Consumationist

The weblog offers a peculiar scenario to explore concepts in writing. There is a sense of liberation that parallels the type of privilege afforded by the vagaries of identity on the Internet (along with the informal aspect of this academic assignment)… yet there is also a degree of circumspection around the public revelation and subsequent exposure to the critique of the immediate community, in that of the fellow students and academics of MSTU2000. The exposure of an identity that will be read for what it is as it stands – (structured formations of letters, words, and images floating in an electronic netherzone glittering its way into anonymous monitors blinking on and off where ever the means of consumption allow the “white optic fibre” to perpetrate itself). I found the concept of community on the Internet dealt with in the reading (Baym) interesting… in that I use the Internet to a significant degree for communication and research but never for chat groups, multi-user domains, etc. Not that I have issues with the concept of the Internet as a social structure or questions on the effectiveness of communication (i.e. non-verbal cues, etc) on the Internet; although I often find myself thinking about the concept of identity within the parameters that the Internet offers. The Internet is a provocative area for identity and social meaning, in that the sense of limitless space offers new horizons for the development of public identity, expression and relationships based on a virtual interaction. The anonymity propels a sense of adventure whereby there is a lowered social inhibition to play with and extend identity. Of course it can also become a disturbing scenario whereby this facet becomes a power to manipulate and deceive like a spectre hidden within the machine. The weblog though, is like dipping your toes into an unknown pool of communities… a zone that exudes it own addictions to the ease and accessibility to forge and distribute expression… as such like all easily accessible formats can greatly devalue such an opportunity. I know why I’m doing this now… but why would I do this?

Further on… today we have “gift-economies” and “identity performance” implanted in our thoughts. The relationship standard to basic production and consumption ie money in exchange for good and services - is disentangled in the net economy whereby time and energy is committed to the generation of websites and the various other Internet engagements in exchange for nothing specifically tangible or recognisable. Thus the idea of the “gift economy” as noted by Howard Rheingold - where the exchange of information, data, etc is about cultural capital… one buys in a sense popularity and ego gratification from the claims of proximity, experience and didactic knowledge about the artist. But then this, of course, flows over into the area of identity performance, in that the question of authority versus opinion must be considered. Quite literally you can create your own narrative or multiple narratives… (in the recomposition of the virtual identity you are afforded the same sense of agency apparent in another Internet facet – hypertext) then it comes down to the engagement and acceptance from other online parties to consolidate these textual identities.
Not sure where I’m going here…

Festivals are also a rather interesting space for community to exist. Clearly people enjoy participating in them as they flock to them in large numbers… Big Day Out, Livid, Woodford, The Falls, Splendour in the Grass, Meredith… the many rave-style dance events… large scale exercises that as a participant can offer a myriad of social choices. It can feel not dissimilar to the liberation afforded by the anonymity on the Internet… a large grouping of people with a sense of anything goes within its boundaries… a hedonistic anarchy whereby a varied and continuous selection of music is provided for the pleasure and stimulation of the social interaction… along with alcohol, drugs etc. But as an environment for consuming music it can also be debatable regarding the question of quality… Two festivals that I have had the good fortune to attend, that for me, offered the most interesting selection of music and exhilarating sense of community have been overseas:
FUJI ROCK 3 days of a very mixed lineup in early August about 2 hours drive north of Tokyo in Nigata, Japan; and SONAR an incredible 3 days of experimental and electronic artists mid June set in central Barcelona, Spain. Overwhelming physical environments, fantastic array of artists especially in regard to the possibility of surprise (i.e. unknown artists), great sound systems… and the community that gathered at these events was like nothing I had ever witnessed before… just so different in behaviour (but maybe this was cultural).
I would recommend the experience to anyone.

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The thing about Electroclash that entices me more than the merge of punk aesthetics and DIY electronics into a dirty blend of caberet and performance art - and the inadvertent questions it raises about the contemporary relationship of consumption and sub-cultural expression - is the predominance of women in the pool of artists that could possibly fall under this moniker. This conflux of opinionated women inverting matters of gender in the areas of sexuality, fashion and politics is quite exciting. Okay… so there is no denying the debate about the intention and sophistication of any such stances, aside from the question regarding style and content in Electroclash… but the fact is, there is still an attempt to contest the space controlled or predominated by men. From the basic perception of male orientation in the realm of technology and music production… to the more elaborate positioning of successful performing women in the music industry. In no way removing any question of agency on behalf of such female performers but there appears to be a predilection on the part of the corporate music industry towards a more sexually orientated presentation of women (Britney Spears, Kylie Minogue, Beyonce, Christina Aguillera, Mandy Moore, Shakira, etc). Obviously there are examples that sit outside of this (Tori Amos, KD Lang, Annie DiFranco, Missy Elliot, Jewel , etc); and others that state their own agency and power in utilising their sexuality as a promotional tool (Madonna, Pink, Kelis, Courtney Love, L’il Kim, etc). The female artists implicated in Electroclash extend from the attitudes expressed in Riot Grrrl. These women work in a variety of areas concerning music performance including music production and composition, distribution, marketing and promotion and are worth checking out…

Peaches (Canadian women based in Berlin).
Albums – The Teaches of Peaches (2000); Red Leather EP(2000); Fatherfucker (2003)
Chicks on Speed (3 women from Berlin/New York/Sydney based in Berlin)
Albums – Will Save us All (2000); Chix-52 EP (2000); Kreidler Sessions EP (2001); 99 cents (2003)
Le Tigre (2 women/1 man based in New York – Kathleen Hanna (Bikini Kill/Riot Grrrl))
Albums – Le Tigre (1999); Feminist Sweepstakes (2000); From the Desk of Mr. Lady (2001)
Ladytron (2 women/2 men from Liverpool, UK)
Albums – 604 (2001), Light & Motion (2002)
Miss Kitten and the Hacker (French woman based in Berlin)
Albums – First Album (2001)
Cobra Killer (2 women Trost & Gina V – based in Berlin)
Albums – Cobra Killer (1999); The Third Armpit (2003)
Kevin bLechdom (1 women based San Francisco)
Albums – Bitches without Britches (2003): I Heart Presets (2002);
Angie Reed (1 woman American based in Berlin – member of Stereo Total)
Albums - Presents the Best of Barbara Brockhaus (2003)
Adult (1 woman 1 man based in New York)
Albums –Anxiety Always (2003)
Tracy and the Plastics (1 woman based in New York)
Albums – Culture for Pidgeon (2004)
W.I.T. (Whatever it takes) (3 woman based in new York)
Albums – Whatever it Takes (2003)
Electrocute (2 woman from Mexico and Austria based in Berlin)
Albums – A Tribute to Your Taste EP (2002)
Stereo Total (1 woman German 1 man French based in Berlin)
Albums – Musique Automatique (2003)
Ellen Alien (woman based in Berlin)
Albums – Berlinette (2003)

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