Tak zacnem ne:) torschu teorie..po ranu
Techno is a form of electronic dance music (EDM) that emerged in Detroit, Michigan, USA during the mid to late 1980s. The first public use of the word techno, in reference to a genre of music, was in 1988.[1][2] Many styles of techno now exist, but Detroit techno is seen as the foundation upon which a number of subgenres have been built.[3]
The initial take on techno arose from the melding of Eurocentric synthesizer-based music with various African American styles such as Chicago house, funk, electro, and electric jazz. Added to this was the influence of futuristic and fictional themes that were relevant to life in American late capitalist society: most particularly the book The Third Wave by Alvin Toffler.[4] Pioneering producer Juan Atkins cites Toffler's phrase "techno rebels" as inspiring him to use the word techno to describe the musical style he helped to create. This unique blend of influences aligns techno with the aesthetic referred to as AfroDiasporic Futurism.To producers such as Derrick May, the transference of spirit from the body to the machine is often a central preoccupation; essentially an expression of technological spirituality.[5][6] In this manner: "techno dance music defeats what Adorno saw as the alienating effect of mechanisation on the modern consciousness".[7]
Music journalists and fans of techno are generally selective in their use of the term; so a clear distinction can be made between sometimes related but often qualitatively different styles, such as tech house and trance. "Techno" is also commonly confused with generalized descriptors, such as electronic music and dance music.[
Free techno
See also: Free tekno, Teknival, Free Party, Acid techno, and DIY culture
In the early 1990s a post-rave, DIY, free party scene had established itself in the UK. It was largely based around an alliance between warehouse party goers from various urban squat scenes and politically inspired new age travellers. The new agers offered a readymade network of countryside festivals that were hastily adopted by squatters and ravers alike.[72] Prominent among the sound systems operating at this time were Tonka in Brighton, DiY in Nottingham, Bedlam, Circus Warp, LSDiesel and London’s Spiral Tribe. The high point of this free party period came in May 1992 when with less than 24 hours notice and little publicity more than 35,000 gathered at the Castlemorton Common Festival for 5 days of partying.[73]
This one event was largely responsible for the introduction in 1994 of the Criminal Justice and Public Order Act;[74] effectively leaving the British free party scene for dead. Following this many of the traveller artists moved away from Britain to Europe, the US, Goa in India, Koh Phangan in Thailand and Australia’s East Coast.[73] In the rest of Europe, due in some part to the inspiration of traveling sound systems from the UK,[73] rave enjoyed a prolonged existence as it continued to expanded across the continent.[75]
Spiral Tribe, Bedlam and other English sound systems took their cooperative techno ideas to Europe, particularly Eastern Europe where it was cheaper to live, and audiences were quick to appropriate the free party ideology. It was European Teknival free parties, such as the annual Czechtek event in the Czech Republic that gave rise to several French, German and Dutch sound systems. Many of these groups found audiences easily and were often centered around squated locations in cities such as Amsterdam and Berlin.[76]