By Grafton Tanner
In the age of worldwide capitalism, vaporwave celebrates and undermines the digital ghosts haunting the nostalgia undefined. Ours is a time of ghosts in machines, killing which means and exposing the gaps inherent within the digital media that pervade our lives. Vaporwave is an child musical micro-genre that foregrounds the horror of digital media's skill to seem - as media theorist Jeffrey Sconce phrases it - "haunted." Experimental musicians similar to net membership and MACINTOSH PLUS manage Muzak and advertisement song to undermine the commodification of nostalgia within the age of worldwide capitalism whereas accentuating the uncanny homes of digital track construction. Babbling Corpse finds vaporwave's many intersections with politics, media conception, and our current fascination with uncanny, co(s)mic horror. The ebook is geared toward these attracted to worldwide capitalism's impression on paintings, musical raids on mainstream "indie" and renowned track, and someone intrigued by means of the altering dating among paintings and commerce.
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Additional info for Babbling Corpse: Vaporwave And The Commodification Of Ghosts
The phonograph drags sound and music outside the music venue, and the sampler takes the track of recorded music outside the phonograph and into a mechanism that has the ability to rework that track into a new form. What about the DAW? Perhaps McLuhan would consider the DAW a sampler without “walls,” indicating a truly wall-less medium capable of producing endless sound and allowing musicians to sample anything with the push of a button. Such an ability to render endless loops accentuates the art of sampling’s relationship with the uncanny and, more specifically, the idea of haunted media.
Ghosts, as Linda Badley writes, “empty ‘reality’ of meaning…They are like Derridean words; they ‘kill’ meaning. ”15 Here, Badley binds Cixous’ assertion of the uncanny with Jacques Derrida’s meaningless words to illustrate ghosts as gaps in the meaning of reality signified. They are meaninglessness made manifest. Thus, the television, the phonograph, and the radio all have the propensity to seem infested with “ghosts” and are portrayed as such in fiction and films (like Poltergeist) because they remediate information.
These artists are skeptical of capitalism’s promise to redeem us in the name of material goods and of the nostalgia that hangs over an era obsessed with the clichés of history. I will touch on these figures who, like so many vaporwave producers, seek to critique modern culture and its sicknesses. With unprecedented access to the Internet, the flattened desert where past, present, and future comingle, we find ourselves living in a state of atemporality, yearning for a time before the present. In the West, the time for which we pine is one before the twenty-first century, which arrived violently on September 11, 2001, and before the rise of the Internet.
Babbling Corpse: Vaporwave And The Commodification Of Ghosts by Grafton Tanner