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dc.contributor.authorGlitsos, Laura
dc.date.accessioned2018-01-30T07:58:50Z
dc.date.available2018-01-30T07:58:50Z
dc.date.created2018-01-30T05:59:15Z
dc.date.issued2018
dc.identifier.citationGlitsos, L. 2018. Vaporwave, or music optimised for abandoned malls. Popular Music. 37 (1): pp. 100-118.
dc.identifier.urihttp://hdl.handle.net/20.500.11937/60141
dc.identifier.doi10.1017/S0261143017000599
dc.description.abstract

In this article I focus on the genre of ‘vaporwave’, using the artist 18 Carat Affair as a case study, to explore the way the genre works as a project that produces, and takes pleasure in, a kind of ‘memory play’. As a genre, vaporwave is a style of music collaged together from a wide variety of largely background musics such as muzak®, 1980s elevator music and new age ambience. Vaporwave's ‘memory play’ is a project that takes remembering as its audio-visual aesthetic. The pleasure of vaporwave is therefore understood as a pleasure of remembering for the sake of the act of remembering itself. To explore this theme, I examine vaporwave's memory play using the terms of Chris Healy's ‘compensatory nostalgia’, as well as the idea of ‘ersatz nostalgia’ as discussed by Arjun Appadurai and Svetlana Boym.

dc.publisherCambridge University Press
dc.titleVaporwave, or music optimised for abandoned malls
dc.typeJournal Article
dcterms.source.volume37
dcterms.source.number1
dcterms.source.startPage100
dcterms.source.endPage118
dcterms.source.titlePopular Music
curtin.accessStatusFulltext not available


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