St. John, Graham. 2005. “Off Road Show: Techno, Protest and Feral Theatre.” Continuum: Journal of Media and Cultural Studies 19(1): 5-20.
Use of mobile music-making (here, DJ bus) to “assault” the comfortable with use of sonic protest. Embracing “technomad” identity, and using 1960’s tactics of theatrical political demonstration in hopes of gaining media attention – “culture jams” enhanced by use of music, mobility, and communications technology. Fosters immediate attention to issues, communities impacted – a form of “intimate media” that works through “fashion, theatre, books, zines, Websites, e-lists and e-forums, digital audio and video, and micro-radio” (6 – see also Bey 1991a) – in hopes of promoting non-hierarchical, non-authoritarian interactions (kx ^ but what have we seen develop from appropriations of these technologies and art forms?) Undermining politics by the use of everyday technologies – “Yet while punk was (and arguably remains) a theatre of refusal, and rave a theatre of disappearance (from parents, the state, and the major media), complicating the desire to ‘go elsewhere,’ feral evinces a direct-action theatre” (8). Techno-circus as adopted by and developed through post-rave counterculture, incorporating elements of eco-activism and techno to promote anarchic, jubilant media compositions with sociopolitical aims – a site for guerilla theatre and political cabaret. As a means to inform general population, and to engage with marginalized populations for self-organization and expression? “The multi-mediation of direct experience, recorded, remembered, remixed, edited, and updated using intimate media would affirm collective memory, galvanizing an imagined community” (16).
Bey, H. 1991. “The Lemonade Ocean and Modern Times: A Position Paper.” Available at: