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Awe and wonder
Culture
Digital
Music
5 min read

The rave: a last bastion of hope?

Was the Brat summer the last chance for rave culture?
Ravers pose together for a selfie.
The anniversary party.
Rhythm Section.

The Rave is a site for communal epiphany, a burst of divine revelation. Illegal raves and alternative club culture seeps into the popular imagination, informing it in ways unbeknownst to most.  But it wasn’t until last Summer’s Brat (Charli XCX) landed on the global charts that people began questioning the importance of Rave and Club culture again. Is our Brat the herald of a new golden Rave dawn? I think not.  

However, undergirding the Rave is something far more profound, perhaps even religious. Raving suggests that the world might be otherwise, and it does this through a temporary release from this world’s demands.  What might this say about our cultural moment? 

Coordinating the Rave’s aesthetic is the dance between the DJ and ravers, accentuated by the practicalities of a decent sound system, lights, and a bit of fog. Inaugurating Rave’s epiphany, though, are the diverse motions of bodies to a singular beat. Techno reduces digital sounds to their basics and then pushes that to its boundary. Circumventing the rigidity of technology’s logic are the gestures of human spontaneity on the dance floor. The rave asserts that technology doesn’t have the last say over human life. 

At the Rave, those traditionally on the margins of society become the center: a temporal expression of eternal longing, momentarily experienced as a shared catharsis and liberation. The dance floor is a bulwark against an increasingly de-ritualised and dehumanising society. It is a testament to the body being a medium for hope. Whether an intoxicated body or, in a growing trend, a sober one, it is the human fleshyness which takes priority. Both options respond to how one might cope with and confront the technological barrage.  

Techno began as a language for African American youth, finding a future amidst the industrial ruins of Detroit. In our late modern moment, Rave culture acclimatises the body to the persistent sound of our technological age. It subverts the dehumanising tendencies of digital culture: mass impersonal media and abstracted global conversations.  Instead, a momentary online connection is used to gather offline. When you’re there, you’re not concerned about telling the world. It is an attention to the present moment.  

The Rave harbours a liminal threshold between appreciation for this life and the longing for some next one. 

Worryingly, some have warned that clubs will dwindle to their knees this decade, squeezed out by neighbouring property developers or no longer economically viable amidst the cost-of-living crisis. The only thing being pushed out, however, is the possible resistance to a particularly greedy homogenisation of culture. In dislocating alternative discourses of ritual, we simultaneously assert that human bodies only have one particular “rhythm”: the rhythm of ceaseless economic expansion.  

The Rave resists an uncomplicated acceptance of technology’s gift.  Its goods are re-scaled to an embodied celebration of life. 

In Raving (2023), McKenzie Wark expands upon this, saying, ‘Techno, not as genre but as technique, lets digital machines speak. Not unlike the way jazz lets analog instruments speak… Sounds at the limit of what the machine or the instrument can do to get free. Blackness in sound as the technique of making the thing free to sound off as itself and to take the human with it, into movement, into feeling, into sensation.’  Rave’s sound quite literally brings technology’s language to the end of itself. 

For some, raving is what holds them to life. For others, it’s a momentary release from it. Whilst our bodies cannot exceed techno’s interchange with technology, we do learn how to harness the potential humanness within it. The Rave harbours a liminal threshold between appreciation for this life and the longing for some next one. In twisting its technological medium into a more human configuration, rave culture participates in hope. 

Back in 1965, theologian Jürgen Moltmann wrote, ‘Hope’s statements of promise, however, must stand in contradiction to the reality which can at present be experienced. They do not result from experiences, but are the condition for the possibility of new experience… They do not seek to bear the train of reality, but to carry the torch before it. In so doing they give reality a historic character.’  While Moltmann is writing concerning Christianity and the crucified Christ, his framework for thinking about hope is helpful. Hope never occurs outside of history. The Rave embraces this historical moment and attempts to inhabit it as a contradiction. 

Recently, I went to Rhythm Section International’s tenth-anniversary party at EartH, Hackney. Rhythm Section was founded as a music collective and is still curated by Peckham’s own Bradley Zero (BZ). Known globally, its parties and label imprint span techno, house, jazz, funk, spoken word, and RnB. 

I first danced to BZ’s DJing at a record shop in 2018 while still living in Melbourne. The beauty of this particular community is that it provides a bridge for what Wark identifies: just as jazz brings analogue instruments to their limits, techno does the same for digital. As experienced recently at EartH in Hackney, Rhythm Section tries to push digital and analogue sounds to their threshold across the night. In contrast to the pure techno rave, BZ’s selection causes a polyphonic liberation. Joy is found through the instruments slapped just as much as in the DJ faders pushed.   

This joy was evident in the diversity of ages and cultures present. “Mature heads” danced alongside students; some swayed, while others vogued. Without spaces such as these, where else can we celebrate the diversity of human responses to the same sound? 

My concern with club culture’s demise is that those places of contradiction are swallowed up by a faux vision of “smoothness”. We replace spaces of alternative being with sameness. A diversity of aesthetics is converted into another apartment complex. We make room for the novelty of Brat but not the culture she draws upon. 

Rave culture attempts to redefine the dominant technological language of our day, making the body its lens and not the periphery. By privileging the human body, Rave’s hope acknowledges profound discontent with the world but understands that all “escape” is temporary. This re-calibration enacted in Rave’s ritual de-escalates the supposed importance of technology’s ceaseless expansion. Thus, it exposes a more profound longing, one where it will be an eternal dance that deepens the love of life by going ever deeper into the particularities of individual bodies and their movements.  

Because it offers a form of explicit hope, the Rave is a ritualised space filled with the belief that there can be “something more”. And this more-ness is, ultimately, encountered in the face of those we dance with; whether in a fleeting glance to ask, “Are you alright?” or the mutual smile that says, “I love this song”. 

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Community
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Psychology
7 min read

Is empathy really a weapon?

Musk and Fonda disagree on whether empathy is a bug or a feature.
A montage shows Elon Musk wielding a chain saw, Jane Fonda flexing her muscles and Hannah Arendt smoking.
Wordd Wrestling Empathy.

You may have heard that you can kill a person with kindness, but in recent weeks have you also heard that you can bring about your own death through empathy? In an interview recorded with podcaster Joe Rogan in February, Elon Musk added his voice to a cohort of American neo-capitalists when he claimed, “We've got civilizational suicidal empathy going on” and went on to describe empathy as having been “weaponized” by activist groups.  

“The fundamental weakness of western civilization is empathy, the empathy exploit… they’re exploiting a bug in western civilization, which is the empathy response.”  

In recent weeks empathy has become one of the hot topics of American politics, but this is not the first time that Musk has shared his thoughts about empathy, and it should be noted that on the whole he is not really against it. Musk identifies, rightly, that empathy is a fundamental component of what it means to be human, and in previous interviews has often spoken often about his vision to preserve “the light of human consciousness” – hence his ambition to set up a self-sustaining colony of humans on Mars.  

But he also believes that empathy is (to continue in Musk’s computer programming terminology) a vulnerability in the human code: a point of entry for viruses which have the capacity to manipulate human consciousness and take control of human behaviours. Empathy, Musk has begun to argue, makes us vulnerable to being infected:  

"The woke mind virus is fundamentally anti-science, anti-merit, and anti-human in general. Empathy is a good thing, but when it is weaponized to push irrational or extreme agendas, it can become a dangerous tool." 

Strangely, on certain fundamentals, I find it easy to agree with Musk and his contemporaries about empathy. For example, I agree that empathy is essential to being human. Although, far from empathy leading us to “civilisational suicide”, I would say it is empathy that saves humanity from this fate. If consciousness is (as Musk would define it) the brain’s capacity to process complex information and make a rational and informed choices, then empathy, understood as the ability to anticipate the experiences, feelings, and even reactions of others, is a crucial source of that information. Without empathy, we cannot make good decisions that benefit wider society and not just ourselves. Without it, humanity becomes a collection of mere sociopaths. 

Another point on which Musk and I agree is that empathy is a human weak point, one that can be easily exploited. Ever since the term “empathy” was coined in the early twentieth century, philosophers and psychologists have shown a sustained fascination with the way that empathy causes us to have concern for the experiences of others (affective empathy), to think about the needs of others (cognitive empathy), and even to feel the feelings of others (emotional contagion). Any or all of these responses can be used for good or for ill – so yes, I agree with Musk that empathy has the potential to be exploited.  

But it is on this very question of who is exploiting empathy and why, that I find myself much more ready to disagree with Musk. Whilst he argues that “the woke mind virus” is using empathy to push “irrational and extreme agendas”, his solution is to propose that empathy must be combined with “knowledge”. On the basis of knowledge, he believes, sober judgement can be used to resist the impulse of empathy and rationally govern our conscious decision making. Musk states: 

“Empathy is important. It’s important to view knowledge as sort of a semantic tree—make sure you understand the fundamental principles, the trunk and big branches, before you get into the leaves/details or there is nothing for them to hang on to." 

What I notice in this system is that Musk places knowledge before empathy, as if existing bits of information, “fundamental principles”, are the lenses through which one can interpret the experiences of another and then go on to make a conscious and rational judgement about what we perceive.  

There is a certain realism to this view, one that has not been ignored by philosophers. The phenomenologists of the early twentieth century, Husserl, Heidegger, Stein – those who first popularised the very idea of empathy – each described in their own way how all of us experience the world from the unique positionality of our own perspective. Our foreknowledge is very much like a set of lenses that strongly governs what we perceive and dictates what we can see about the world around us. The problem is: that feeling of foreknowledge can easily be manipulated. To put it another way – we ourselves don’t entirely decide what our own lenses are.  

To graft this on to Musk’s preferred semantic tree: empathy is a means by which the human brain can write brand new code. 

In The Origins of Totalitarianism, another great twentieth century thinker, Hannah Arendt, explored how totalitarian regimes seek to control not just the public lives but also the thought lives of individuals, flooding them with ideologies that manipulate precisely this: they tell people what to see. Ideologies are, in a sense, lenses – ones that make people blind to the unjust and violent actions of a regime:  

"The ideal subject of totalitarian rule is not the convinced Nazi or the dedicated communist, but people for whom the distinction between fact and fiction, true and false, no longer exists." 

A big part of the manipulation of people’s sense of foreknowledge is the provision of simplistic explanations for complex issues. For example, providing a clearly identifiable scapegoat, a common enemy, as a receptacle of blame for complex social and economic problems. As we know all too painfully, in early twentieth century Europe, this scapegoat became the Jewish people. Arendt describes how, whilst latent antisemitism had long been a feature of European public life, the Nazi party harnessed this this low-level antipathy and weaponised it easily. People’s sense of foreknowledge about the “differentness” of this group of “outsiders” was all too manipulable, and it was further cultivated by the Nazis’ use of “disease”, “contagion” and “virus” metaphors when speaking about the Jews. This gave rise a belief that it was rational and sensible to keep one’s distance and have no form of dialogue with this ostracised group.  

But with such distance, how would a well-meaning German citizen ever identify that their sense of foreknowledge about what it meant to be Jewish had been manipulated? Arendt identified rightly that totalitarian systems seek to eliminate dialogue, because dialogue creates the possibility of empathy, the possibility of an exchange of perspectives that might lead to knowledge – or at least a more nuanced understanding of what is true about complex situations. 

When I look at Musk’s comments, I wonder if what I can see is a similar instinct for scapegoating, and for preventing dialogue with those who might provide the knowledge that comes from another person’s perspective. In his rhetoric, the “woke mind” has been declared a common enemy, a “dangerous virus” that can deceive us into becoming “anti-merit” and “anti-human.” In dialogue, those who claim to be suffering or speaking about the suffering of others might be enabled to deploy their weaponized empathy, trying to make us care about other, to the potential detriment of ourselves and even wider humanity’s best interests. Therefore, it is made to seem better to isolate oneself and make rational judgements on behalf of those in need, firmly based on one’s existing foreknowledge, rather than engage in dialogue that might expose us to the contagion of wokeness.  

Whilst this isolationist approach appears to wisely prioritise knowledge over empathy, it misses the crucial detail that empathy itself is a form of knowledge. The experience of empathising through paying attention to and dialoguing with the “other” is what expands our human consciousness and complexifies our human decision making by giving us access to new information. To graft this on to Musk’s preferred semantic tree: empathy is a means by which the human brain can write brand new code.  

In these divisive and divided times, there are, fortunately, those who are still bold enough to make the rallying cry back to empathy. At her recent acceptance speech for a Lifetime Achievement Award, actor and committed Christian Jane Fonda spoke warmly and compellingly in favour of empathy:  

“A whole lot of people are going to be really hurt by what is happening, what is coming our way. And even if they are of a different political persuasion, we need to call upon our empathy, and not judge, but listen from our hearts, and welcome them into our tent, because we are going to need a big tent to resist successfully what's coming at us.”  

Fonda’s use of the tent metaphor, I’m sure, was quite deliberate. One of the most famous bible passages about the birth of Jesus describes how he “became flesh and dwelt among us.” The word “dwelt” can also be translated “tabernacled” or, even more literally, “occupied a tent” among us. The idea is that God did not sit back, judging from afar, despite having all the knowledge in the world at his disposal. Instead, God came to humanity through the birth of Jesus, and dwelt alongside us, in all our messy human complexity.  

Did Jesus then kill us with his kindness? No. But you might very well argue that his empathy led to his death. Perhaps this was Musk’s “suicidal empathy.” But in that case Musk and I have found another point about empathy on which we can agree – one that is summed up in the words of Jesus himself: “Greater love has no one than this: to lay down one’s life for one’s friends.”   

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