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From Midnight to Broad Daylight: The constructive capabilities of techno and
Unformatted Document Text:  From Midnight to Broad Daylight 14 there were woolly hats and long wallet chains dangling off the side of fatter-than-fat phat pants. And pacifiers for everyone (Sillcot, 1999, p. 45). According to Bakhtin what carnival celebrated was "temporary liberation from the prevailing truth and from the established order" (1984, p. 10). The emphasis on children’s toys, pacifiers, and nontraditional styles of dress emphasizes individuals’ attempts and determination to rearticulate symbols from dominant culture as new signs that draw attention to the high degree of play that the environment of raves not only tolerate, but highly encourage. So important are the concepts of space and time to rave culture and electronic music that at some level the rave space becomes a chronotopic space. As Hoy interprets it, in relation to popular culture, the "chronotope is what determine the unity of every motif and idea in a text, as well as determining the logic which these images unfold. The chronotope, then is artificial…" (1992, p. 779). Successful event coordinators go to great lengths to radically transform the appearance of spaces, making them unrecognizably from their original form. Such radical makeovers work to distance the experience of an event from the actual, physical space in which it is taking place, giving the sense that time-space matters but independently of place. Silcott describes the actions of a rave promoter in Toronto who considered himself a "production obsessive." "He spent days spray-painting seascapes and attaching dangling fish cutouts to a warehouse ceiling for a Chemistry 1 rave called “20 000 Leagues under the Sea.” He ordered hundreds of beach balls for one summer rave" (Silcott, 1999, p. 83). As a result of such elaborate decor participants were lost in time and space. Over time, as the scene grew, so did an awareness of its presence by city officials and law enforcement institutions. In the early 1990s, police in Toronto took a "nonreactionary stance" to 1 Chemistry was the name of a production company in Toronto who put on large-scale raves.

Authors: Farrugia, Rebekah.
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background image
From Midnight to Broad Daylight
14
there were woolly hats and long wallet chains dangling off the side of fatter-than-fat phat
pants. And pacifiers for everyone (Sillcot, 1999, p. 45).
According to Bakhtin what carnival celebrated was "temporary liberation from the prevailing
truth and from the established order" (1984, p. 10). The emphasis on children’s toys, pacifiers,
and nontraditional styles of dress emphasizes individuals’ attempts and determination to
rearticulate symbols from dominant culture as new signs that draw attention to the high degree of
play that the environment of raves not only tolerate, but highly encourage.
So important are the concepts of space and time to rave culture and electronic music that
at some level the rave space becomes a chronotopic space. As Hoy interprets it, in relation to
popular culture, the "chronotope is what determine the unity of every motif and idea in a text, as
well as determining the logic which these images unfold. The chronotope, then is artificial…"
(1992, p. 779). Successful event coordinators go to great lengths to radically transform the
appearance of spaces, making them unrecognizably from their original form. Such radical
makeovers work to distance the experience of an event from the actual, physical space in which
it is taking place, giving the sense that time-space matters but independently of place. Silcott
describes the actions of a rave promoter in Toronto who considered himself a "production
obsessive." "He spent days spray-painting seascapes and attaching dangling fish cutouts to a
warehouse ceiling for a Chemistry
1
rave called “20 000 Leagues under the Sea.” He ordered
hundreds of beach balls for one summer rave" (Silcott, 1999, p. 83). As a result of such
elaborate decor participants were lost in time and space.
Over time, as the scene grew, so did an awareness of its presence by city officials and law
enforcement institutions. In the early 1990s, police in Toronto took a "nonreactionary stance" to
1
Chemistry was the name of a production company in Toronto who put on large-scale raves.


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