other_life
bioconfused
some things i sent in a discord group chat stoned and listening to live skaters (i'm aware that 'chillwave' started as hro making fun of volcanic tongue):
"also wish people more eloquent than i were verbalising 'the chillwave continuum' in retrospect
i think its mutation reads roughly that... this postmodern self-deprecation, 'i'm impotent beyond reconstructing prior reference points, oh i am overburdened with history, oh history can not move forward' just isn't true. even stuff that sets out from this premise eventually encounters the world moving forward, and finds itself compelled to move forward with it. something insular, 'limited edition', fugitive furtive samizdat-xerox, aesthetic-specific, eventually becomes about more-open/deeper-listening to music and aesthetics in general, at a world level, it becomes very crowded and the older material becomes open to all kinds of interpretation, outside of this spectre of how fucking sad western media culture is. it becomes psychedelic in spite of itself
so we have to keep moving forward from what we've learned in the last decades
it betrays a real desire for 'the collective subject', for communism [and also a PROFOUND frustration w having grown up knowing nothing but 'neoliberalism' and its ideological machinery, this is fundamentally where it starts from i think, generational ting]
despite starting out very much like, petit-bourgeois art in the noise scene, or turning into these too irreverent and lax for their own good self-hyping blog projects... that's not what people are remembering from it already. they're remembering shit that stood out in spite of its milieu, that was prefigurative
idk jus ramblin"
how do the competing microgenres/microaesthetics of 1999-2009 reflect this process or perhaps others, dematerialisation being a big one ofc and bucolic reaction to dematerialisation, maybe 'militarisation of civil society'/surveilance-state expansion/surface dematerialisation of porn (stuff like hospital productions + vatican shadow, ascetic house, posh isolation, the whole thing of power electronics and rhythmic noise)
"also wish people more eloquent than i were verbalising 'the chillwave continuum' in retrospect
i think its mutation reads roughly that... this postmodern self-deprecation, 'i'm impotent beyond reconstructing prior reference points, oh i am overburdened with history, oh history can not move forward' just isn't true. even stuff that sets out from this premise eventually encounters the world moving forward, and finds itself compelled to move forward with it. something insular, 'limited edition', fugitive furtive samizdat-xerox, aesthetic-specific, eventually becomes about more-open/deeper-listening to music and aesthetics in general, at a world level, it becomes very crowded and the older material becomes open to all kinds of interpretation, outside of this spectre of how fucking sad western media culture is. it becomes psychedelic in spite of itself
so we have to keep moving forward from what we've learned in the last decades
it betrays a real desire for 'the collective subject', for communism [and also a PROFOUND frustration w having grown up knowing nothing but 'neoliberalism' and its ideological machinery, this is fundamentally where it starts from i think, generational ting]
despite starting out very much like, petit-bourgeois art in the noise scene, or turning into these too irreverent and lax for their own good self-hyping blog projects... that's not what people are remembering from it already. they're remembering shit that stood out in spite of its milieu, that was prefigurative
idk jus ramblin"
how do the competing microgenres/microaesthetics of 1999-2009 reflect this process or perhaps others, dematerialisation being a big one ofc and bucolic reaction to dematerialisation, maybe 'militarisation of civil society'/surveilance-state expansion/surface dematerialisation of porn (stuff like hospital productions + vatican shadow, ascetic house, posh isolation, the whole thing of power electronics and rhythmic noise)
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