By Grafton Tanner
In the age of world 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 boy or girl musical micro-genre that foregrounds the horror of digital media's skill to seem - as media theorist Jeffrey Sconce phrases it - "haunted." Experimental musicians akin to net membership and MACINTOSH PLUS control Muzak and advertisement tune to undermine the commodification of nostalgia within the age of world capitalism whereas accentuating the uncanny homes of digital tune 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 drawn to worldwide capitalism's influence on paintings, musical raids on mainstream "indie" and well known tune, and someone intrigued through the altering dating among paintings and commerce.
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Additional info for Babbling Corpse: Vaporwave And The Commodification Of Ghosts
There is nothing there in the dark except the dead gaze of a copy. Western culture teems with so many ghosts: digital doppelgängers, anonymous commenters, and of course the ghosts of our past – the remnants of history, national trauma, and our individual memories, which are more drawn to the sirens of the past in the Information Age than ever before. The digital ghosts, the ghosts in our machines, remind us our technological creations are anything but infallible, yet we become profoundly unnerved when our creations act seemingly with a will of their own.
The music videos that accompany their 2013 album Government Plates draw from the same uncanny valley as Murata. ” Paired with the hi-fi frenzy of the music, the videos are a startling experience, giving the impression that the listener is witnessing the weird sights and sounds encountered in the darkest corners of the Internet. In each of these examples, the human element is absent. In its place are things, both profound and perfunctory. If ever there were an object-oriented aesthetic, these artists would constitute the vanguard, along with vaporwave producers like MACINTOSH PLUS, Infinity Frequencies, and INTERNET CLUB.
Here is the detritus of our everyday lives as consumers, thrown back in our faces as if for the first time. Murata’s CGI dips into the uncanny valley, and that is precisely one of the reasons the video is so strange. The familiarity of things – iPhones, VHS tapes, guitars, lemons – has changed. The computer graphics are too clean, but also too fake, to be real. But Murata’s work (as well as Oneohtrix Point Never’s) also deals with the Internet and its ability to decontextualize and dehumanize. The Internet is where we can read a news report about a drone strike while watching Japanese pornography, and artists like Murata and OPN foreground this fact as both repulsive and appealing.