Semiotic research on practices raises a number of particularly thorny theoretical questions. The relationship between the subject and the body, embedded in an intersubjective network and implicated in the fruition of places and events, takes on a central role, as for example with regard to the fruition of electronic music, in the events generally referred to as "raves", the analysis of which is the subject of my doctoral research. Raves present themselves as a perfect challenge for various theoretical and methodological questions. If "canonical" musical genres usually refer to an experience or at least refer to something else, the practices associated with certain types of music literally have the peculiarity of constructing it, to the point that a paradigm shift in their understanding becomes necessary, asking not so much what music means in these contexts but how it works. The perceptual distortions and magnifications of the participants' bodies produced by the use of drugs, which are often consumed in these contexts, make it necessary to assimilate these psychosomatic effects to the human/music interface, which needs to be further articulated so that the distortions are in the medium to act almost as a "filter" or protesys in a complex web of relationships. The aim of the research is to reconstruct, through ethnographic data collection that crosses participant observations and interviews, the specific aesthetic paradigm that characterises these events and, in this way, to understand another form of collective knowledge.