I think that electronic music answers this generalization by appropriating these samples and exploding them in a way that subverts expectations. Sound samples may be purposely taken out of context, but they are used to produce an entirely new piece of music. In this way, the sound samples become appropriated and transformed in a way that commercialized culture is not. While I know that electronic music itself has the potential to be an art form that transcends gender boundaries, I know it is encased in a synthetic community and patriarchal industry. This dilemma is the same dilemma feminists come across relating to many issues.
Contradiction is a part of our existence.
We belong to a culture that we may enjoy while simultaneously knowing it is oppressive. Heywood and Drake attempt to reconcile contradiction in their article. Since we understand the 'real' as an effect of representation and understand that representational effects play out in material spaces and in material ways, we take critical engagement with popular culture as a key to political struggle. Yet, this analysis seems unsatisfying, and this is why I have been having trouble with this project. I do not know how I feel about occupying this space in between critique and participation.