#originarytechnicity #maxmatthews #begriffsschrift #aesthetictheory #wiwek #beltram #Extrawelt #exidy #edm We tend to think, however unconsciously, that dance music originates at the inaugural moments of our own interest in it. At that time, we think, the reason we found our way to dance music involved basic revolutionary innovations singular to that time. Only at that time was there a bonafide origin. That time, out of all prior times, was different, better, singular. But in fact, dance music and its history is a continuum of these disjointed and irruptive moments, seemingly discontinuous, and yet actually constitutive of the history. And is not existence itself like this? The originarity of originary technicity is in the awareness and embrace of this: that the origin is already reconstituting itself and re-originating itself, and it is already displaced from itself. The way forward for us and this music, is not through nostalgia and elitism about a past underground culture. It is rather through an understanding that today's classic rave, seminal, and constitutive of our legacy, in fact at the time of its emergence was too new, too depraved, too radical, or even too commercial. The way forward is that of going forward. The originary technicity of techne and techno is an immanent origination, that relies always-- in Kant's language from the 3rd critique-- a "reflective" judgment, in distinction to a "determinate" judgment-- which is to say a judgment without as of yet a category for the object it reflects.