St. John, G. 2005. “Off Road Show: Techno, Protest, and Feral Theatre.”

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).

CITES:

Bey, H. 1991. “The Lemonade Ocean and Modern Times: A Position Paper.” Available at:

http://www.notam.uio.no/,mariusw/bey/lemonade.ocean.and.modern.times.html

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