How can goth be consistently distinctive when it's so musically diverse? If goth is all about the music, how does that transform a group of people into a community based subculture? How do social spaces give rise to meaningful cultural substance? Can industrial, gothic metal and more be considered goth music? We'll look at these questions and more in our extensive discussion of the book 'Goth Music: From Sound to Subculture'. We feature brand new music on All Goth Considered from Obscura Undead!

To support the show please head over to our Patreon!

Introduction 00:00

Goth is Organized Around Music 5:43

What the Hell is Goth Music 10:05

Quantifying Goth Music 51:22

Glocal 1:09:00

Actor Network Theory 1:24:10

SMASL 1:137:17

Hauntology 1:45:56

Sticky Nodes 1:54:00

Chronotopes 2:18:46

Lacan and Transcending Death 2:55:21

Semiotic Significance 3:20:40

Agential Realism and Social Chronotopes 3:25:32

Praxis 3:31:13

Ironic Imagination 3:37:08

Closing Thoughts 3:53:21

All Goth Considered 4:45:37

References: -What is Goth -On Interobjectivity -Sol Invictus -Ted Schatzki -Lacan -Lacan -Profilicity -Literary Chronotope -What is Goth Music -Goth, Genre, Subgenre or Style -Hauntology -Hyperdiegesis -Lacan's Real -Intra-action -Interview with Barad -The Living the Dead and the Immanent -Intermediaries, mediators and proximities -Socio-Material Approaches to ANT -Peeren on Cultural Analysis -The Practice Turn in Contemporary Theory -The Music of the Goth Subculture: Postmodernism and Aesthetics -Social Phenomena via a Theory of Embodied Practice -Performativity