I examine in this article how American “do-it-yourself” communities are established socio-spatially both as oppositional and subversive social spaces and scenes and as emerging alternative and autonomous worlds that challenge and transcend the effects and implications of the normative private–public distinction in the United States. I specifically analyze how these do-it-yourself spheres are organized around particular spatial discourses and spatial practices, policies, and interactions enacted at do-it-yourself shows that promote social intimacy, collective solidarity, diversity, and equality. Furthermore, I focus on the tensions and contradictions that exist within American do-it-yourself spaces and scenes in regard to utopian and “real” worlds, inclusive and exclusive social practices, and homogeneous and heterogeneous communities, as manifested through the tensions between private and public nature of American do-it-yourself spaces and scenes. Based on my long-term ethnographic fieldwork research in various US locations, and particularly on the American West Coast, I argue that this tension is, on one hand, both politically necessary and socially beneficial since it enables the creation of counterpublic spaces and with that also “new intimacies” and “new worlds” (Warner, 2002). On the other hand, however, it is also limiting and controversial for the political and social aspirations of American do-it-yourself communities. In the article, I delve into the history and theory of public and private spaces, as related to Western do-it-yourself music practice, and then continue with the analysis of my ethnographic data, where I pay particular attention to the publicness of the house, the body, and the scene, as related to American do-it-yourself communities. In this regard, I specifically examine program and space policies, as well as dance and bodily practices, at American do-it-yourself shows and further look at some of the social and political public engagements of American do-it-yourself participants.

中文翻译：

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亲密宣传和美国自己动手的音乐空间的概念

我在本文中探讨了如何在社会空间上将美国“自己动手”社区建立为对立和颠覆性的社会空间和场景，以及如何挑战并超越规范性私人-公共场所的影响和含意的新兴替代和自治世界在美国的杰出表现。我具体分析了这些“自己动手”领域是如何围绕特定的空间话语和空间实践，政策以及在“自己动手做”中表现出的相互作用来组织的，这些活动促进了社会亲密感，集体团结，多样性和平等。此外，我将重点放在美国自己动手的空间和场景中存在的关于乌托邦和“现实”世界，包容性和排他性社会实践以及同质异类社区的紧张和矛盾，通过美国自己动手的空间和场景的私人和公共性质之间的紧张关系可以看出这一点。根据我在美国各地（尤其是在美国西海岸）的长期人种志田野调查研究，我认为，这种紧张局势一方面在政治上是必须的，并且在社会上是有益的，因为它可以创建对立空间，并由此还有“新的亲密关系”和“新世界”（华纳，2002年）。但是，另一方面，它也限制了美国自助社区的政治和社会诉求。在本文中，我深入研究了与西方“自己动手”音乐实践有关的公共和私人空间的历史和理论，然后继续分析我的人种学数据，在这里，我特别关注房屋，身体和场景的公开性，这些都与美国自己动手的社区有关。在这方面，我在美国自己动手表演中专门研究了节目和空间政策，以及舞蹈和身体做法，并进一步研究了美国自己动手参与者的一些社会和政治公众参与。