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Journal articles on the topic 'Vaporwave'

Author: Grafiati

Published: 4 June 2021

Last updated: 29 January 2023

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1

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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2

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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3

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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6

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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7

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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10

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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Liguori Filho, Carlos Augusto. "Músicas do Elevador Virtual." LICERE - Revista do Programa de Pós-graduação Interdisciplinar em Estudos do Lazer 22, no. 4 (December 24, 2019): 628–55. http://dx.doi.org/10.35699/1981-3171.2019.16283.

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O presente artigo busca descrever e analisar o Vaporwave, movimento artístico surgido e popularizado exclusivamente na Internet. Pretende-se tratar de seu conteúdo, dos tipos de produção cultural a ele pertencente e da comunidade formada em seu entorno. Em seguida, pretende-se compreender como o sistema de direitos autorais trata o Vaporwave e quais seriam os problemas de possíveis incompatibilidades entre o sistema e este tipo de produção cultural.

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Mello, Jamer Guterres de, and Mario Alberto Pires de Arruda. "Vaporwave: Dadaísmo digital de mídias." Sessões do Imaginário 22, no. 38 (October 17, 2017): 164. http://dx.doi.org/10.15448/1980-3710.2017.2.29269.

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Este artigo busca investigar as relações técnicas, discursivas e expressivas entre os movimentos estéticos Vaporwave e Dadaísmo. O primeiro é um movimento cuja expressão se dá na interseção entre música, vídeo e imagem estática a partir de material digital disponível na internet; o segundo foi um movimento das vanguardas artísticas modernas do início do século passado, formado principalmente na Europa por um grupo de escritores, poetas e artistas plásticos. Mais especificamente o objetivo deste texto é tentar identificar de que forma o tipo de apropriação efetuado no Vaporwave se assemelha às estratégias de criação utilizadas pelos dadaístas. O que evidenciamos nas investigações aqui propostas é que tanto o Dadaísmo quanto o Vaporwave funcionam como contra-ambientes (MCLUHAN; STAINES, 2005) que revelam as lógicas de funcionamento das mídias hegemônicas, produzindo novos hábitos e usos em relação às tecnologias.

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13

Kayserilioğlu, Kadir. "Vaporwave Estetiği Üzerinden Nostalji Olgusunu Düşünmek." Sanat Tasarim Dergisi, no. 11 (December 14, 2020): 57–68. http://dx.doi.org/10.35333/sanat.2020.263.

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14

Luz, Gustavo Stephan Rocchetti, and Luisa Angélica Paraguai Donati. "LEGADO DA LINGUAGEM VISUAL DO VAPORWAVE." DAPesquisa 16 (October 7, 2021): 01–15. http://dx.doi.org/10.5965/18083129152021e0027.

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O artigo disserta sobre a visualidade do movimento Vaporwave, fundamentando em Hall (1997) o sistema da linguagem – seus códigos e as construções de sentidos, conformadas pelos signos. Neste sentido, analisa-se a capa do álbum “Floral Shoppe” (2011), identificando os elementos visuais e o contexto de suas mensagens políticas, posteriormente discutidos diante da apropriação por grandes corporações, ainda que se apresentem ideologicamente contrárias.

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15

Ballam-Cross, Paul. "Reconstructed Nostalgia." Journal of Popular Music Studies 33, no. 1 (March 1, 2021): 70–93. http://dx.doi.org/10.1525/jpms.2021.33.1.70.

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In chillwave, synthwave, vaporwave, and their respective subgenres, a common element is the thread of nostalgia, constant in each. This is the case for both the cover art used for these releases, as well as compositional techniques used in the music itself. Although these genres certainly approach nostalgia in different ways, they each rely on imagery that evokes nostalgic feelings or memories in a form of collective, imaginative self-soothing. The memories evoked, however, tend to rely on unrealistic depictions of reality and center on times and places that have perhaps only existed in the listener’s imagination. This article argues that the re-interpretation of cultural memory is an important structural feature in chillwave, synthwave, vaporwave, and vaporwave subgenres such as mallsoft and the associated Japanese “city pop” revival. Through a discussion of the visual and musical connections that draw these genres together, the concepts of nostalgia in music (as well as the related concept of “reconstructed nostalgia”) are explored. An examination of listeners’ narrative explorations of these genres posted online suggests that users engage knowingly and willingly with this “reconstructed nostalgia.” Ultimately, this forms a collaborative and collective universe used by listeners as a method of escapism, through both their own imaginations and online comments.

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Killeen, Padraic. "Burned Out Myths and Vapour Trails: Vaporwave’s Affective Potentials." Open Cultural Studies 2, no. 1 (December 1, 2018): 626–38. http://dx.doi.org/10.1515/culture-2018-0057.

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Abstract As a “born digital” audiovisual music genre and visual aesthetic, vaporwave channels remnants of popular culture, advertising, and consumer technology from the 1980s and early 1990s. retrieving the strange sense of affective potential that still echoes within the outmoded, depleted myths of that era. In doing so, it opens up a unique vantage-point on our present moment, and our contemporary attachments to digital media and a still unrelenting consumer culture. Just as Walter Benjamin believed “revolutionary energies” to resound in the outmoded objects of nineteenth century culture, vaporwave invites us to recognise the affective potentials still incipient in the sounds and images of the recent past and, in doing so, to acknowledge the affective potential available in our own cultural moment.

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Papuc, Oana Teodora. "Exploring Liminal Aesthetics: the “Glitchy and Decayed” Worlds of Vaporwave, Semiotic Assemblages, and Internet Linguistics." Studia Universitatis Babeș-Bolyai Philologia 67, no. 4 (December 20, 2022): 165–86. http://dx.doi.org/10.24193/subbphilo.2022.4.08.

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"Exploring Liminal Aesthetics: The “Glitchy and Decayed” Worlds of Vaporwave, Semiotic Assemblages, and Internet Linguistics. The topic of online identity formation in the realm of computer-mediated communication is nothing new. However, what does stand out, especially in recent years, in the larger framework of Internet-based sociolinguistic practices (David 2010; Williams 2006), is a much-needed exploration of various new microcultural aggregates. Some of these niche-genres are frequently encountered on YouTube, while others are primarily short-lived Instagram or TikTok community-driven trends. In essence, this paper states the belief that it is precisely these relatively contemporary microcultural trends that manage to accurately take the pulse of a new, post-pandemic world. Moreover, since many of these forms of artistic self-expression can be understood through a Cultural Sociolinguistic lens (Cotrău, Cotoc, and Papuc 2021), a translation of their particular symbolic meanings can only help decipher the increasingly chaotic, hypersubjective, and “semiotic assemblages” (Pennycook 2017) that individuals seem to be inhabiting and creating. Thus, the current paper aims to offer an analysis that ties together an array of only seemingly disparate elements, namely: cultural economy, creation and consumption of online cultural artefacts, and an affective processing that ties real-life traumatic events to the creation of particular cultural trends - liminal aesthetics and vaporwave, paired with a fascination with all things “glitchy and decayed” (Loignon and Messier 2020). Keywords: online identity, sociolinguistics, Internet linguistics, multimodality, vaporwave, liminal aesthetics, semiotic assemblages "

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Cole, Ross. "Vaporwave Aesthetics: Internet Nostalgia and the Utopian Impulse." ASAP/Journal 5, no. 2 (2020): 297–326. http://dx.doi.org/10.1353/asa.2020.0008.

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Morrissey, Nicholas. "Metamodernism and Vaporwave: A Study of Web 2.0 Aesthetic Culture." Nota Bene: Canadian Undergraduate Journal of Musicology 14, no. 1 (June 16, 2021): 64–82. http://dx.doi.org/10.5206/notabene.v14i1.13361.

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With the advent of Web 2.0, new forms of cultural and aesthetic texts, including memes and user generated content (UGC), have become increasingly popular worldwide as streaming and social media services have become more ubiquitous. In order to acknowledge the relevance and importance of these texts in academia and art, this paper conducts a three-part analysis of Vaporwave—a unique multimedia style that originated within Web 2.0—through the lens of a new cultural philosophy known as metamodernism. Relying upon a breadth of cultural theory and first-hand observations, this paper questions the extent to which Vaporwave is interested in metamodernist constructs and asks whether or not the genre can be classed as a metamodernist text, noting the dichotomy and extrapolation of nostalgia promoted by the genre and the unique instrumentality it offers to its consumers both visually and sonically. This paper ultimately theorizes that online culture will continue to play an important role in cultural production, aesthetic mediation, and even personal expression as media becomes more integrated into our systems of meaning.

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Born, Georgina, and Christopher Haworth. "From Microsound to Vaporwave: Internet-Mediated Musics, Online Methods, and Genre." Music and Letters 98, no. 4 (November 1, 2017): 601–47. http://dx.doi.org/10.1093/ml/gcx095.

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Gintere, Ieva. "A NEW DIGITAL ART GAME: THE ART OF THE FUTURE." SOCIETY. INTEGRATION. EDUCATION. Proceedings of the International Scientific Conference 4 (May 21, 2019): 346. http://dx.doi.org/10.17770/sie2019vol4.3674.

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The task of this study is to create an innovative digital art game of contemporary aesthetics on the basis of research. Research implies the analysis of digital art games and the historical background of their aesthetics, as well as their classification following the stylistic trends. Digital games have a great potential to integrate people into fields that would otherwise not meet their interest. The new game would develop the creative skills of players and teach them the current trends in digital art. The game would project the inheritance of art from the age of modernism into the digital world by teaching the player to recognize it (for instance, pixel aesthetics is a successor to cubism and constructivism). The new game will let its user play around with the trends in digital art such as vaporwave, glitch and others, and to create new ones. Thus, it would deal with the problem of knowledge cache and cultural segregation that characterizes modern art: being an esoteric subject to a great extent, it is difficult to access a large segment of the public. The aim of this study is to raise the interest of a wide-ranging public for contemporary art and to point out the newest creative tendencies in art. The paper presents an overview of digital art games, introduces a novel term, vaporwave, that has not been registered in the art game discourse so far, and offers an updated definition of the art game. The Design Science Research method is used in order to cross-cut such remote fields as the general public and the arthouse world, codes of modern art and the taste of the general public.

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Jacobson, Jordon J. "Fast Forwarding the Past (on Pause): Daniel Lopatin’s Memory Vague and the Hauntological Aesthetic of Vaporwave." Velvet Light Trap 90 (September 2022): 28–37. http://dx.doi.org/10.7560/vlt9004.

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Choi, Jay Pil, Eirik Gaard Kristiansen, and Jae Nahm. "VAPORWARE*." International Economic Review 51, no. 3 (August 4, 2010): 653–69. http://dx.doi.org/10.1111/j.1468-2354.2010.00596.x.

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Moro, Gláucio Henrique Matsushita, Fabiane Alves De Lima, and Rodrigo José Firmino. "A subversão da imagem e a imagem da subversão: o aparato como construção de narrativas em câmeras de segurança." Revista Tecnologia e Sociedade 17, no. 49 (October 1, 2021): 133. http://dx.doi.org/10.3895/rts.v17n49.14490.

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As possibilidades de interpretação e construção que uma imagem detém podem ser únicas. A imagem e o vídeo constroem e ressignificam linguagens pelas suas interações com o meio social, sendo muitas vezes resultados visuais de uma necessidade prática, podendo ser posteriormente incorporadas a uma estética visual de fácil reconhecimento. O presente artigo pretende discutir a imagem e seus sentidos pela ótica da câmera de segurança. Pretende-se neste caso construir uma análise pelo viés da imagem sequencial de câmeras de segurança, bem como seus desdobramentos e apropriações como forma de linguagem na televisão, do cinema e de expressões culturais nas redes. A intenção é, sob o ponto de vista da imagem, examinar a cultura e as relações que fazemos com a construção cultural de elementos visuais, demonstrando que o aparato não só cria um estado de opressão vigilante–como no caso da câmera–, mas gera resultados imagéticos culturalmente construídos dentro do espaço-tempo ressonante que desenvolveu essas linguagens. O artigo também apresenta o rastro simbólico da imagem deixada por apropriações subsequentes, analisando estéticas baseadas na imagem gerada por câmeras de segurança dentro de programas de TV e movimentos imagéticos digitais como o vaporwave. Estes são entendidos como parte de um simbolismo construído posteriormente ao processo técnico/tecnológico, com intuitos totalmente diferenciados daqueles criados inicialmente pelas imagens originais. Essa construção simbólica se dá por meios dos processos surgidos das transmissões de TV, relações sociais e econômicas e onde o ponto de partida é o processo técnico e a imagem resultante de formas que foram criadas pelas câmeras de segurança.

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Levy, Stephan M. "Should “Vaporware” Be an Antitrust Concern?" Antitrust Bulletin 42, no. 1 (March 1997): 33–43. http://dx.doi.org/10.1177/0003603x9704200104.

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Haan, Marco A. "Vaporware as a Means of Entry Deterrence." Journal of Industrial Economics 51, no. 3 (September 2003): 345–58. http://dx.doi.org/10.1111/1467-6451.00204.

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Stone, James A. "Mobile Medicine: Digital Dynamo or Virtual Vaporware." Canadian Journal of Cardiology 33, no. 2 (February 2017): 216–18. http://dx.doi.org/10.1016/j.cjca.2016.10.032.

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Bao, Yongchuan. "Vaporware: a tug of war between market freezing and cannibalisation." International Journal of Technology Marketing 3, no. 2 (2008): 116. http://dx.doi.org/10.1504/ijtmkt.2008.018860.

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Ofek, Elie, and Özge Turut. "Vaporware, Suddenware, and Trueware: New Product Preannouncements Under Market Uncertainty." Marketing Science 32, no. 2 (March 2013): 342–55. http://dx.doi.org/10.1287/mksc.1120.0762.

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30

Siegel, David, and Tracy Rouchka. "Demo-driven design or design-driven demos: vaporware, demos, and prototypes." Interactions 9, no. 4 (July 2002): 25–30. http://dx.doi.org/10.1145/543434.543449.

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Bayus, Barry L., Sanjay Jain, and Ambar G. Rao. "Truth or Consequences: An Analysis of Vaporware and New Product Announcements." Journal of Marketing Research 38, no. 1 (February 2001): 3–13. http://dx.doi.org/10.1509/jmkr.38.1.3.18834.

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Jung, Heonsoo. "Signaling quality with new product preannouncements: Vaporware and the role of reference quality." Journal of Business Research 64, no. 11 (November 2011): 1251–58. http://dx.doi.org/10.1016/j.jbusres.2011.06.032.

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Espregueira-Mendes, João. "Is the anterolateral ligament the smoking gun to explain rotational knee laxity or just vaporware?" Journal of ISAKOS: Joint Disorders & Orthopaedic Sports Medicine 6, no. 2 (March 2021): 63–65. http://dx.doi.org/10.1136/jisakos-2020-000529.

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March, Lucy. "Satisfaction Guaranteed: Techno-Orientalism in Vaporwave." Lateral 11, no. 1 (June 2022). http://dx.doi.org/10.25158/l11.1.3.

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A characteristic frequently glossed over in scholarly examinations of the online electronic music genre vaporwave is its use of East Asian cultural imagery in its paratexts. One exception is a piece by musicologist Ken McLeod, who connects vaporwave’s use of visual references to Japanese culture to techno-Orientalism, a term that describes how paranoia around Japanese economic expansion in the late twentieth century manifested in American and European cultural products. This article extends McLeod's argument to show how the uses and reproductions of East Asian cultural elements in vaporwave serve to reinforce stereotypes consistent with histories of techno-Orientalist representations, particularly with regard to gender. This article elaborates on the anonymous nature of the vaporwave scene to complicate approaches to techno-Orientalist analyses of digital artifacts. In doing so, this essay contributes to the growing body of scholarly literature addressing the roles representation, aesthetics, and affect play in the formation of communities around music genres online.

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Palmieri, Lucca. "Vaporwave." Revista Avesso: Pensamento, Memória e Sociedade 3, no. 1 (September 29, 2022). http://dx.doi.org/10.23925/2675-8253.2022v3n1a8.

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O objeto da pesquisa é o Vaporwave. Este surgiu como um microgênero da música eletrônica no começo da década de 2010, sendo criado a partir de comunidades online e fóruns. Utilizando distorções exageradas, som grave e ritornelos repetitivos cria-se uma sensação de deslocamento da realidade. Somando esse conjunto de técnicas às referências musicais do som que é remixado temos que o Vaporwave é algo que constantemente se atualiza, baseado sempre em noções de nostalgia e "desacoplamento" da realidade. A experiência da fruição desses objetos culturais é justamente vivenciar e transitar nestes espaços de rememoração, reverberação e plasticidade temporal.

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KOÇER, Bahadırhan. "Analysis of Vaporwave's Style Elements In The Context of Consumer Capitalism." Eurasian Journal of Music and Dance, June 27, 2022. http://dx.doi.org/10.31722/ejmd.1089959.

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Müzik teknolojisinin gelişmesi ve müzik prodüksiyonu için gereken donanımın erişilebilir ve taşınabilir hale gelmesi sonucunda “yatak odası prodüktörleri” müzik üretiminde önemli bir rol oynamaya başlamıştır. Bu gelişmeler, en özel alanlarında içe dönük şekilde müzik üreten prodüktörleri yaratırken, aynı zamanda elektronik müzik estetiğinde bireyciliğin etkilerinin gözlenmesini sağlamıştır. Erişilebilir donanımları ve yazılımları var eden endüstri, elektronik müzik prodüksiyonunda olduğu gibi, görsel tasarım sahasında da bireysel üretimi arttırmıştır. Yine bu iki sahada, bahsi geçen bireyselliğin bir sonucu olarak sayısız alt-tür gelişmiştir. Bu alt-türlerden biri olan vaporwave, 70’lerden 90’lara dek gözlenmiş olan tüketim çılgınlığını, parlak neon renkleri, neşeli reklam filmlerini ve dönemin müziğini distopik şekilde vurgular ve över. Bu övgüyü yaparken, aslında bir tür tüketici kapitalizm eleştirisi gerçekleştirmektedir. Dijital ortamda doğmuş olan vaporwave, günümüz teknolojisini dışlar, yüksek çözünürlüğü reddeder ve kendince zamanı durdurarak dünyayı geçmişin gözünden görmeyi tercih eder. Vaporwave, bu ironik eleştirelliği dolayısıyla diğer retro akımlardan ayrılır. Vaporwave türünün, müzik ve görsel tasarım sahasında gözlenen estetik unsurları, bu akımın alt-metnine ve kültürel zeminine dair ipuçları taşımaktadır. Bu çalışmada, karşılaştırmalı bir yöntemle, müzik ve görsel tasarım alanlarında vaporwave türünün estetiğinin oluşmasını sağlayan stil unsurları tespit edilmiş ve bu unsurlardan hareketle, vaporwave türünün tüketici kapitalizmle bağlantısı çözümlenmiştir.

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Raymundo, Ícaro Estivalet. "Imagens cíclicas: Gif através do Vaporwave." PORTO ARTE: Revista de Artes Visuais 24, no. 40 (June 30, 2019). http://dx.doi.org/10.22456/2179-8001.92584.

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Pretende-se aqui dar atenção aos regimes que se instauram no campo da imagem com a transformação do espectador em interator, sendo ela um elemento pivotal para o uso de interfaces humano/computador. Como recorte da vasta paisagem virtual, abordo o aspecto imagético que é explorado pela estética Vaporwave, gênero artístico essencialmente digital surgindo em 2010. Mais especificamente, abordo funções do GIF, e como sua natureza cíclica e de baixa resolução representa um distinto fenômeno ocorrente na tela do computador, em comparação com a tela da televisão e do cinema.AbstractThe intention here is to make a cut on the virtual landscape through theimagetic aspects that are explored by the Vaporwave aesthetics, artistic genre essentially digital emerged around 2010. More specifically, it approaches the GIF,image file format, and the regimes of creation and visualization of those files on the web. As deployments of the digital visual culture, it investigates branches and different ways of the GIF manifestation for Vaporwave.

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Vujčić, Igor. "Digitalna nostalgija: vaporwave kao multimedijalna muzička fikcija." Issues in Ethnology and Anthropology 13, no. 4 (December 29, 2018). http://dx.doi.org/10.21301/eap.v13i4.6.

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Vaporwave kao muzički žanr s ograničenim brojem uglavnom anonimnih izvođača, ali i veoma ograničenim trajanjem od samo nekoliko godina, neodvojivo je povezan sa fenomenom interneta koji funkcioniše ne samo kao prostor u komе se susreću muzičari i njihova publika, već i kao primarni kulturni okvir ovog žanra. Oslanjajući se na tehnike obrade već postojećih muzičkih izraza, kao i na vizualne predstave i reference na popularnu kulturu devedesetih godina prošlog veka, označene u kontekstu žanra kao „estetika”, vaporwave teži da iskaže i probudi kod svojih slušalaca nostalgiju za vremenom ranih početaka interneta, oblikujući svoj izraz, kako muzički tako i vizualni, sa ciljem da deluje „kao da” dolazi iz drugog vremena. Fenomen vaporwave-a razmatraće se kroz nekoliko centralnih i međusobno povezanih pitanja – na koji način se tehnike obrade zvuka, vizualne predstave i elementi popularne kulture dovode u međusobnu vezu u okviru muzičkog žanra doprinoseći njegovoj multimedijalnoj prirodi, kako se ovi elementi odvajaju od svojih primarnih tumačenja u procesima rekontekstualizacije i stvaranja specifičnog brikolaža, i na kom kulturnom znanju se zasniva kompetencija za učešće u ovakvim formama kulturne komunikacije.

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Mello, Jamer Guterres de, and Mario Alberto Pires de Arruda. "Vaporwave: Deterioração e colagem de superfícies midiáticas." Lumina 11, no. 1 (April 30, 2017). http://dx.doi.org/10.34019/1981-4070.2017.v11.21392.

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Produzindo obras a partir da deterioração e da colagem das superfícies de materiais digitais coletados no arquivo dos bancos de dados da internet, artistas de diversas partes do mundo criaram recentemente o movimento estético chamado Vaporwave. Diante do agenciamento dado entre as representações e processos midiáticos com as possibilidades de ação do computador, o movimento propõe a visibilização das práticas e ideologias que compõem a tecnologia contemporânea. Na esteira de Vilém Flusser e Michel Foucault, empreendemos uma análise procurando entender como o Vaporwave opera um jogo contra o aparelho tecnológicoe aponta para uma possível transformação dos enunciados midiáticos.

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Wilcox, Connor D., and Cristin A. Compton. "Beyond the Screen: Exploring Vaporwave Musicians’ Communicative Identity Work." Communication Studies, January 10, 2023, 1–17. http://dx.doi.org/10.1080/10510974.2023.2166553.

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Koc, Alican. "Do You Want Vaporwave, or Do You Want the Truth?: Cognitive Mapping of Late Capitalist Affect in the Virtual Lifeworld of Vaporwave." Capacious: Journal for Emerging Affect Inquiry, December 13, 2016, 57–76. http://dx.doi.org/10.22387/cap2016.4.

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Dovydaitis, Gytis. "Antikapitalistinė kritika skaitmeninėje bendruomenėje: teorinė internetinės kultūros reiškinio „Vaporwave“ samprata." LOGOS 99 (2019). http://dx.doi.org/10.24101/logos.2019.46.

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Dranove, David, and Neil Gandal. "The DVD vs. DIVX Standard War: Empirical Evidence of Vaporware." SSRN Electronic Journal, 2000. http://dx.doi.org/10.2139/ssrn.502842.

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Bayus, Barry L., Sanjay NMI1 Jain, and Ambar G. Rao. "Truth or Consequences: An Analysis of Vaporware and New Product Announcements." SSRN Electronic Journal, 2000. http://dx.doi.org/10.2139/ssrn.244087.

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Dinneen, Jesse David, and Charles-Antoine Julien. "The Disappearing Semantic Web; an Examination of 54 Semantic Search Tools." Proceedings of the Annual Conference of CAIS / Actes du congrès annuel de l'ACSI, August 17, 2016. http://dx.doi.org/10.29173/cais923.

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Following years of development of the Semantic Web,we identify and examine 54 semantic search tools:the majority (49) are not free and accessible (e.g.:abandoned, vaporware, or commercial) or don'tsearch general Web documents, while three areopaque in their operations, and two are unused andfeature poor.Après des années de développement du Websémantique, nous avons sélectionné et examiné 54outils de recherche sémantiques : la majorité (49) nesont pas libres d’accès ni faciles à trouver (parexemple : abandonnés, logiciels fantômes, oucommerciaux) ou n’effectuent pas les recherchesdans les documents Web généraux, tandis que troissont opaques dans leurs opérations, et deux sontinutilisés et sont pauvres en fonctionnalités.

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Condis, Megan. "Desert Bus: Abusive Game Design, The Martyrdom Effect, and Fan Activism on Twitch.tv." Games and Culture, January 17, 2023, 155541202211505. http://dx.doi.org/10.1177/15554120221150564.

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Desert Bus began as vaporware. A decade after it was initially shelved, it was rediscovered and became a way for gamers to show off their insider knowledge of rare and hard-to-find bits of gaming history. A few years later, its reputation for being one of the least fun video games ever made it the centerpiece of a long-running charity event. In this essay, I will conduct a textual analysis of Desert Bus and argue that the uniquely painful gaming experience that the game provides players makes it a perfect vehicle for charity streaming, providing both a sense of gamer authenticity and credibility to the Desert Bus for Hope event and an emotional incentive for viewers to give. This research stands to benefit scholars working on cult media, a field in which work on video games is relatively rare in comparison to work on television and film.

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Schatzel, Kim E., Roger J. Calantone, and Cornelia Droge. "Unfortunately The Introduction Of Our New Product Will Be Delayed: An Exploratory Examination Of Factors That Influence A Firm To Announce Changes In Its New Product Plans." Journal of Applied Business Research (JABR) 24, no. 2 (January 14, 2011). http://dx.doi.org/10.19030/jabr.v24i2.1358.

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<p class="MsoBodyTextIndent" style="text-align: justify; line-height: normal; text-indent: 0in; margin: 0in 0in 0pt;"><span style="font-size: 10pt;"><span style="font-family: Times New Roman;">New product preannouncement research investigates formal and deliberate communications by a firm regarding its future new product introductions (e.g., types of new products, new product attributes, plans for distribution, planned launch date). However, previous studies have primarily focused on communication related to the firm’s intent to introduce a new product and largely ignored communications regarding changes in their status, such as launch delays as well as cancellation of the new product introduction. The goal of this study is to address this shortfall by examining antecedents factors<span style="mso-spacerun: yes;">  </span>influencing a preannouncing firm (i.e., one that preannounces its new products) to also announce changes in to its new product introduction plans (NPCs); specifically, delays in the introduction of a new product or its cancellation. This topic is particularly relevant given the importance that recent studies have placed on the investigation of false new product preannouncements or bluffs, especially in the software industry where they are termed vaporware.<span style="mso-spacerun: yes;">  </span>Furthermore, in the wake of the many recent high-profile corporate scandals (e.g., Enron and Tyco), a growing emphasis on corporate disclosure, particularly regarding performance shortfalls (e.g., new product delays and cancellations), also highlights the need for further research on corporate communication regarding changes to new product introduction plans.<span style="mso-spacerun: yes;">  </span>Additionally, unlike most extant preannouncement research that attempts to examine differences between preannouncers and non-preannouncers, our study only examines firms that preannounce their new product introductions and then, goes further, by examining post-preannouncement behavior. In developing our framework, we propose five antecedents that motivate a preannouncing firm’s propensity, when the situation arises, to issue announcements regarding delays in a new product introduction or its cancellation. Additionally, we highlight the use of NPCs as strategic marketing communication tools that can continually inform and influence a wide range of target audiences (e.g., buyers, employees, supply chain participants, investors, and business media). The hypotheses are tested via factor score regression with a sample of 221 U.S. – based manufacturers. Our findings indicate that it is not the firm’s desire to communicate in a general sense through information sharing nor its concerns regarding competitors that motivates preannouncing firms to issue NPCs. Instead, the preannouncing firm’s desire to build its reputation, the innovativeness of its industry, and the degree to which buyers must make substantial pre-purchase investments are the main drivers of communication regarding changes to its new product introduction plans. As a set, these findings are particularly interesting as they indicate that the preannouncing firm’s desire to reduce uncertainty, often in its own favor, underlies its decision to issue NPCs. </span></span></p>

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