The thesis examines electronic music and the rave community through the lens of broader technoculture and in the context of technologies and rituals. The first part focuses on innovative uses of technologies in music creation and the democratization of sound, while analyzing the beginnings of these practices in relation to the avant-garde of the twentieth century and the concept of sonority, which it expands to the paradigms of sampling and remixing. The second part emphasizes the fusion of technologies and concrete rave events, where individuals merge into collective consciousness and experience liminal states. The work seeks to show that the use of technologies, which completely surround the subjects, is crucial for the formation of the community and the execution of events.
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