-align:center"| Notes
 
! style="background: #838B8B; color: #ffffff; text-align:center"| Notes
 
|-
 
|-
−
! style="background: #EEE9E9; color: #8B8989;"| Issue #1
+
! style="background: #EEE9E9; color: #8B8989;"| Issue 1995.3
 +
! style="background: #F8F8FF; color: #8B8989;"|
 +
! style="background: #F8F8FF; color: #8B8989;"|
 +
! style="background: #F8F8FF; color: #8B8989;"| Acquired
 +
|-
 +
! style="background: #EEE9E9; color: #8B8989;"| Issue 1996.1
 +
! style="background: #F8F8FF; color: #8B8989;"|
 +
! style="background: #F8F8FF; color: #8B8989;"|
 +
! style="background: #F8F8FF; color: #8B8989;"| Acquired
 +
|-
 +
! style="background: #EEE9E9; color: #8B8989;"| Issue #23 (1996)
 
! style="background: #F8F8FF; color: #8B8989;"|  
 
! style="background: #F8F8FF; color: #8B8989;"|  
 
! style="background: #F8F8FF; color: #8B8989;"|  
 
! style="background: #F8F8FF; color: #8B8989;"|  
 
! style="background: #F8F8FF; color: #8B8989;"| Acquired
 
! style="background: #F8F8FF; color: #8B8989;"| Acquired
 
|-
 
|-
−
! style="background: #EEE9E9; color: #8B8989;"| Issue #2(23)
+
! style="background: #EEE9E9; color: #8B8989;"| Issue 1997.1
 
! style="background: #F8F8FF; color: #8B8989;"|  
 
! style="background: #F8F8FF; color: #8B8989;"|  
 
! style="background: #F8F8FF; color: #8B8989;"|  
 
! style="background: #F8F8FF; color: #8B8989;"|  
 
! style="background: #F8F8FF; color: #8B8989;"| Acquired
 
! style="background: #F8F8FF; color: #8B8989;"| Acquired
−
|-|}
+
|-
 +
! style="background: #EEE9E9; color: #8B8989;"| Issue #24 (1997)
 +
! style="background: #F8F8FF; color: #8B8989;"|
 +
! style="background: #F8F8FF; color: #8B8989;"|
 +
! style="background: #F8F8FF; color: #8B8989;"| Acquired
 +
|-
 +
! style="background: #EEE9E9; color: #8B8989;"| Issue #25 (1997)
 +
! style="background: #F8F8FF; color: #8B8989;"|
 +
! style="background: #F8F8FF; color: #8B8989;"|
 +
! style="background: #F8F8FF; color: #8B8989;"| Acquired
 +
|-
 +
|}
  
 
==External Links==
 
==External Links==

Latest revision as of 16:23, 21 April 2018

21C Magazine
21c.jpg
21C 2010 Logo
Format Print/Digital
Editor Ashley Crawford
Publisher Gordon & Breach
Origin Melbourne / New York
Language English
Frequency ?
Active 1994-1999 (print)
Topics Cyberpunk, Technology, culture
Number of Issues ?
Follows NA
Precedes NA
Associated Publications Artbyte, World Art
Website 21cmagazine.com

21C Magazine was a magazine originally run by The Commission for the Future, a government body in Australia, and the magazine was funded accordingly. Ashley Crawford worked under the government structure editing the magazine from 1990-93 in that version and even then, although it had a strong Australian flavour, under Crawford it was beginning to tackle cyberspace, information overload, virtual reality and associated issues.

In 1994 Crawford was approached by a Swiss-based international company, Gordon & Breach, who wanted to start an international art magazine – World Art. Crawford accepted but didn’t really want to let go of 21•C and so organized an amendable take-over of the magazine. Accordingly he ended up editing and publishing a revised version of the title from 1994 to 1999. Given 21•C was suddenly international in scope, Crawford made the most of it and approached folk he had been a fan of for some time, amongst them such people as J.G. Ballard, William Gibson, Mark Dery, Kathy Acker, Bruce Sterling, Rudy Rucker, John Shirley, Margaret Werthiem, Andrew Ross, R.U. Sirius, Claudia Springer, McKenzie Wark, Darren Tofts, Erik Davis and others.

Under Crawford the magazine steered a balance between a strong socio-political flavour, covering such figures as Noam Chomsky, Jose Ramos Horta and Mike Davis, the creative philosophical speculations of such figures as Donna Harraway and Sandy Stone, the 'futuristic barbarism' of Mark Pauline and Survival Research Laboratories. It embraced and dissected such historical visionaries as Robert Anton Wilson, Timothy Leary, William Burroughs, Marshall McLuhan, Terence McKenna and Guy Debord. It encompassed the posthuman, cyberpunk, artificial intelligence and popular culture alike.

J.G. Ballard described the magazines’ contents as "A brilliant collection of articles that read like news bulletins from the future." William Gibson stated that: "21•C is, flat out, the best looking and most determinedly eclectic pop-futurological publication in the world.... An editorial gestalt willing to fearlessly consider any futurological possibility whatever, to interrogate anything at all for its potential as fast feed into some possible future."

The funding company collapsed in 1999. Sporadic attempts have been made to reinvigorate the magazine online, but to date with little success.

Downloads

Issue User Link Notes
Issue 1995.3 Acquired
Issue 1996.1 Acquired
Issue #23 (1996) Acquired
Issue 1997.1 Acquired
Issue #24 (1997) Acquired
Issue #25 (1997) Acquired

External Links

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