Stored energy, bound to be released
ABSTRACT
In this artistic, sometimes speculative, research document, I will delve into an exploration of three different manifestations of energy 1 that get released at rave parties. These manifestations contain; the light as part of designated scenography, the powerful sonic of electronic music, and the kinetic energy of the dancing crowd. I aim to understand how these external influences fuel my internal energy. By examining the motivation behind my creative processes, I aim to explore how to transform this evoked energy into creative drive. By gaining awareness about this, could this be used as a tool?
I will reflect on my past experiences at raves while mindfully engaging with a new one. During this, I will heighten my awareness and engage all my senses in the experience. I will attentively reflect on, for instance, a philosophical text on light or the neurological explanation of how rhythm is connected to emotion. I made notes while raving, on which I later reflected by the act of writing. This approach allowed me to use raving as a research method. The necessity of mid-process, attending a rave to conclude my statements inherently answers an important aspect of what I suppose.
In this document, I explore my main topics from the standpoint of three artistic sources: a piece of writing by philosopher Hans Blumenberg, a music-related video of a performance by Jeff Mills, and I will introduce a video artwork by Rineke Dijkstra. Analyzing these external and creative sources helped me refine my perspective on the topics of my text. It also made me conclude how some elements of 'energy' are integrated into my creative processes as a photographer and graphic designer.
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Energy exists in various forms, and with its many definitions originating from physics or the spiritual realm,
defining the term 'Energy' is not a task I'm going to tackle in a footnote nor something I want to burn my hands
on being a creative maker. Instead, I will ask you to be open to the artistic interpretations I make on energy
in this document. I will only leave here one of the most basic laws of science. (url) The Law of the Conservation of
Energy: “Energy cannot be created or destroyed; it can only be changed from one form to another”
For further reading of my text, I would like you to interpret ‘Energy’ as an urgent force that is capable of transferring its power by the act of release. - Rave is an umbrella term that covers a music and dance subculture. It’s characterized by the
technological, conceptual, and social construction of a sensorial experience that offers the possibility of finding
freedom in unity by sharing music engagement through the act of dancing.
The term ‘Rave’ holds a certain stigma in my generation. However, the fact that it means: to do something with 'extravagant enthusiasm’ completely aligns with the message and the style in which I aspire to write. - “Sisters with Transistors”. (2021). [Film] Metrograph Pictures
- Clara Rockmore, Delia Derbyshire, Daphne Oram, Bebe Barron, Eliane Radique, Maryanne Amacher, Pauline Oliveros, Suzanne Ciani, Laurie Spiegel.
- ‘Electronic music’ actually is too big of a term, but the term does fit the essence of what I’m trying to convey in this chapter. So whenever I use the term Electronic Music, I want you to know that I am quite definitely referring to Techno or Trance music. I will not write about the history of Trance and Techno and I will not write about notable DJs or producers, but purely about the actual sound of the music.
- W. J. Trost, C. Labbé, D. Grandjean. (2017). Rhythmic entrainment as a musical affect induction mechanism, Neuropsychologia, (url)
- Mills, J. [Artist]. (2012). "Jeff Mills & Montpellier Philharmonic Orchestra - Ful Video," [Video]. YouTube. (url)
PREPARATION
This piece of writing is constructed into three chapters: —Sight, Sound, and Space. I was inspired by the titles of the three-fold compilation album of tracks by Jeff Mills (released in 2019). Each album contains around 14 tracks, curated to embody Mills’s interpretation of the three words: Sight, Sound, and Space. In my text, I will embody my own interpretation of these words to take you along the experience of Rave.
Raves 2 have existed since the 1980s, and techno and trance music have massively grown in popularity worldwide in recent years. Social media and marketing allowed the scene to explode. Consequently, the genre attracted more people and it became part of the mainstream. In this scene, I often experience a high level of compatibility. However, in my view, music isn't about superiority or outdoing each other. It is about immersing yourself in it and forming connections by sharing your passion for it with others. Which is exactly what I intend to do with this document. I aim to write this text not as an academic explanative text on this universally recognized and admired phenomenon. I believe we can gain a different kind of knowledge by intuitively exploring the depths of a subject and by opening up to learn from artistic resources. Speculation and imagination, along with external evidence, can bring insightful results in the thesis-world full of academic constraints.
I've deepened my understanding of these external factors of energy not only by reading about them but also by actively absorbing and listening (to) them. But what surprised me the most is how much I've learned through writing about these subjects. I see writing as an opportunity to delve into the depths of my psyche and I used it to explore how to integrate the energy I receive at raves into my everyday life. I see writing as a form of enhancing awareness and appreciation. By transforming thoughts into written words, experimenting with linguistic choices, and crafting sentences until they resonate with truth, writing itself becomes a research method.
01 | SIGHT
Through contemplated scenography the spaces where raves occur temporarily transform into utopian places. We travel to
unknown destinations, 3 away from home and normal life.
We enter a new landscape. One in which all noses literally and figuratively point in the same direction. Whether the
rave takes place in a small bunker-like room, a high-ceilinged old factory, or in the middle of a forest, these
spaces take on new shapes when they morph into a large mass of dancing bodies. The residual space fills itself with
haze or smoke which alters the physical environment. It enhances the feeling of being part of a distorted reality.
This manipulation of the sense of knowing where you are is a gateway to a different state of being. One in which
your everyday thoughts make place for a sensorial experience where seeing, listening, and feeling are paramount.
Most central to the scenography is light. It serves not just as an illuminator, but also as the director of the
experience, guiding the participant's gaze and emotions. The use of light shapes a dramatic structure. When it comes
to raves, light is more than just a tool—it's an integral part of the experience.
Light reveals surfaces and faces. It touches the outer 'shell' of the silhouettes of dancing bodies and colorizes the
often radical architectural environments into places of wonder. Light was also a central element in famous
architect; Louis Kahn's philosophy because he regarded it as the
Louis Kahn said: “Even a space intended to be dark should have just enough light from some mysterious opening to tell us how dark it really is.” 4
I enjoy reading about the concept of light from the perspective of various disciplines. By incorporating elements from these sources into the context of the chapter ‘Sight’ I can awaken the memories I have regarding certain scenography that I have encountered in the past. That happened for instance when I stumped upon this text by philosopher Hans Blumenberg:
Light can be a directed beam, a guiding beacon in the dark, an advancing dethronement of darkness, but also a dazzling super-abundance, as well as an indefinite, omnipresent brightness containing all: the ‘letting-appear’ that does not itself appear, the inaccessible accessibility of things. Light and darkness can represent the absolute metaphysical counterforces that exclude each other and yet bring the world constellation into existence. Or, light is the absolute power of being, which reveals the paltriness of the dark, which can no longer exist once light has come to existence. Light is intrusive; in its abundance, it creates the overwhelming, conspicuous clarity with which the true ‘comes forth’; it forcibly acquires the irrevocability of Spirit’s consent. Light remains what it is while letting the infinite participate in it; it is consumption without loss. Light produces space, distance, orientation, calm contemplation; it is the gift that makes no demands, the illumination capable of conquering without force. 5
I see parallels between his text and my attempt to describe the influence of light at raves. In these spaces, light is not just seen—it's experienced. “Light produces space, distance, orientation, and calm contemplation”. Taking from this, it means that by mindfully designing the synergetic landscapes of clubs and festivals the designers get the chance to play with all of these values. By manipulating them our position towards these values changes. It's the ‘invisible hand’ that influences perception. Light designers and scenographers program lights to coincide with, or intentionally diverge, from the music's rhythms, allowing the eyes to take part in the experience. It’s a way to let our ‘Sight’ enjoy the composition of the infinite loop of changing rhythms as well.
Though not as literal as in the creation of light installations, light has been the most integral part of my creative processes since I started creating. Light, in its many forms and manifestations, acts as a source of profound inspiration for me. It does so by quite literally illuminating the world that surrounds me, acting as a stimulant that sparks my urgent instinct to capture everything that strikes my eye. My eyes constantly get pulled towards things like the drawings of interesting rhythmic compositions by shadows, silhouettes that take on new shapes and unfamiliar forms, the sun hitting shiny objects which then tell stories with its sparks, the intriguing little life within the flame of a candle, or the graphical images that appear in the reflections of a window. The process of creation is a powerful medium through which I can unveil my visual perception of the world to others. It’s a bridge connecting my inner perspectives to the outer realities. This could be the reason why I hold photography as my most significant form of creative expression. Photography allows me to immortalize the images I see around me created by light. The geometric boundaries of the shape of a photograph serve as borders in which with carefully chosen limits, I have the power to orchestrate the elements of composition, form, color, and texture, shaping the image according to my vision.
02 | SOUND
In the chapter 'Sound' I will further convey the connection I have with the energy-driven. As well in the visual as the sonic field. Electronic music, in the most literal sense, is made with electronic devices using electricity. When its energy is being released it has the ability to transfer it to me. I'm often told that I have an energetic character, and I believe that the energy-driven fuels that part of me.
The documentary 'Sisters with Transistors’ 6 highlights female pioneers in the history of electronic music. The film portrays the early days when the art of sequencing and tape recording electronic noises from synthesizers started to carefully be accepted as making music. For some people ‘computer music’ was the utter dehumanization of music. For these women, 7 it was the liberation of it. Their role as pioneers in the then predominantly white, male field of composers makes them the true revolutionary heroes in the rise of electronic music. Watching this compelling documentary made me think a lot about how composing electronic music is quite similar to the visuality of graphic design. It deals with rigid content and it’s about composing in an often repetitive structure. The art of it lies in handling its many details with great precision and accuracy. And when the organic exists, it will always be cored in the punctuality of a computer. Looking at it in this way, you could say electronic music is the ‘graphic design’ within music genres.
The main appealing element in Electronic Music 8 for me is the building of tension created by repetitive rhythmic loops that join the musical anatomy one after the other. This element of repetition has a calming effect on my nervous system. I think it's because these recurring loops play into my quick memory and cognitive sharpness. It’s like I become part of the rhythm. Not a necessity, but sometimes, more often in Trance, small vocal lines take part in the synergistic groups of sound. My favorite type of vocals lean towards the ethereal sound of singing holistic angels. It enhances the spirit of the “altered state of consciousness”, a term often used when talking about a state of trance or hypnosis. Which differs not so much from holistic experiences.
My absolute favorite type of sound is the sound of Acid. Acid refers to an electronic squelch sound produced by the Roland TB-303 electronic synthesizer-sequencer. This sound is typically achieved by increasing the filter echo and lowering the synthesizer's frequency. It’s a dirty sound. A dissonant sound that feels highly electronic. There’s no acoustic instrument that could produce this kind of sound. I could best describe the sound as if it scratching your brain from the inside. Or as I discussed once with my friend while dancing: it penetrates your ears.
The strict frequencies of repetition work hypnotically and raise the feeling of immense joy within me. As if I’m in love.
“The close link between rhythm and emotions is illustrated by the central role of prediction and anticipation. By its very nature, rhythmic entrainment generates expectations, explicitly or implicitly, and it is known that dopamine release is indeed related to musical expectations … Rhythmic entrainment is also based on temporal expectancies in time and is, therefore, a specific kind of musical expectancy.” 9
Through the music and the often, external repetitive rhythms the sound interacts with the internal body rhythm of the listener such as the heart rate. When the rhythm adjusts and eventually synchronizes to a common frequency it then triggers an emotional response much in the same way that amusement could trigger smiling. Talking about laughter; often when I'm deeply immersed in the act of listening, particularly after building up towards the powerful drops, I experience this unique sensation that compels me to laugh. It's a feeling that bubbles up from within, a reaction to the overwhelming mix of emotions. Another facial expression I often make when the music is just really good is the face you make when smelling something dirty. The facial expressions act as a non-verbal way of letting others know that the track you hear is doing it for you. I recently devoted the name of a shared playlist with a friend to it; “Vies kijken”. We decided to curate the list to only electronic music that makes us pull the face of ‘dirt’. It’s a dirty good list if you ask me.
To further illustrate my analysis of the construction of Electronic music, I'll reference a performance from 2005 by Jeff Mills with the Montpelier Philharmonic Orchestra. 10 Under the guidance of a conductor, the orchestra along with Mills on his beloved Roland TR-909 drum machine, performs songs by Mills. Included in their repertoire is the well-known song "The Bells" from the album "Sight, Sound, and Space”. When later mindfully ‘studying’ (listening) to this track on Spotify my eye fell for the title in the artwork which gave me the inspiration for the titles of the chapters in this text. To explain my analysis: the way Mills creates live electronic music with his drum machine is the same as how the orchestra functions. Through the guidance of the conductor, the different groups of musicians (playing different instruments), know when to enter the anatomy of the music one by one. Next to that they are also guided by the conductor’s hand gestures on how to play in terms of emotion and intensity. In a way, Jeff Mills, at that moment is the conductor of the stored electronic sounds that are in the drum machine in front of him. Jeff Mills is the conductor of the sounds and guides them into when, and with what emotion the stored energy is being released.
03 | SPACE
I interpret the meaning of the word 'Space' as one of being in a state of space within the body and mind. My ‘Space’ is one of unstoppable energy. With the energy I gained from ‘Sight’ and ‘Sound’ I can step in and contribute to the interplay between the different manifestations. This interplay creates Momentum within me.
Momentum: “If a process or movement gains momentum, it keeps developing or happening more quickly and keeps becoming less likely to stop." 11
Much like solar panels store sunlight, I've found that I can store momentum until long after the rave has concluded. It operates by releasing dopamine, which I can use in my creative processes. These processes can be image or graphic-related projects, but also the creativity needed for writing this text relied a lot on the amount of momentum within me. This storage can run empty I’ve discovered. I have tried to fuel it with things like attending the light exhibition ‘Radiant Voids’ curated by Lumus Instruments. Or by gathering with 3 friends for an ‘Electronic music night’ in which we drank beers and exchanged our current favorite tracks until the early hours of the morning. But to enter my ‘Space’ both ‘Sight’ and ‘Sound’ have to be united. My last rave was around 2 months ago and for the writing of this last chapter, I felt it was necessary to enter the physical space of a rave and open up to my ‘state of space’ in the most attentive way I ever did. And so that’s exactly what I did.
The tickets of the night that I was planning on attempting were sold old but I turned my ticket swap notifications on and took part in the ticket battle with fellow hungry ravers. The moment I got a grip on a ticket it felt like I won a prize. And so, my night of research could begin.
The line to enter the club is long and force full sounding electronic music slippes out of the club through the entrance. The first form of energy is already heard in line, and like the emergence of a crescendo, it creates tension within me. After entering and finding lockers to free ourselves from our everyday possessions, my two friends and I go on a little explorative trip throughout the club. A place where I have been multiple times. But tonight will officially be the last as this is the closing party of the club. The rave is spread throughout 3 areas. Attending a multi-area club offers the thrill of experiencing different adventures in one night, Entering various landscapes where different languages are spoken with varying tempos and intensities.
I consciously absorb everything around me. I document the thoughts that strike me on the Notes app on my phone. Never before have I ‘looked’ and ‘listened’ this attentively. It’s like I said before, an opportunity to actively appreciate something that I enjoy doing so much. It’s interesting how it feels like getting to know myself better. Normally when attending a rave I’m quite aware of the timetable and the DJs who are playing. Due to my last-minute decision to attend this rave, I’m not at all this night. I believe this is beneficial for my research. It allows for unpredictability and frees me from the need to change locations whenever the DJs switch time slots. I'm open and prepared for any experience that comes my way.
Above the first area, a light installation is installed In which three rectangles intersect each other. In these rectangles, the light moves through the geometric lanes. Little dots of light follow the lines of the premeditated structure like they’re chasing one another. Whenever the other lights in the room dim, leaving only the rectangles visible, the tiny dots of light remind me of stars. However, unlike the random placement of stars in the night sky, these "stars" follow a path designated by the light designer. This is the visual energy that was stored in preparation for the event and now, finally has been released to assist me in my journey to ‘Space’. The speed of the running stars adapts to the changing pace of the music. They support me in the act of surrendering myself to the trance-inducing rhythms within my sight and the sound.
Sometimes the title of a track or a small line of text with a powerful message is used as additional vocal power to add energy to a track. While dancing, I notice the repetition of these small sections of text function similarly to a mantra. Initially, the mantra is repeated until I fully embody its message. I envision the vocals leading a slowly advancing, almost demonstrative march of communication. Then, to increase persuasion, new electronic sounds join the march one by one in the order of the often 4/4 beat.
Raves can last for hours or even days, temporarily altering our perception of time once we're immersed in 'Space'. The timeframe of the night is segmented with various stories being narrated. I wrote in my notes while dancing: “Some choose to write poems others write novels”. Some DJs tell their stories by highlighting the chores in different tracks. Others let their story be one constructive journey that stretches out over the entire duration of their set wherein the changing of tracks is almost unremarkable. Apart from the fact that DJs come prepared in terms of what narrative they plan on telling by layering and structuring, there still is a lot of space for interaction with the dancing crowd in terms of the overall flow. This interaction leads to an additional story unfolding, transforming the narrative into one that includes everyone.
I enter my ’Space’. I adapt the movements I make with my body to whatever tension the track is building up. My feet follow the consistent underlying four-beat bass drum of the track. My left and right foot alternate. I start with small movements and to change up the dance I sometimes decide to stay one count longer left or right. It’s the little changes in the movements that make the dance interesting. My brain constantly plays the game of adapting my movements to the changes in the music. Due to my musically trained mind and feel for rhythm I can play a game of prediction. By listening and learning from the repetitive loops I get a grip on the structure which creates the ability to change my movements at the exact moment the music changes. Whenever my prediction is right I get overwhelmed with energy that I use in performing whatever next track that is going to challenge me.
Now that my legs visualize the consistent rhythm of the track my arms are here to demonstrate the other additional sounds that joined the sonic landscape of the track. Obsessed with visualizing what I hear I use my hands like a conductor. Some moments my left and right hand mirror each other. Other times they alternate to take the opportunity of visualizing even more elements in the music. I start small and I follow the tension of the track going bigger and bigger. Just like a conductor would do. It reminds me of the video I introduced earlier. Here the conductor directed the Montpellier Orchestra and Jeff Mills. In the situation of my ‘Space’ the same thing happens to me but then the other way around. The music acts as the conductor of which movements I make and with what conviction I carry them out. When the energy of the music rises to a point beyond exact expression, all that's left to do is jump and throw my arms
To elaborate on the impact of music as a tool to unfold normally hidden facets of people’s persona, I'm including a video artwork from 2009 by Rineke Dijkstra called, ‘The Krazyhouse’. 12 The artwork contains 5 videos of teenagers, named Megan, Simon, Nicky, Philip, and Dee. In the video, the teenagers dance in front of a white backdrop to a selected music track. Dijkstra met the performers in ‘The Krazyhouse nightclub’ in Liverpool and asked them to come to a studio she constructed in the club during the daytime and dance to their favorite song. The neutral white background draws attention to the teenagers and how they present themselves.
Dijkstra has described the filmed clips as ‘portraits’, explaining that she wanted to see if she could make a portrait of somebody that reveals parts of themselves just by dancing. At times, the teenagers performing seem self-conscious, adjusting their clothing and looking shy at the still camera. Further in the video, they confidently perform varied dance moves as the result of their very personal musical engagement.
By individualizing an experience that is usually lived collectively, the work raises questions about authenticity and the boundary between the personal and the general. What I interpret from this artwork is how much people can communicate through their body movements. The artwork is a representation of the immediate influence of music on dance as a general phenomenon. In some videos, you can see teenagers struggling at first. However, once they surrender to the music, they enter their 'Space'. Analyzing the video artwork led me to question whether these five individuals are aware of their 'Momentum'. If they know how to recharge, and if entering their 'Space' is their method for doing so as well.
My inner energy is being activated. It’s my fuel to stay on the dance hour after hour. It’s so addictive that I continue dancing even when my legs start to cramp and my mouth starts to become dry. The people who know me well, know that I dance until the drops of sweat are running all across my body. I pull my fully wet hair up in a bun and continue my everlasting self-created choreography. I give everything I have. People smile at me and some even come towards me to bring me a high five. Even though I dance purely for myself, I do find joy in receiving recognition for the physical effort that dancing requires. I love the moments of interaction with strangers and the exchange of energy whenever they join me and take part in the movements I perform. No words are used but there is so much communication possible in the non-verbal way that dancing together offers. There have been a few times that fellow ravers came up to me to thank me for the energy I carried out. I can tell you without hesitation that those moments in ‘Space’ were some of the best moments in my life.
INTEGRATION
We raved the night away. The brightness of the new day pulls me back to reality as I make my way home. I like this moment. It's a moment for reflection in the early hours on the quiet morning streets. My physical body is tired and sore but I can feel it again: the momentum runs through every vein. The remaining question is how and when to integrate this newly gained momentum. For now, I can only speculate..
From Blumenberg, I learned how light is the absolute power of being.
Superior in the field of sight. And I, as the
observer of it all am at the same time the composer. I hold the creative
power to decide when to stop time and
immortalize the ever-changing form of light. Letting the graphical
element created by light unfold and dictate when
to freeze time and capture a moment.
Through his mastery of firm frequencies, Mills draws graphical
inspiration with his sound. His ability to orchestrate
rigid narratives resonates with me. His strict structures teach me how
to handle detail and precision. The release
of stored energetic sounds, composted to forceful rhythmic loops, demand
me to follow, strike my core, and at the
same time calm my mind.
Dijkstra confirmed all thoughts I had on music being the most powerful
tool to let expressiveness exist. It’s a
gateway to a form of self that normally doesn’t get the chance to exist.
Through the act of dance ‘Space’ is made
accessible. And through ‘Space’ one can build momentum. As we navigate
momentum, we can direct its energy toward
what needs it the most. This is the power of transferring gained energy
into the one you can give.