Dancecult 16(1) 2024: Editor's Introduction, Masthead and Table of Contents Spaces of Dancing Edited by Ben Assiter V16.1 2024 Dancecult Journal of Electronic Dance Music Culture Issue 16(1) 2024 ISSN 1947-5403 ©2024 Dancecult Published yearly at International Advisory Board Sean Albiez (Southampton Solent University, UK), Anthony D’Andrea (University of Limerick, IE), Rebekah Farrugia (Oakland University, US), Kai Fikentscher (DE), Alistair Fraser (Maynooth University, IE), Luis-Manuel Garcia (University of Birmingham, UK), Anna Gavanas (Institute for Futures Studies, SE), Ross Harley (University of New South Wales, AU), Moses Iten (RMIT, AU), Anita Jóri (Berlin University of the Arts, DE), Tim Lawrence (University of East London, UK), Geert Lovink (University of Amsterdam, NL), Paolo Magaudda (University of Padova, IT), Charity Marsh (University of Regina, CA), Andrew Murphie (University of New South Wales, AU), Jordi Nofre (NOVA University Lisbon, PT), Alice O’Grady (University of Leeds, United Kingdom), Christopher Partridge (Lancaster University, UK), Dave Payling (Staffordshire University, UK), Anne Petiau (ITSRS / Université Paris 5, FR), Hillegonda C Rietveld (London South Bank University, UK), Geoff Stahl (Victoria University of Wellington, NZ), Sonjah Nadine Stanley-Niaah (University of West Indies, JM), Graham St John (University of Huddersfield, UK), Jonathan Sterne (McGill University, CA), Will Straw (McGill University, CA), Rupert Till (University of Huddersfield, UK), Botond Vitos (Leuphana University, DE), Toby Young (University of Oxford, UK) Dancecult: Journal of Electronic Dance Music Culture is a peer-reviewed, open-access e-journal for the study of electronic dance music culture (EDMC). Launched in 2009, as a platform for interdisciplinary scholarship on the shifting terrain of EDMCs worldwide, Dancecult houses research exploring the sites, technologies, sounds and cultures of electronic music in historical and contemporary perspectives. Playing host to studies of emergent forms of electronic music production, performance, distribution, and reception, as a portal for cutting-edge research on the relation between bodies, technologies, and cyberspace, as a medium through which the cultural politics of dance is critically investigated, and as a venue for innovative multimedia projects, Dancecult is the leading venue for research on EDMC. Cover: The stairs to The Shelter. Photo by Andrew Rochfort. Executive Editor Graham St John (University of Huddersfield, UK) Production Editor Botond Vitos (Leuphana University, DE) From the floor Editor Dave Payling (Staffordshire University, UK) Reviews Editor Anita Jóri (Berlin University of the Arts, DE) Operations director Botond Vitos (Leuphana University, DE) Foreign Languages Editor Moses Iten (RMIT, AU) Managing Editor Tommy Colton Symmes (Rice University, US) Community Manager Katrina Loughrey (DE) Art Director Botond Vitos (Leuphana University, DE) Operations Associate Dave Payling (Staffordshire University, UK) Associate Editors Ben Assiter (Goldsmiths, University of London, UK) Alistair Fraser (Maynooth University, IE) Moses Iten (RMIT, AU) Rupert Till (University of Huddersfield, UK) Production Assistant Patricio López-Serrano (DE) http://dj.dancecult.net ISSN 1947-5403 ©2024 Dancecult http://dj.dancecult.net v16.1 2024 Executive Editor’s Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 01 Graham St John Guest Editor’s Introduction to “Spaces of Dancing” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 02 Ben Assiter FEATURE ARTICLES The Steady Decline of Club Culture in Dublin: Neoliberal Policy, Touristification and the Pandemic . . . . 09 Caroline Ann O’Sullivan “Being a DJ is My Form of Resistance”: The Dance Floor As a Safer Space for Queer-Feminist Communities in Vienna . . . . . . . . . . . . . . . . . . . 31 Magdalena Fuernkranz London Dubstep Culture in an Online Discord Community: The Mediation of Bass, Space and Place . . . 51 Ivan Mouraviev Noise as a Spectre in Dub Techno . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72 Bahadırhan Koçer Squelches, Wobbles and Risers: Continuous Processes and Subgenres in Electronic Dance Music . . . . . . 98 Jeremy W. Smith Transposition Berghain, Techno and the Body Factory: Ethnography of a Club’s Regulars. . . . . . . . . . . . . . . . . . . . . .125 Guillaume Robin FROM THE FLOOR – online Reflections from the Frontlines of Grassroots Venue Design Ella Adu Finding Shelter: Recollections of Shanghai’s Underground Music Scene in the 2010s Tianyu Jiang Foraging Places and Spaces through Dance: The Mycelium-like Spaces of Post-1989 Berlin Affording its Ongoing Club Culture Phoebe Janssen Passinho Chronicles: Unveiling Urban Narratives Through Dance Natalia Figueredo An Old School Stomper: Reflections on Place, Identity, and Drugs and the Fluctuating Roles of the Participating Ethnographer Sarah Raine Platformization and Its Ongoing Impact on Dance Music Spaces Danielle Antoinette Hidalgo Reparative Raving Emily Murphy Windows on the Dancefloor Ruth Hughes REVIEWS Rude Citizenship: Jamaican Popular Music, Copyright, and the Reverberations of Colonial Power (McKenzie Wark) 140 Larisa Kingston Mann Together, Somehow: Music, Affect, and Intimacy on the Dancefloor (Luis Manuel Garcia-Mispireta) . . . . . . 143 Rory Fewer Out of Space: How UK Cities Shaped Rave Culture (Revised and expanded edition) (Jim Ottewill) . . . . . . . 145 Alistair Fraser Venue Stories: Narratives, Memories, and Histories from Britain’s Independent Music Spaces (Fraser Mann, Robert Edgar and Helen Pleasance. eds.). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 147 Max Gibson Living at Night in Times of Pandemic: Night Studies and Club Culture in France and Germany (Anita Jóri and Guillaume Robin. eds.) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 150 Jack McNeill Dancecult: Journal of Electronic Dance Music Culture 16(1): 1–1 ISSN 1947-5403 ©2024 Dancecult http://dj.dancecult.net https://dx.doi.org/10.12801/1947-5403.2024.16.01.00 Executive Editor’s Introduction Welcome to the 21st issue of Dancecult (issue 16.1). I will leave it to Ben Assiter to introduce his guest edition on the theme of “space”, but I should note that, in addition to the themed edition, the issue features open submission content, including two feature articles: Bahadırhan Koçer’s “Noise as a Spectre in Dub Techno” and Jeremy W. Smith’s “Squelches, Wobbles and Risers: Continuous Processes and Subgenres in Electronic Dance Music”. It also features a Transpositions piece “Berghain, Techno and the Body Factory: Ethnography of a Club’s Regulars” that was translated from the German by its author Guillaume Robin and Foreign Languages Editor Moses Iten. As usual, the issue features a set of book reviews. In her second year as Reviews Editor, five book reviews have been expertly compiled by Anita Jóri, who continues to hit the ground running. These reviews are: Aadita Chaudhury’s review of Larisa Kingston Mann’s Rude Citizenship: Jamaican Popular Music, Copyright, and the Reverberations of Colonial Power (University of North Carolina Press, 2022); Rory Fewer’s review of Luis Manuel Garcia-Mispireta’s Together, Somehow: Music, Affect, and Intimacy on the Dancefloor (Duke University Press, 2023); Alistair Fraser’s review of Jim Ottewill’s Out of Space: How UK cities Shaped Rave Culture (Revised and expanded edition) (Velocity Press, 2024); Max Gibson’s review of Fraser Mann, Robert Edgar and Helen Pleasance’s edited volume Venue Stories: Narratives, Memories, and Histories from Britain’s Independent Music Spaces (Equinox Publishing, 2023); Jack McNeill’s review of Anita Jóri and Guillaume Robin’s edited volume Living at Night in Times of Pandemic: Night Studies and Club Culture in France and Germany (Transcript Verlag, 2024).  At this time, we must wish fond farewell to Tommy Symmes, who has served as Managing Editor since 2018. Tommy, who has worked on seven issues, including the current issue, was the first person to fill the Managing Editor position and has done so with great dedication and care, becoming quite instrumental to ensuring the journal’s ongoing stature as a professional venue for publication in this field. We wish Tommy well in his future endeavours. The journal, dozens of authors and countless readers, have benefited from Tommy’s attention to detail and love of music. Further thanks, as always, to our entire team, as well as the many anonymous reviewers, and our supporters, whose ongoing efforts are vital to our operation. Graham St John, Executive Editor, Dancecult. https://dx.doi.org/10.12801/1947-5403.2024.16.01.00