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Pink Floyd Dark Side Of The Moon Trance Remix LTD ED 2004 ICE
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Pink Floyd Dark Side Of The Moon Trance Remix LTD ED 2004 ICE
In popular culture, outer space is suffused with cosmicliminality. It is a perilous realm potentiating gothic terror or gnosticawakening. This article explores how extraterrestrial space, and its imaginedinhabitants, became a source of illumination within a stream of popular andalternative music evolving since the 1960s--and indeed since televised imagesof NASA astronauts operating in weightless conditions, orbiting the Earth,and traversing the moon were transmitted into family living rooms. It offersinsight on the creative remix of popular culture in contemporary spirituallife as evidenced within electronic dance music culture (EDMC), andspecifically psychedelic trance (or psytrance), a transnational visionaryarts and dance culture suffused with the audiovisual tropes of space travel,UFO sightings, and alien contact. Sampled from film, television series,documentaries, computer games, NASA radio dialogue, and other popularcultural sources, it is argued that, in psytrance, space travel is anarrative device for inner travail, the avatar's quest, the hero'sjourney. In off-planetary and intergalactic narratives programmed into adefinitively "progressive" music, psytrance would find in thefigure of the discovered alien other--through sightings, encounters,abductions, and so on--the potential for the discovery of the self. (2) Theliminal ambiance of outer space and the accompanying figure of the alien aredeployed within this music and in its event-culture to orchestrate that whichis considered highly desirable under the reflexive pressures of latemodernity: self-awakening and empowerment.
In its benevolent guise at least, the iconic popular fiction ofthe extraterrestrial "alien" has become hitched to a meta-projectof the self. As such, the alien is a device whose sampling and redeploymentwithin the context of psyculture is consistent with the modern perceptionthat "truth" is mediated, and authorized, primarily throughpersonal experience (Heelas 1996; Partridge 1999; James 2010). While themeta-narrative of the alien is deployed within pathways that recognize theepistemological value of divinity independent of faith and institutionalreligion, this study departs from the majority of sociologies of New Agereligion or "spiritualities of life," since they typically overlookthe role of "entheogens" (i.e., psychoactive compounds held toawaken the divine within) related to the processes considered here (see Ott1995; Strassman et al. 2008). As an approach to the grafting ofextraterrestrials and space travel to cultural practices of self-realizationand entheogenesis, this study of alienation also departs radically fromstandard preoccupations with alienation in modern sociology where this termrefers to "the distancing of people from experiencing a crystallizedtotality both in the social world and in the self (Kalekin-Fishman 1998, 6).Far from designating estrangement from wellbeing, alienation, as it is usedhere, more properly identifies a transpersonal process assisted by the figureof the benevolent alien appropriated from science fiction and, furthermore,allegorizing contact with universal, or mystical, consciousness. While thisstudy seeks to join contemporary discussions about the role of popularculture in religion and spirituality, about the growing significance ofpsychoactive compounds in contemporary spiritual practices, and contributesto existing research on the religious dimensions of EDMCs (St John 2004,2006, 2013a), it is more directly a contribution to the study of the role ofthe remix in alternative spiritual pursuits, which given the compositionalcharacter of late modern identities, affords insight on the nature ofcontemporary spiritual life.
Enabled by digitalization and virtual communications, adecentralized, and arguably "democratic," legacy is integral to thetechnics of EDM which enable independent musicianship and the remixing ofaudiovisual material availabl