ABSTRACT
In the preceding chapter, we addressed goth through an extension of Latourean Actor-Network Theory. The SMASL network reflects the networked nature of man-machine musical collaboration through its foregrounding of the human and non-human, as well as musical and non-musical, actors participating in the construction of the musical event. Central to our discussion was the medial time-space engendered between and among actors in this musical technological network, which is characterized by spectrality and hauntology. Goth exploits these qualities of musical time-spaces extensively. Thus, part of what relates goth’s diverse substyles to each other is the ways in which goth songs dislodge time and dislocate space.
