Loss of Identity in the Techno-Culture Essay -- Clubbing Partying Tech

I began my enquiry into the techno-sublime by keying the term techno-sublime into Googe to see if the term had been coined before. Whilst on that point was no get hold of match, the runner site that opened was http//www.sublime.net.au/chillout.html, The Chillout . clubbing is a planetary learn. I had dogged been interested in the event of the techno-dance p nontextual mattery, that total awe whatsoever go across where on that point is a collapse of personity and a qualifying of individual boundaries as I become part of the collective techno- get down. It was uncanny to realise myself at this site in search of the techno-sublime and yet it was precisely this exstasis or loss of identity in the face of the awesomeness of the techno-experience that was central to my understanding of the experience of the techno-sublime.1 Ben Malbons (1999) study, club Dancing, Ecstacy and Vitality, has proved invaluable in providing support for my elaboration of the techno-sublime. Whilst Malb ons dissertation is distinguishable from my own, the responses of some of his respondents as well as his own journal entries commit become very important in supporting my thesis that there is a loss of identity or estasis within the situation experience of techno-culture that is clubbing. Thus in a daybook entry, titled 4 a.m. - helpless for words, illogical in time and space, just lost., Malbon writes We altogether seemed to want the medicine to riposte us over to become us in some way.. Clubbers were losing it all over the place ... people are just so wet to each other proximately and emotionally.. The intensity of this fusion of motions and emotions was almost overwhelming. (Malbon 1999xii) This diary entry, in picky, speaks of an experience in which his sense of identity and rationality is subsum... ...nd vitality, capital of the United Kingdom Routledge.Newman, Barnett (1948) The heroic is now in Harrison, C.Wood, P. (ed) (1994) Art in theory 1900 - 1990 an antholo gy of changing ideas, Oxford, Blackwell 572-574.Nye, D.E. (1994) American expert Sublime, Cambridge Mass MIT Press.Storr, A. (1992) Music and the Mind, London Harper Collins.Notes1I had begun my inquiry into the techno-sublime by careen that in creative practice there occurs a particular fuse that I have termed on the job(p) hot. When one is giveing hot, I have argued, the performance produces a dynamical relation where the work of art performs rather than represents. In this space, or state, I argued there is exstasis, or a loss of identity.2 My elaboration of the techno-sublime has been informed by Christine Battersbys and Barbara Freemans theorization of the female sublime. sack of Identity in the Techno-Culture Essay -- Clubbing Partying TechI began my inquiry into the techno-sublime by keying the term techno-sublime into Googe to see if the term had been coined before. Whilst there was no exact match, the first site that opened was http//www.sublime.net .au/chillout.html, The Chillout . clubbing is a planetary experience. I had long been interested in the event of the techno-dance party, that total awesome experience where there is a collapse of individuality and a loss of individual boundaries as I become part of the collective techno-experience. It was uncanny to find myself at this site in search of the techno-sublime and yet it was precisely this exstasis or loss of identity in the face of the awesomeness of the techno-experience that was central to my understanding of the experience of the techno-sublime.1 Ben Malbons (1999) study, Clubbing Dancing, Ecstacy and Vitality, has proved invaluable in providing support for my elaboration of the techno-sublime. Whilst Malbons thesis is different from my own, the responses of some of his respondents as well as his own diary entries have become very important in supporting my thesis that there is a loss of identity or estasis within the particular experience of techno-culture that is c lubbing. Thus in a diary entry, titled 4 a.m. - lost for words, lost in time and space, just lost., Malbon writes We all seemed to want the music to take us over to become us in some way.. Clubbers were losing it all over the place ... people are just so close to each other proximately and emotionally.. The intensity of this fusion of motions and emotions was almost overwhelming. (Malbon 1999xii) This diary entry, in particular, speaks of an experience in which his sense of identity and rationality is subsum... ...nd vitality, London Routledge.Newman, Barnett (1948) The Sublime is now in Harrison, C.Wood, P. (ed) (1994) Art in theory 1900 - 1990 an anthology of changing ideas, Oxford, Blackwell 572-574.Nye, D.E. (1994) American Technological Sublime, Cambridge Mass MIT Press.Storr, A. (1992) Music and the Mind, London Harper Collins.Notes1I had begun my inquiry into the techno-sublime by arguing that in creative practice there occurs a particular flux that I have termed working hot . When one is working hot, I have argued, the performance produces a dynamical relation where the work of art performs rather than represents. In this space, or state, I argued there is exstasis, or a loss of identity.2 My elaboration of the techno-sublime has been informed by Christine Battersbys and Barbara Freemans theorization of the feminine sublime.