This article theorizes the transgressive faculties of cyberspace‘s Gothic labyrinth, arguing that it is haunted by the ghost of material/information dualism. This ghost is embodied in cybergoth subculture: while cybergothic music creates a gateway to the borderland between biological and virtual realities, dancing enables cybergoths to transgress the boundaries between the two.
Globalgothic offers a gothic critique of globalisation, exposing the anxieties and excesses that sift through the carefully laid out safety nets of international culture. The Goth scene would seem to represent both gothic modes. Firstly, the scene, its style and its music are globally spread, and Goths from all over the world connect with one another via websites and social media. Secondly, as Goth self-fashions itself as the dark side of global consumer culture, it subverts the globalised commerce and media it employs. The unlocation performed by Goth often takes the curious disguise of fantasised parochialism. Music is a crucial factor in the local and global identification strategies operative in the scene; moreover, Goth music presents a spatio-temporal unlocatedness and subjective disrootedness that challenge dichotomies such as local/global and underground/mainstream. The broad internet presence and usage of Goth seems indicative of the scene's globalisation.