Coming back to raving, some new reference points:
Cal Mac 'Agony to Ecstacy'
A film about intimacy, addiction, ecstasy, raving and the freedom of open rural space. Mixes scenes in the Scottish countryside with scenes of clubbing.
Artist Emmie McLuskey essay https://www.fvu.co.uk/read/writing/states-of-being
After the tutorial with Angela McClanahan-Simmons, I was able to find some more commonality in my various research. Taking ecstasy and dancing in a throbbing crowd is a kind of ritual where you can experience a temporary bodily and cognitive shift. This liminal, dark and comforting place is my experience of the 'weird' eerie. It is a positive experience inside the darkness.
Other useful references/connections are around cognitive archaeology, states of decay:
Mary Douglas - the function of taboo
Alexa Hare - Nemoralia
Updated: Feb 2
Research into Rave culture & ecology
I've returned back to a point where I often begin. Rave & ecology/ecology of rave. In 2018 I ran the weekend retreat Wild Philosophy: Raving, Running, Reading which incorporated raving naked in an ex-church turned residency space as a means for making.
I also had the idea of creating a Peatbog rave as an artwork. I am going to investigate what I am trying to get at and how can I link this with what I have been doing with sound?
The darkness of these elements relates back to Murky Horizons:
embracing the eerie
Hope can be found close to the griminess of a techno rave floor
The dancing body is political
Links (rave & bogs):
Always moving & adjusting
Networks of support
Darkness - night
No matter how these spaces are suppressed they manage to carry on or be revived
Music sub-genres: acid, techno, breakcore, darkcore, glitch, IDM
Derrick May - Acid music is so-called not because of drugs but because the sound in sulphuric and that's what the kids wanted to call it
Everybody in the Place - Jeremy Deller
Ecstacy: The Battle of Rave - BBC Doc series
Illegal raves: How the underground scene has never really gone away
'Rave Trilogy' -Rebecca Salvadori
Quotes from Rebecca Salvadori's film series 'Rave Trilogy'
"The clubs that I want to be in are anonymous in the sense that no dominant culture exists within, no specific way of being there. I feel undefined and can focus on the sound"
"Once you enter the audible field there is no doubt as to why you are there, as the sound takes over and plays with you. To be ok in this unknown, and be guided by this communal folding and unfolding. I think it is the greatest social importance in the long term. Maybe you feel internally shuffled, expanded, moved or squeezed."
"Anything that recognises the unfolding of the living can be a spiritual practice, I think. It assigns a presence to the living. This practice is our cue to take the agency. Eliminating expectation of who you are, or how things ought to be."
The End of the World Has Already Happened - Timothy Morten
He references club scene, acid house and how this relates to ecology, how you're allowing yourself to be pulled by an experience, adjusting to and taking care of other people in a space. Open up the future and being in the moment, not stepping on anyone else's toes so that everyone can co-exist. What is called being present, is a pulsating and moving thing or group of things, dripping, flowing to their own rhythm. We need to appreciate other rhythms in nature.
"In both post-colonial and post-industrial contexts, hurting bass frequencies articulate feelings of subjective and shared embattlement"