You Got to Get In to Get Out – The Never-ending Sound Continuum

This book aims to be one possibility, among many, of inscription, meaning, memory and expansion of techno culture. The experience and situated knowledges of its authors, as diverse as complementary, produce a story of stories where continuous intertwining and resistance tactics give rise to a corporeal dance floor that crosses borders, including those of the club and the night. This publication has been conceived, even from the design point of view, as a reading session in the manner of a mix, in which its texts not only expand a material sound continuum, but also share gestures, echoes and movements of a global culture that leads several decades dancing.
As Carolina Jiménez says in her opening text: "The initial approach included a what but also a how: a methodology. We wanted the texts that would comprise this compilation to replicate the conditions for the continuance of techno culture. (…) This book is a confluence of resonant textual islands, a transatlantic archipelago of low-frequency counter-narratives, alternately pierced by fragility, solidity, pleasure or rage; cleft in their own openings and diversions, where beating influences displace the distinctions between genealogies, temporalities, scenes and their obscenities. Counter-narratives that defy easy re-capitulation and hover between life itself and the analysis of the socio-economic relations in which they transpire. Particular and local experiences and stories as part of more general, (dis)continuous, differentiated processes that contribute to the diaspora. Disparate practices and sensibilities that converse amongst themselves and are nothing more than a tiny notch in the complex understanding of the race, gender and class relations in which techno circulates, because their rarefaction transcends other cultural, political and social domains, in wider concomitance with other episte mologies and sound practices in general."

The design of the book is inspired by the synthesiser modules used to make techno music. This means that each page is divided into 8 modules and each text occupies these modules in different ways (in columns, occupying 2/3 of each page, occupying the whole page, etc.). Added to this is the logic of the mix, where each text works as a track that connects to the next one. Hence the superimposition of printed pages that give the sensation of error, referring to glitch, also very important in electronic music. Between the texts there are several pages with overlapping texts. However, each text can be read from beginning to end without interference on the following pages.