Psychedelic Trance and Multimedia Neo-Rituals: The Modern Shamanic Tools?

Psychedelic Trance and Multimedia Neo-Rituals: The Modern Shamanic Tools?

Emília Simão (Escola Superior Gallaecia University (ESG), Portugal) and Sérgio Tenreiro de Magalhães (Portuguese Catholic University, Portugal)
DOI: 10.4018/978-1-4666-8665-6.ch004
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This chapter examines the relevance of multimedia technologies in Psychedelic Trance gatherings, exploring its technical, sensory and spiritual convergence. Technology devices have always been a part of our lives, from the first artefacts of early humanity to the most sophisticated of our era, where technology has taken control of some aspects of our lives. In the late twentieth century, a new stage of history characterized by the transformation of our material culture through mechanisms of a new technological paradigm started. We live in communion with all kinds of technologies that complement and extend us in most of our existential aspects, not only in a technical way but also a personal, emotional and even spiritual level. The electronic dance music and its relevance in modern cultures can be a reflexion of this reality, where new technologies and multimedia tools have awakened neo-ritual practices in Psychedelic Trance gatherings, evoking tribal experiences with shamanic foundations, and mediated by high-tech guide elements.
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We are the pirates of the future, and we are the cibertribes of today

taking part of the ancient shaman flight…

We are free people. We are the last warriors. We are in harmony.

We like to have fun. We won’t let this fun ever die

(Boom Book, 2007).


Psychedelic Neo-Ritualism And The Dj Shaman

The modern technological environment we live in refers us to relations between individuals and systems, previously isolated, which now became part of a whole with common purposes, in this great technological infrastructure called the information society (Castells, 2009). If the creation of synthesizers came to facilitate the composition of electronic music as a result of tone synthesis or from mixing and recycling pre-recorded samples, added to other styles of musical fragments and derivations, the widespread use of the Internet has come to implement these practices on an unparalleled scale.

In the beginning seemed like the electronic musical styles came to cause a break with the past. A new generation of musicians and technicians articulated new ways of making music hand in hand with a cutting edge position compared to traditional concepts, with their new micropolyphonies and dense sonic textures (Ginsburg & Barbosa, 2005). The raw material of electronic music does not necessarily have an initial or final composition, since it is essentially based on a combination of editable and available fragments in gigantic bases of mutant sounds, constantly improving. These kinds of sound databases have an almost self-sustaining existence and are available on the web, from all to all.

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