ABSTRACT
Addressing transnational relationships within electronic dance music, it is argued that techno’s machine aesthetic responds to a sense of posthuman alienation. Through a comparative review of historical genre formations of techno, drum’n’bass and trance within the context of dance DJ practices, it is shown that although techno scenes embrace the radical potential of information technologies in a seemingly deterritorialised manner, locally flavoured responses to the global technoculture may differ in identity politics. Such differences are, in turn, globally distributed via accelerating communication networks. Dancing in the technoculture to a sutured set of electronically produced sonic fragments, a type of cyborg subjectivity is forged that enables participants to inoculate themselves to contemporary life, internalising as pleasure the tempos and textures of an encroaching electronic environment.
