Relevant bibliographies by topics / Vaporwave

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Vaporwave'

Author: Grafiati
Published: 4 June 2021
Last updated: 29 January 2023

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Journal articles on the topic "Vaporwave"

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Zhang, Xiaolong. "What is visual Vaporwave? Vaporwave arts and their history and position in China." Mutual Images Journal, no. 10 (December 20, 2021): 295–326. http://dx.doi.org/10.32926/2021.10.zha.vapor.

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By Vaporwave we refer to a digital-born electronic music genre and a trend in visual aesthetics. It emerged in some US-based online communities in the early 2010s, and now its visual expressions are in vogue in Chinese visual media context. In this article, Vaporwave’s aesthetics are discussed through three stages of analysis. In the first part, the paper outlines relevant theories and general features of Vaporwave’s (both visual and musical) aesthetics; next, the paper focuses on Vaporwave's visual characteristics, and, to provide a deeper understanding of its visual aesthetics, I discuss a school of painting derived from early twentieth-century Italy—Metaphysical art. In the second part, the article discusses why and how vaporwave aesthetics are inseparable from some Japanese visual characteristics and how it is represented in China, with particular reference to examples of Japanese comics from the 1980s/early 1990s and one popular Chinese video-focused social media TikTok in recent years. In the third part, the article focuses on illustrating Vaporwave's visual features in the Chinese context in recent years, and several examples are provided.
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Glitsos, Laura. "Vaporwave, or music optimised for abandoned malls." Popular Music 37, no. 1 (December 8, 2017): 100–118. http://dx.doi.org/10.1017/s0261143017000599.

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AbstractIn 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.
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Guignion, David. "Vapor Memory, or, memory in the ruins of history." Australasian Journal of Popular Culture 9, no. 2 (September 1, 2020): 165–78. http://dx.doi.org/10.1386/ajpc_00025_1.

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This article explores vaporwave’s appropriation of the past and future to constitute a (non)-site for the displacement of the present. In doing so, vaporwave – an electronic music genre that samples sights and sounds from 1980s and 1990s popular culture – masquerades itself as a radical project that decentres the subject’s location within the linear matrix of time (Tanner 2016) and houses the potential to oppose the humanistic territorializations of late capitalism (Killeen 2018; Whelan and Nowak 2018). I argue that these arguments focus too closely on vaporwave’s style and aesthetic dimension without considering its maintenance of various structures of oppression and appropriation indicative of globalized capitalism. The result is a misattribution of transgressive potential to vaporwave that ignores its incredibly conservative undertones. To engage with vaporwave then demands a bifurcation of its outward, rhizomatic veneer and the codes, conventions and axiomatics that underwrite it. I make this argument by drawing upon Jean Baudrillard’s (1981, 1993, 1994, 2010) scepticism of any accelerationist and technologist politics of subversion to mount effective sociopolitical change. Additionally, I make use of many feminist and critical race approaches to highlight the affinities between vaporwave’s appropriate style and the logics of late capitalism.
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Lindsay, Stuart. "Disaster Theory." English Language Notes 59, no. 2 (October 1, 2021): 109–20. http://dx.doi.org/10.1215/00138282-9277304.

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Abstract The online community of vaporwave music is a cultural development that emerged in the 2010s and therefore fully within the ideological sphere of postindustrialism. Consisting of slowed-down samples from pop songs and advertising jingles from the 1980s and 1990s stitched together with original synthesizer pieces that resemble those used in horror-film scores, vaporwave is an undead, artificial soundscape that floats somewhere between music and sound. Its fake nostalgia for an alternative yet ossified past aims to confront our contemporary social paralysis in the face of postmillennial economic failure and political crisis. This article examines gothic elements of the vaporwave music phenomenon to analyze how vaporwave expresses sociopolitical traumas of late capitalism. Derridean notions of hauntology articulate the individual’s self-isolation and objectification under the neoliberal homogenization of culture in vaporwave artist Begotten’s contributions to the hushwave subgenre of the scene (2018–19). Vaporwave’s cyclical and uncanny sounds embody the spectral haunting of Marx in capitalism’s repetitive pronunciation of victory over its vanquished, communist foe in Sunsetcorp’s 2009 single “nobody here” and the manifestations of American political trauma after 9/11 in Cat System Corporation’s signalwave album, News at 11 (2016).
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McLeod, Ken. "Vaporwave." Journal of Popular Music Studies 30, no. 4 (December 2018): 123–42. http://dx.doi.org/10.1525/jpms.2018.300409.

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This article investigates various aspects of the popular online music genre known as vaporwave in order to understand how it functions as a form of socio-economic critique while problematizing aspects of identity. It begins by discussing some of the prominent features and objectives of vaporwave. Although there is much ambiguity in the overall attitude and message of vaporwave, its main unifying ideology is the re-configuration of pop music from the 1970s and ‘80s in order to critique and parody consumerism and corporate culture. With an analysis of one of the most well-known examples of vaporwave, Macintosh Plus’ Floral Shoppe (2011), the article explores the relationship of vaporwave to techno-Orientalism and the genre’s recent pernicious co-option by the conservative alt-right movement in the forms of Fashwave and Trumpwave.
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Zhang, Huizhi. "Vaporwave — Anti-Capitalism Internet Music." Arts Studies and Criticism 3, no. 4 (September 20, 2022): 304. http://dx.doi.org/10.32629/asc.v3i4.1036.

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Vaporwave is a music genre that appears in the 2010s and it lives on the internet. It remixes clips from the 1980s or 90s music and electronic sounds, which gives people a strong sense of confusion, emptiness and dislocation of time and space. The unique characteristics of vaporwave actually represent the attitude against capitalism and consumer culture. This essay emphasises how vaporwave utilises its features and ideas to criticise capitalism. Specifically, there are three parts that discuss the meaning of names, the ideology of vaporwave and the visual aesthetics of vaporwave.
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Schembri, Sharon, and Jac Tichbon. "Digital consumers as cultural curators: the irony of Vaporwave." Arts and the Market 7, no. 2 (October 2, 2017): 191–212. http://dx.doi.org/10.1108/aam-12-2016-0023.

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Purpose The purpose of this paper is to address the question of cultural production, consumption and intermediation in the context of digital music. Design/methodology/approach This research adopts an interpretivist, ethnoconsumerist epistemology along with a netnographic research design combined with hermeneutic analysis. Interpreting both the text view and field view of an ethnoconsumerist approach, the netnographic research design includes participant observation across multiple social media platforms as well as virtual interviews and analysis of media material. The context of application is a digital music subculture known as Vaporwave. Vaporwave participants deliberately distort fundamental aspects of modern and postmodern culture in a digital, musical, artistic and storied manner. Findings Hermeneutic analysis has identified a critical and nostalgic narrative of consumerism and hyper-reality, evident as symbolic parallels, intertextual relationships, existential themes and cultural codes. As a techno savvy community embracing lo-fi production, self-releasing promotion and anonymity from within a complexity of aliases and myriad collaborations, the vaporous existentialism of Vaporwave participants skirts copyright liability in the process. Accordingly, Vaporwave is documented as blurring reality and fantasy, material and symbolic, production and consumption. Essentially, Vaporwave participants are shown to be digital natives turned digital rebels and heretical consumers, better described as cultural curators. Research limitations/implications This research demonstrates a more complex notion of cultural production, consumption and intermediation, argued to be more accurately described as cultural curation. Practical implications As digital heretics, Vaporwave participants challenge traditional notions of modernity, such as copyright law, and postmodern notions such as working consumers and consuming producers. Social implications Vaporwave participants present a case of digital natives turned digital rebels and consumer heretics, who are actively curating culture. Originality/value This interpretive ethnoconusmerist study combining netnography and hermeneutic analysis of an online underground music subculture known as Vaporwave shows digital music artists as cultural curators.
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Álvarez Azcárraga, Luis, and Meztli Mayahuel Chavarría Soria. "memes musicales y cultura audiovisual en Internet." ARTE IMAGEN Y SONIDO 2, no. 4 (July 27, 2022): 51–67. http://dx.doi.org/10.33064/4ais4033.

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Este artículo hace un análisis del fenómeno musical denominado Vaporwave desde la teoría del remix, tanto en el aspecto musical como el audiovisual, así como su relación con la cultura visual y las formas estéticas contemporáneas. El Vaporwave es un fenómeno musical y audiovisual de este milenio, con poco más de una década de existencia. Es un subgénero de la música electrónica popular, que remezcla fragmentos de piezas musicales de las décadas de 1980 y 1990, reafirmando la decadencia o el paso de los años de ésta a través de la edición y los filtros de sonido. De la misma forma, el Vaporwave utiliza una estética visual que mezcla elementos del pasado y del presente, imitando la decadencia del capitalismo y el cyberpunk. Se considera que el Vaporwave comparte elementos de reproductibilidad, intertextualidad y fecundidad que también tienen los memes de internet.
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Nowak, Raphaël, and Andrew Whelan. "“Vaporwave Is (Not) a Critique of Capitalism”: Genre Work in An Online Music Scene." Open Cultural Studies 2, no. 1 (November 1, 2018): 451–62. http://dx.doi.org/10.1515/culture-2018-0041.

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Abstract Vaporwave, first emerging in the early 2010s, is a genre of music characterised by extensive sampling of earlier “elevator music,” such as smooth jazz, MoR, easy listening, and muzak. Audio and visual markers of the 1980s and 1990s, white-collar workspaces, media technology, and advertising are prominent features of the aesthetic. The (academic, vernacular, and press) writing about vaporwave commonly positions the genre as an ironic or ambivalent critique of contemporary capitalism, exploring the implications of vaporwave for understandings of temporality, memory and technology. The interpretive and discursive labour of producing, discussing and contesting this positioning, described here as “genre work,” serves to constitute and sediment the intelligibility and coherence of the genre. This paper explores how the narrative of vaporwave as an aesthetic critique of late capitalism has been developed, articulated, and disputed through this genre work. We attend specifically to the limits around how this narrative functions as a pedagogical or sensitising device, instructing readers and listeners in how to understand and discuss musical affect, the nature and function of descriptions of music, and perhaps most importantly, the nature of critique, and of capitalism as something meriting such critique.
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Dovydaitis, Gytis. "Celebration of the Hyperreal Nostalgia: Categorization and Analysis of Visual Vaporwave Artefacts." Art History & Criticism 17, no. 1 (November 15, 2021): 113–34. http://dx.doi.org/10.2478/mik-2021-0010.

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Summary Vaporwave grabs the attention of internet voyager with harsh collages glued together in a technically primitive manner. It’s a cultural phenomenon which both originated and is active solely on the internet. In the context of general internet culture Vaporwave is exclusive in its aesthetics due to the domination of violet and pink colors, technically primitive quality of texts, fetishization of 8th and 9th decade mainstream commodities and acute nostalgic undertones. Vaporwave has been mostly explored as a music genre or sociological phenomenon, while its visual aspect has mostly remained unattended. This article seeks to analyze the conceptual aspects embodied within Vaporwave visuals, to briefly compare them with music, and to unpack the mechanism of nostalgia as an affective entry point to the movement. The interpretation is mainly lead by Jean Baudrillard’s theory of hyperreality, and interpretational principles of hermeneutics. Five Tumblr blogs were analyzed. Hermeneutic inquiry into the texts yielded seven distinct symbol categories differentiated by the affect they generate: nostalgic commodities, idyllic classics, melancholic landscapes, harsh distortions, gentle geometry, depressive texts, and ecstatic brands. Each of these categories here are elaborated in detail finally summarizing the multilayered symbolism of the movement. It can be described as nostalgically challenging visual conventions through harsh technical quality and opposing codes of behavior through open expressions of depression and melancholy, thus exposing the doubts of individual imprisoned in postmodern society. ’80s and ’90s here become hyperreal fantasy lands of the past where a nostalgic individual can find refuge. In comparison to music, the visual aspect of Vaporwave highlights the technology as central artefacts of nostalgia, introduces new ways to analyze late capitalist consumer culture, and brings an intimate dialogue with hyperreality to the front. The article suggests that Vaporwave is a post-ironic art movement which both celebrates and criticizes capitalism, finally remaining vague whether there are ways to escape the system, and whether these ways should even be looked for.
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Dissertations / Theses on the topic "Vaporwave"

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Sollevi, Anna. "Craft Reality." Thesis, Konstfack, Textil, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-5835.

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CRAFT REALITY Handicra vs. Digital technology A mashup with the aim to unify and to expand. A research of the possibilities that appear when I allow textile cra to get a ected by and to interact with digi- tal manipulation and the aesthetic of the world wide web. A study in contemporary and underground art forms, developed by them young or A method of working with techniques and material, once taught by those today seen as them old: Maybe it can be both.
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Ottum, Joshua J. "Anthropogenic Moods: American Functional Music and Environmental Imaginaries." Ohio University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1458123106.

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Wu, Yuhong. "When is a preannounced new product likely to be delayed and become vaporware? /." Full text (PDF) from UMI/Dissertation Abstracts International, 2001. http://wwwlib.umi.com/cr/utexas/fullcit?p3008473.

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Neves, Rúben Elias. "Ler o Vaporwave: Um estudo formal e temático sobre a estética Vaporwave." Master's thesis, 2019. https://hdl.handle.net/10216/124838.

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Neves, Rúben Elias. "Ler o Vaporwave: Um estudo formal e temático sobre a estética Vaporwave." Dissertação, 2019. https://hdl.handle.net/10216/124838.

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Sahlén, Sofia. "En ny estetik." Thesis, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-119860.

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Oliveira, Beatriz Lopes de. "Cultura pop e escapismo: nostalgia na era pós-internet." Master's thesis, 2020. http://hdl.handle.net/10451/42592.

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This project work arises from a need to contextualize and research what is the role of nostalgia and escapism in pop culture and how they inspired my artistic project. It is intended an understanding of the themes and aesthetic and conceptual trends that have been revealed in the last decade.The first chapter is devoted to exploring the concepts of Nostalgia and Escapism, and how they relate. Escapism, the motivating force of creation and invention, is explored as a multifaceted concept, and nostalgia as a process of escape and how memories become attached in the creative process subconsciously. The ways nostalgia is distorted and caused by the media is exposed, and how it controls us; the role of nostalgia in pop culture and hauntology. The second chapter deals with the issue of art and the internet, giving a brief introduction to the origins of net art. Various cybercultures are also explored, highlighting Vaporwave, the aesthetic and artistic movement of ephemeral nature. Is still approached the post-internet as aesthetic movement and given as examples the artists Signe Pierce and Oblinof Axyxa. Finally, the third chapter deals with the art project entitled Remember Summer Days, by connecting it with the previous themes. The work is treated as a product of the zeitgeist and is considered the role of pop culture in influencing the work. The role of cinema in the work and compare with other media (cinema, television) is dissertated. Photographic work is explored in its composition, a still life as an influence. The color element and the way it alters perception of reality is seen, as the matter of artificial light, and its dream quality and the matter of the eerie.
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Books on the topic "Vaporwave"

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Babbling corpse: Vaporwave and the commodification of ghosts. Winchester, UK: Zero Books, 2016.

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Graves, Kirk Walker. Vaporwave. Bloomsbury Publishing Plc, 2022.

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McNutt, Rebecca. Vaporwave Sixtyten. Independently Published, 2019.

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Leiter, Fabian. Loneliness: Vaporwave/Aesthetic. Independently Published, 2021.

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Leiter, Fabian. Stressed: Vaporwave/Aesthetic. Independently Published, 2021.

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Leiter, Fabian. Offline: Vaporwave/Aesthetic. Independently Published, 2021.

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Leiter, Fabian. Tired: Vaporwave/Aesthetic. Independently Published, 2021.

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Leiter, Fabian. Offline: Vaporwave/Aesthetic. Independently Published, 2021.

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Leiter, Fabian. Heartless: Vaporwave/Aesthetic. Independently Published, 2021.

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Neale, Oliver. Palm Mall: A Vaporwave Novel. Lulu.com, 2019.

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Book chapters on the topic "Vaporwave"

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Whelan, Andrew. "“Do You Have a Moment to Talk About Vaporwave?” Technology, Memory, and Critique in the Writing on an Online Music Scene." In Popular Music, Technology, and the Changing Media Ecosystem, 185–200. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-44659-8_11.

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Harper, Adam. "Vaporwave is Dead, Long Live Vaporwave!" In The Cambridge Companion to Music in Digital Culture, 119–23. Cambridge University Press, 2019. http://dx.doi.org/10.1017/9781316676639.010.

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Bideaux, Kévin. "Seapunk et vaporwave : esthétiques prospectives de deux hétérotopies virtuelles." In Pratiques artistiques et culturelles : jeux du réel et du virtuel entre plausible et incroyable. Éditions du Comité des travaux historiques et scientifiques, 2022. http://dx.doi.org/10.4000/books.cths.16286.

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Steinmetz, Cristiano José, Rafael Rodrigo Mueller, and Talia Jeremias. "Os usos políticos do vaporwave como expressão dialética do détournement situacionista." In Arte e literatura na sociedade do espetáculo, 91–109. Pimenta Cultural, 2020. http://dx.doi.org/10.31560/pimentacultural/2020.824.91-109.

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Kuhn, Will, and Ethan Hein. "Teaching Creativity with Outside-the-Box Projects." In Electronic Music School, 175–216. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190076634.003.0009.

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The projects in this chapter are designed to teach musical originality. They strike a balance between regimented sequences and playful open-endedness. The goal of the projects is to foster students’ development of their own unique voices by leading them from executing teachers’ instructions to setting and attaining their own creative goals. The projects include unconventional musical forms: untimed abstract soundscapes, vaporwave tracks based on samples of commercial music and advertisements, turning finely edited video clips into a “beatboxed” drum pattern, creating music using samples of existing songs, and, finally, having students design their own projects. Throughout, the aim is to move beyond simply teaching technical skills and toward fostering imaginative thinking, the expression of emotions through sound, authenticity of voice, and irreverence. Another aim is to empower teachers to use tools and techniques unconventionally, and to adapt creative deviation methods to their own project planning and curriculum design.
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Wallach, Wendell, and Colin Allen. "BEYOND VAPORWARE?" In Moral Machines, 125–38. Oxford University Press, 2009. http://dx.doi.org/10.1093/acprof:oso/9780195374049.003.0010.

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deHaan, Jonathan. "Is game-based language teaching ‘vaporware’?" In Digital Games and Language Learning. Bloomsbury Academic, 2021. http://dx.doi.org/10.5040/9781350133037.ch-012.

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Conference papers on the topic "Vaporwave"

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Petrovic, Nenad. "Digital Consumption as Art Expression: Ontological Approach to Vaporwave Generation." In 2020 Zooming Innovation in Consumer Technologies Conference (ZINC). IEEE, 2020. http://dx.doi.org/10.1109/zinc50678.2020.9161792.

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Coulton, Paul, and Joseph Lindley. "Game vaporware as design fictions." In AcademicMindtrek'16: Academic Mindtrek Conference 2016. New York, NY, USA: ACM, 2016. http://dx.doi.org/10.1145/2994310.2994313.

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