This is a call out for images for my forthcoming book Technomad: Global Raving Countercultures. I’m looking for photos appropriate to the vast territory covered – see the description below. If you believe you may have a suitable selection or know someone who might, please get in touch with me or pass this message on to interested parties.
Photos reproduced in the book will need to be at least 300 dpi B&W tiffs (with owners supplying an emailed permission). I’m negotiating for image owners to get a free or discounted copy of the paperback.
Also, If anyone knows anything about the Spiral photo on this page (scroll right down on the left – B&W shaved dude with crazy glasses holding a sampler , and theres an aerial photo of Castlemorton just under it probably from the same source) please get in touch. I want to know where – ie what source – these shots are from (and who took them).
http://www.myspace.com/spiraltribe
Thanks
Graham
gmanReplaceThisWithAnATwild.net.au
Technomad: Global Raving Countercultures.
A cultural history of global electronic dance music countercultures forthcoming with Berghahn (2008), Technomad offers a broad yet detailed exposition of the pleasurable and activist trajectories of post-rave. The book documents the emergence of a network of techno-tribes, investigating their pleasure principles and cultural politics. Attending to sound system culture, electro-humanitarianism, secret sonic societies, teknivals and other gatherings of the techno-tribes, intentional parties, revitalisation movements and counter-colonial interventions, Technomad explores how the dance party has been harnessed for transgressive and progressive ends, for manifold freedoms. Seeking freedom from moral prohibitions and standards, pleasure in rebellion, refuge from sexual and gender prejudice, exile from oppression, rupturing aesthetic boundaries, re-enchanting the world, minimising harm, reclaiming space, fighting for “the right to party”, and responding to a host of critical concerns, electronic dance music cultures are multivalent sites of resistance.
Drawing on extensive ethnographic, netogaphic and documentary research, Technomad details the post-rave trajectory through various local sites and global scenes, with each chapter attending to important developments in the techno counterculture: e.g. Spiral Tribe, teknivals, psytrance, Burning Man, Reclaim the Streets. Significantly, the book offers a nuanced theory of resistance to assist understanding of these developments. Written in an accessible style, this cultural history of hitherto uncharted territory will be of interest to students of cultural, performance, music, media, and new social movement studies, along with enthusiasts of dance culture and popular politics.
