Not Signed-In
Which clippings match Simon Perkins' concept of 'Virality' pg.1 of 7
15 AUGUST 2017

Cognitive closure and the price of certainty

"during times of fear and anxiety — like, for example, right now — everybody’s need for closure increases. We tend to make judgments more quickly, regardless of the facts. We’re also drawn to leaders who are decisive and paint solutions in simple terms. After the attacks of Sept. 11, 2001, Dr. Kruglanski and his team of researchers found that as the color-coded terrorism threat system increased, support for President George W. Bush went up accordingly. The more uncertain our world seems, the more we compensate by seeking out certainty."

(Daniele Anastasion, 1 November 2016, The New York Times)

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2016 • alt-right • ambiguityappeal to emotion • Arie Kruglanski • be vigilant • binary thinking • cognitive closure • cognitive flexibilitycolour codingcomplex problem-solvingcomplexityconfused and disorientedconservatism • conservative thought • contradictory perspectivescritical thinking • Daniele Anastasion • decision-making capabilitiesdestabilised perceptionDonald Trump • Eric Strauss • exploiting fearsextremismfear mongeringfound to be true by manygaslightingGeorge W Bushgullibilityliberal tolerancemainstream medianationalism • need for certainty • need for closure • New York TimesOp-Docsperceptions of reality • personal agency • polarised politics • post-truth worldrhetorical fearscare tacticsscaremongeringSeptember 11 attacksshort documentarysimple evaluationssocial psychologysound judgmentspreading of fear • terrorism threat system • terrorist threat • times of fear and anxiety • truth • uncertain world • uncertainty • uncertainty avoidance

CONTRIBUTOR

Simon Perkins
18 NOVEMBER 2016

Moby & The Void Pacific Choir: Are You Lost In The World Like Me?

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CONTRIBUTOR

Simon Perkins
09 NOVEMBER 2016

The vaporwave aesthetic and the music playing behind an infomercial for public access purgatory

"Vaporwave isn’t just something you listen to either, it’s something you experience, and experiences include visuals. Vaporwave visual art, simply referred to as 'aesthetics,' is varied but tends to honor some core tenets. If you’re looking at something pink and teal with a marble classical bust and a glitchy Windows 95 logo, you’re probably looking at a vaporwave aesthetic. If you’re watching a YouTube video with a title written in a weirdly soothing stretched out font, you’re probably watching a vaporwave aesthetic.

If you haven’t guessed by now, vaporwave is a bit of a joke, or more accurately, an internet meme. Vaporwave’s trippy immediate artistic ancestor 'seapunk' was a running inside joke on Tumblr during 2011 about fashion and art and music inspired by the ocean. The look and sound of a psychedelic club run by a hipster Ariel from The Little Mermaid is a pretty accurate summation. Neon seapunk imagery even found its way into Rihanna’s 2012 Saturday Night Live performance, confounding many viewers with its colorful and stylish but garish, cheap, and seemingly unprofessional grainy green screen look. The exact difference between seapunk and vaporwave is blurry, but as far as I understand vaporwave trades the aquatic focus for a fascination with the emptiness of aging and/or amateur glossy commercialism. It’s the music playing behind an infomercial for public access purgatory."

(Jordan Minor, 03 June 2016)

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1980s retro styleamateur cultural production • amateur glossy commercialism • anti-corporate aesthetic • appropriationcheesy • classical bust • colour schemecolourfulcomputer graphicsconsumption spectacle • cultural aesthetic • digital texts • emptiness • fan art • Floral Shoppe (2011) • inside joke • internet art form • internet cultureInternet memeirony • Japanese funk • Macintosh Plus (musical alias) • manipulating samples • manufactured nostalgia • marble • memenetworked productionnew forms of expression • new sincerity • nostalgic styleoceanparticipatory mediapinkpsychedelic imageryreappropriationremix cultureretro cheesinessretro computer graphics • runaway consumerism • seapunk • Sega Genesis • Simpsonwave • Simpsonwave aesthetic • slow jams • stretched out font • teal • tech-fueled nostalgic loop • tech-savvy • The Little Mermaid • The Simpsons (television) • trippy • Tumblrvaporware • vaporwave • vaporwave aesthetic • vaporwave visual art • Vektroid (electronic musician) • video gamesvisual aestheticsWindows 95

CONTRIBUTOR

Simon Perkins
27 NOVEMBER 2015

100 Women 2015: Life for women in Islamic State's Raqqa

"Nour is a woman from Raqqa, the so-called Islamic State's (IS) capital inside Syria. She managed to escape the city and is now a refugee in Europe, where she met up with the BBC. This story is based on her experiences and those of her two sisters, who are still inside the IS-held city. Names and the timings of some events have been changed to avoid compromising the safety of Nour or her family."

(BBC News, 2015)

Video produced by Vladimir Hernandez, Faisal Irshaid and Najlaa Aboumerhi. Animation by Luis Ruibal.

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2015asylum seekersautonomy • BBC 100 Women • BBC News • burka • burkha • burqa • civil liberties • cleric • clothing • concealment of the face • control societycruel mendaeshdignity • draconian law • dress code • face • face covering • face-covering • Faisal Irshaid • flagellation • flogging • freedoms • full face veil • gender inequality • harsh penalties • headgear • hesba • hyena • inspirational stories • life for women • Luis Ruibal • Najlaa Aboumerhi • niqab • oppression • perversion • punishment • Raqqa • refugeereligious fundamentalism • religious police • so-called Islamic State • subjugationsubordinate womenSyriaveil • Vladimir Hernandez • whipping • womens clothing

CONTRIBUTOR

Simon Perkins
15 NOVEMBER 2015

The hipster as the postmodern dandy

"The hipster is, concurrently, developing into a form of youth subculture, though at present in a limited sense. Many of the tropes and defining characteristics of teenage tribalism are being draped in hipster attire, but with little of the angst-ridden and socio-economic preliminaries at the base of earlier subcultural trends and movements, such as skinheads, goths and punks (or some recipe based thereon). Without a solid, or at least only slightly shifting, base in materiality and social context, the attire of this set of genuinely disenfranchised youth is sign only; the woolly hat and the running shoe are talismans devoid of any intended meaning; the world seems flooded with signs without symbolism, with younger converts to the hipster 'style' aping their ape forebears. The sign has, in this context, lost its original referent and become 'hyperreal' (Baudrillard, 1994, p.1). The 'real' origin of the sign's meaning has been lost, or buried under meaningless affectation; the borrowing and commodification of a modern exoticism; that of various minority or 'retro' alternative fashions and attitudes. In reference to subcultural groups, Hebdige notes that 'humble' objects can be magically appropriated; 'stolen' by subordinate groups and made to carry 'secret' meanings' (1979, cited in Haralambos and Holborn, 2004, p.808). This explains the way punks could style safety pins into a new context, and teddy boys could subvert the traditional connotations of Edwardian formality – the coded meanings that charge such appropriated style-objects amounted to a kind of resistance to the ruling order, be that signified by the state or in the 'square' world of the mainstream. Each subculture is in some way 'spectacular', in that it creates a spectacle and intends to be noticed. The hipster is daily losing this status, as s/he becomes overloaded with signifiers (aesthetic surface) and has become divorced from the collective; there is no need for internal reinforcement against a subordinating external force when one has such a slippery class composition. The hipster is not oppressed, and purports to signify the pinnacle of individual choice and cultural savoir faire (though this position is problematized by the amoebic development of a youth subculture with roots in working class communities). The hipster's resistance is not to social subordination but to modernity itself, to a meaning-deficit brought on by a loosely defined, insecure mainstream culture that is less and less able to provide collective ontological sustenance. Perhaps the youth-hipster is an attempt to introduce a degree of collectivity in order to partially overcome alienation and inwardness, though this does not excuse the continued loss of substance and meaning in style and aesthetic value."

(Michael Reeve, 2013, Academia.edu)

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2013 • appropriated style-objects • boredomcommodificationcontagious assemblages • cultural bricolage • cultural codescultural resistance • cultural savoir faire • dandyism • Dick Hebdige • disaffected youth • disenfranchised youth • dressing up • Edwardian formality • facial hair • fashionable fad • hipster attire • hipster fashion • hipster girl • hipster style • hipster subculture • Holborn • identity performanceindividual choice • Jack Kerouac • Jean Baudrillardliminality rites • loss of meaning • loss of substance • Martin Holborn • meaningless affectation • Michael Haralambos • modern exoticism • plaid shirt • popular culturesocial contextsocial inventionsocial norms • social subordination • spectacular societystyle • subcultural groups • subcultural trends • talismanteddy boy • teenage tribalism • universe of regularised mutual responseurban clothing • urban fashion • youth subculture

CONTRIBUTOR

Simon Perkins
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