The first chapter, Defining club culture, brings forward a clarification of what club culture is today and what it stands for, using some historical examples. However, this essay is not "the" history of club culture. It is instead a way to argue and explain what is valuable and inspiring for me, both as an artist-scenographer and as a long-time raver.
In the second chapter, A performative event, I elaborate on the analysis based on the field research I carried out in clubs. The investigation deepens the importance of the role of the organiser-promoter, DJ and participant. Through the development of a function-based model, I deploy the relationship and balance between functional and physical spaces in a club. I close this chapter with the specification of the three core components of a club: music, participants and environment.
The last chapter, Research-based practice, translates this analysis into practice. The two discussed projects illustrate, apply and extend what is presented in the previous chapters. As my artistic research is practice-based, yet informed, it transcends the scope of what I've outlined before.
The chapters are richly illustrated with images and videos. They should be considered at the same level as the words. Communicating where words come short, they include many influential references and try to evoke atmospheres specific to club culture. As club culture can't exist without its sound, I've also included a playlist, giving a glimpse of the music aesthetics.