Individually and collectively they mark a historic break with two fading orthodoxies; on the one hand, the East London-based intellectual virus of ‘
psychogeography‘ (Hackney is its Wuhan), with its blokeish praxis of middle-class men going for walks (local history as art-statement); on the other, the critical consensus surrounding ‘
the hardcore continuum‘. Rooted in the capacious and in many other ways instructive oeuvres of Simon Reynolds, Mark Fisher and Kodwo Eshun, this latter traced a musical lineage from rave to jungle to grime to dubstep wherein value sometimes seemed to be connoted not so much by beats or melody as by suitability for recontextualisation within frameworks established by Deleuze and Guattari.