Nick Crossley
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Theorising micro-mobilisation
Critical mass, collective effervescence, social networks and social space
in Networks of sound, style and subversion
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This chapter outlines a theory of micro-mobilisation, which explains the emergence of punk in London between late 1975 and the end of 1976. It argues that music worlds emerge as an effect of collective effervescence within a networked critical mass of actors who are defined by shared interests of some sort. The chapter also outlines a theory of the emergence of music worlds. Music worlds are a form of collective action and they arise through a process of mobilisation and collective effervescence. This is only possible, however, where a critical mass of interested individuals are connected to one another in a social network, or at least where sufficient interest among appropriately resourced individuals within a network can be mustered. The chapter considers the role of homophily and 'social space' in the process of world formation.

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Networks of sound, style and subversion

The punk and post-punk worlds of Manchester, London, Liverpool and Sheffield, 1975–80


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