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 that 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 akin to web 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 tune construction. Babbling Corpse finds vaporwave's many intersections with politics, media concept, and our current fascination with uncanny, co(s)mic horror. The publication is geared toward these attracted to worldwide capitalism's impression on artwork, musical raids on mainstream "indie" and well known song, and someone intrigued via the altering dating among artwork and commerce.
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Extra info for Babbling Corpse: Vaporwave And The Commodification Of Ghosts
Though not all vaporwave tracks spotlight their editing, many celebrate remediation and amateur sampling as a way to undermine the smooth, professional-grade production heard in mainstream Western popular music. ”23 Vaporwave stands in opposition to the sleek production of contemporary music and can also call attention to the artifice of music production with oddly cut loops (causing the jagged samples to resist turning over on the downbeat of a measure), continuous repetition, and by exposing the audible “click” of the sample looping over in the mix.
In one way, the murderer is our contemporary culture traveling back into the past to trash it entirely. He is the digital technology of our time allegorized and let loose in the warm glow of television’s analog domain, a virus swimming through a complex and unsuspecting system.
In Rafman’s video, all things are equal and equally horrifying. But also, every image is shorn of its context, making the experience of watching it somewhat like scrolling through the bottomless pits of Tumblr or Google Images. The works of Murata, Rafman, and OPN seem to rise from the depths of the Internet in an attempt to show us the dark underbelly of our interconnected existence. Sure, it’s shocking, but human beings have always been like this; only now we have the Internet to reveal for ourselves just how shocking.