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Which clippings match 'Participatory Media' keyword pg.1 of 1
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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TAGS

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
04 APRIL 2014

YouTube: new forms of community, expression, identity, interaction

"This is the third lecture in a series titled 'Digital Natives,' referring to the generation that has been raised with the computer as a natural part of their lives, especially the young people who are currently in schools and colleges today. The series seeks to understand the practices and culture of the digital natives, the cultural implications of their phenomenon and the implications for education to schools, universities and libraries.

According to Wesch, it took tens of thousands of years for writing to emerge after humans spoke their first words. It took thousands more before the printing press appeared and a few hundred again before the telegraph did. Today a new medium of communication emerges every time somebody creates a new web application. 'A Flickr here, a Twitter there, and a new way of relating to others emerges,' Wesch said. 'New types of conversation, argumentation and collaborations are realized.'

Enter YouTube, which is not just a technology. 'It's a social space built around video communication that is searchable, taggable and mashable,' Wesch said. 'It is a space where identities, values and ideas are produced, reproduced, challenged and negotiated in new ways.'"

(Library of Congress, 22 May 2008)

Fig.1 Michael Wesch, 23 June 2008, Library of Congress [http://mediatedcultures.net/]

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TAGS

2008amateur cultural production • anthenticity crisis • anthropologyappropriation • AtheneWins • authenticity • Bomb Iran (song) • Charlie Bit My Finger (2007) • Chevrolet Tahoe • Chevycollaborative productioncommunication mediumcommunity building • connection without constraint • context collapse • cultural anthenticity • demassified mediadigital ethnographydigital nativedigital texts • Dragostea Din Tei • fakesterflash frameFlickr • gaming the system • Gary Brolsma • global connectivity • Hi YouTube • home videohuman interaction • identity negotiation • identity performanceidentity production • illumistream • individualism • Kansas State University • Lawrence LessigLibrary of Congress • LisaNova • LonelyGirl15 • MadV • Marshall McLuhanmedia culture • media ecology • mediascapemediated culturememeMichael Weschnetworked individualismnetworked production • new forms of community • new forms of expression • new forms of identity • new forms of interactionnew media • new types of conversation • new ways of engaging • new ways of relating to others • Numa Numa (video) • participant observationparticipatory mediaprinting press • re-taking identity • reappropriation • Regina Spektor • remix cultureremixingRobert Putnam • seriously playful participatory media culture • sharingsocial space • Soulja Boy (video) • telegraph • user-generated content • video communication • video lecturevideo sharingvlogweb applicationwebcamYouTube

CONTRIBUTOR

Liam Birtles
14 DECEMBER 2011

Electronic Hybridity: The Persistent Processes of the Vernacular Web

"While mass–mediated communication technologies have empowered the institutional, participatory media offer powerful new channels through which the vernacular can express its alterity. However, alternate voices do not emerge from these technologies untouched by their means of production. Instead, these communications are amalgamations of institutional and vernacular expression. In this situation, any human expressive behavior that deploys communication technologies suggests a necessary complicity. Insofar as individuals hope to participate in today's electronically mediated communities, they must deploy the communication technologies that have made those communities possible. In so doing, they participate in creating a telectronic world where mass culture may dominate, but an increasing prevalence of participatory media extends into growing webs of network–based folk culture. "

(Robert Glenn Howard, 2008)

1). Robert Glenn Howard (2008). "Electronic Hybridity: The Persistent Processes of the Vernacular Web" Journal of American Folklore, Volume 121, Number 480, Spring 2008, pp. 192–218. DOI: 10.1353/jaf.0.0012

TAGS

1990sacademic journalagency • alternate voices • communication technologiesconsumer culturedigital revolution • electronic hybridity • electronic mediation • electronic technologiesexpressionfolklorefolksonomy • human expressive behaviour • hybrid formhybridity • image reproduction • instantaneousInternet • John Dorst • Journal of American Folklore • mass culture • mass distribution • mass media • mass-mediated communication technologies • medium is the messagemodes of communication • network-based folk culture • new communication technologies • new mediaparticipatory Internet mediaparticipatory mediaremediationsocial networking tools • technologies of cultural reproduction • telectronic age • telectronic world • vernacular • vernacular expression • vernacular production • vernacular web • webwiki

CONTRIBUTOR

Simon Perkins
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