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Additional resources for Affective Intensities in Extreme Music Scenes: Cases from Australia and Japan

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I do, however, acknowledge the problems with this methodology, particularly with regard to NRT. In translated material, ideas are doubly represented and removed from the affective moment. This data, though, did yield some interesting material, particularly as, speaking in their first language, Osakan scene members were sometimes more comfortable articulating the affective experience than they would have been after labouring through thinking in Japanese, then mentally translating it to English. I indicate translated material with a ‘§’ symbol.

Brutal belonging is less about material places than the abstract intensities of feeling, or affect, generated through participation in grindcore music. To describe these sites of affective belonging, I use Thrift’s (2008) notion of ‘affective spaces’. That is, an ephemeral constitution of a meaningful site, produced through inter-subjective and inter-objective human practices, which generate affect. The spaces Melbourne In Melbourne, since the mid-1990s key grindcore spaces have centred in the city’s inner North.

38 Affective Intensities in Extreme Music Scenes I follow the Hepburn Romanisation system of translation, with long vowels indicated with a macron, except in cases where words have entered common use in English (Osaka, for example), and with people’s names where the person prefers their name be Romanised. A glossary of Japanese terms, in kanji (Japanese script), can be found in the Appendix. Japanese names are presented in the order of family name first, personal name second, as is Japanese linguistic custom.

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