There is a cultural trend taking place in the world of music - and in many areas of youth culture - that can be summed up as a sort of "Remembrance of Things Past" that converge in the postmodern construction of a shared memory which uses analog as Lomo and Polaroid photographs, music with hints of low fidelity to sounds of the past - a bit 'as if they were coming out of an old radio was found by some time scale -, often conveyed by music formats such as cassettes and obsolete by video post-production trying to recreate the colors of the images in super 8 or even the VHS. It is a memory out of phase, distance, recalling a childhood imaginary and idealized deeply that takes on the pastel colors and images in low fidelity Analog Photography and sounds of some fuzzy lo-fi music produced over the past two years. A place of imagination, vague and full of nostalgia, paradoxical and ever present together, in which we are immersed in this infinite where past and future recombine constantly assuming new meanings. What drives a guy raised in the year zero, in a world almost completely digitized, to establish a relationship with almost fetishistic objects obsolete and to build an aesthetic that is reminiscent of the generations of the seventies and eighties? It's just a trend, cyclical, like the vintage, or is there a deeper reason?
In 2009 he began to turn an artist called Washed Out, true name Ernest Green, a native of Georgia. One photo shows him with his face superimposed in the foreground to the background of a stormy sea, on a cliff indefinable. The effect is recreated through a Lomo camera manual born in Russia in the twenties of the last century and revived in the year zero, when the company was put into production at the Lomography Holga and Diana variety. To change the frame of the film should turn the lever and go to the next. But you can make two shots in the same frame, resulting in a superposition of two different photos (double exposure). The trip is deeply back. It may have been made the other day as in the seventies, why not coordinate precise time. And the same goes for music Washed Out, which has the placid pace of a electro-pop eighties, but with a job on the sound that tends to recreate the conditions of play of the decade, or at least is supposed to be , as if listening to a radio battered happen or as if the songs were recorded on a tape that had been recorded. On the Web began to turn video clips made by fans who used images of old movies, TV shows eighties, who played well the cultural context which recalled the songs - the nostalgia, memory, memories, images that have populated the youth boys between 25 and 30 and passes back into vogue and so slightly deformed. In an article in The Wire on the movement of bands that perform similar operations (Neon Indian, Memory Tapes, Ariel Pink, Julian Lynch, etc.), the critic David Keenan spoke of an aesthetic based on "memory of the memory," which the music started to radiate throughout. The bands that do this work on memory there have been countless more, but it's not just the music: video clips of the years of the three years from 2008 to today are a riot of colors like grainy Super 8. And even the covers of records, and many of the same promotional photos, I share a similar aesthetic, as noted on Pitchfork.com in a very article documented that he tried to fix the coordinates more general: "We are getting nostalgic towards specific items from our youth, or our memories, but for surfaces and shapes of objects that look old, and generalized types of memories." The litter box is an emblem of this trend. Subject to emotional definition, which refers to a compilation made up of youth with handwritten titles and artists and afternoons spent to record songs from radio, over the past two years has made a comeback in a completely unpredictable. It is as if you were creating a form of memory in a posthumous currently suspended temporarily. And the music involves more general issues, such as our relationship with these technologically advanced years (and the consequences producing on our lives). There are those who connects, as does Pitchork, the difficulty of growing up today. Time dilation in adolescence and young adulthood. Unlike previous generations, they had a way of life defined in the channels of work and family, with a degree of stability and of the sections more or less precisely articulated, the latest generation faces a completely different time: the work goes away, make a family is sent back to better times. A Polaroid shot, so full of nostalgia, seems to point to that time, illusory, are perceived as easier. ( Unione Sarda )
In 2009 he began to turn an artist called Washed Out, true name Ernest Green, a native of Georgia. One photo shows him with his face superimposed in the foreground to the background of a stormy sea, on a cliff indefinable. The effect is recreated through a Lomo camera manual born in Russia in the twenties of the last century and revived in the year zero, when the company was put into production at the Lomography Holga and Diana variety. To change the frame of the film should turn the lever and go to the next. But you can make two shots in the same frame, resulting in a superposition of two different photos (double exposure). The trip is deeply back. It may have been made the other day as in the seventies, why not coordinate precise time. And the same goes for music Washed Out, which has the placid pace of a electro-pop eighties, but with a job on the sound that tends to recreate the conditions of play of the decade, or at least is supposed to be , as if listening to a radio battered happen or as if the songs were recorded on a tape that had been recorded. On the Web began to turn video clips made by fans who used images of old movies, TV shows eighties, who played well the cultural context which recalled the songs - the nostalgia, memory, memories, images that have populated the youth boys between 25 and 30 and passes back into vogue and so slightly deformed. In an article in The Wire on the movement of bands that perform similar operations (Neon Indian, Memory Tapes, Ariel Pink, Julian Lynch, etc.), the critic David Keenan spoke of an aesthetic based on "memory of the memory," which the music started to radiate throughout. The bands that do this work on memory there have been countless more, but it's not just the music: video clips of the years of the three years from 2008 to today are a riot of colors like grainy Super 8. And even the covers of records, and many of the same promotional photos, I share a similar aesthetic, as noted on Pitchfork.com in a very article documented that he tried to fix the coordinates more general: "We are getting nostalgic towards specific items from our youth, or our memories, but for surfaces and shapes of objects that look old, and generalized types of memories." The litter box is an emblem of this trend. Subject to emotional definition, which refers to a compilation made up of youth with handwritten titles and artists and afternoons spent to record songs from radio, over the past two years has made a comeback in a completely unpredictable. It is as if you were creating a form of memory in a posthumous currently suspended temporarily. And the music involves more general issues, such as our relationship with these technologically advanced years (and the consequences producing on our lives). There are those who connects, as does Pitchork, the difficulty of growing up today. Time dilation in adolescence and young adulthood. Unlike previous generations, they had a way of life defined in the channels of work and family, with a degree of stability and of the sections more or less precisely articulated, the latest generation faces a completely different time: the work goes away, make a family is sent back to better times. A Polaroid shot, so full of nostalgia, seems to point to that time, illusory, are perceived as easier. ( Unione Sarda )
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