Abstract

This thesis examines the social world of a Montreal music scene. Using the concept of scene as an organizing principal, I engage in an ethnography of the socio-cultural formation of the alternative techno scene. Methodologies of depth interviewing and sensuous ethnography are employed. Analysis of this data relies on affect theory and queer theory, and I incorporate thinking on the movement and intersection of socio-cultural forms within the social landscape. I argue that scene participants innovate by affirming and exploring affective and productive bonds that represent social and cultural otherness.