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An Interactive Map of Odysseus' 10-Year Journey in …
Rave culture, like thegambling houses of Las Vegas, offers pleasure and danger in equalmeasure. In Las Vegas the risk is monetary, and is subliminally'present in the titles of casinos, which often allude to the greatslaughters and battles of history. When you go to a rave, you embark ona dionysian voyage through a vast and chaotic world which offers amyriad of possible adventures. Titles of raves have included'InnerVision', 'Labyrinth', 'Final Frontier', 'Cyclone', 'Lost', and'The Edge' all of which imply a mythic journey' into the unknown, wherethe price of the pleasures incurred is probably' paid with blood. Therisk undertaken in raves, and paradoxically' the desire involved, isthe loss of the self. When ravers lose themselves in the chaos of themusic, the vastness of the space, and the stream of their unconscious,they' give themselves over to the larger forces at play': to 'Shiva','Energy', 'Phantasy", and 'Biology'.
JSTOR: Viewing Subject: History
Rave music deals primarilywith space rather than (as in traditional pop) with time. Traditionalpop is most often talked about as developing and progressing in linearterms. Its structure is usually defined by its narrative and it takesthe listener on a journey starting at the intro, followed by twoverses, a chorus, the instrumental inter-lude, the final verse and theclimax at the end. It could be argued that the structure of traditionalpop is inextricably bound up with its narrative content, which is mostoften concerned with heterosexual relationships and the attainment ofclimax. This obsession with heterosexual seduction within pop musicreproduces conventional social obligations within the spaces that popmusic is played (a traditional night club for example). Rave music onthe other hand, cuts across linear time, by sampling from manydifferent periods and geographic locations in music history and puttingit all together. By divorcing sounds from their physical and culturalcontexts rave music creates a de-centred chaotic reality which suggestsa different set of sexual goals, which I will explore in the nextsection. The music is structured around the layering of these diversesounds, and plays on their spacial relationship. This is possiblebecause of the non-verbal nature of the music and also the accessibutyof computers and the global network that they have created. As SimonReynolds has commented in his book "Blissed Out", theconventions/tensions of rave music lie at the balance between fusionand fission, organic and machinic, seduction and alienation,discontinuity and juxta-position.