exotika
Internet Refugee
- Joined
- Nov 7, 2021
- Messages
- 23
- Reaction score
- 68
- Awards
- 13
Not sure if anyone's interested in my morning coffee verbosity, but it's rainy today and reflective mood came over me.
One of the most popular depictions of liminal spaces is, paradoxically, Eno's album titled Music For Airports – nature of liminality seems to be very abstract and therefore makes a good pair with music. Among countless of other examples Koyaanisqatsi was the one that spoke deeply to my imagination: aerial photographs of American suburbs juxtaposed with microscopic images of integrated circuits showed that machine-like iteration isn't specific to obviously transitional places only; sometimes we wake up in planned, systemic liminality.
There's a term coined by anthropologist Marc Augé to denote such places as malls, airports and hallways – non-lieu, which translates to non-place. Defining characteristic of Augé's non-places is their inability to evoke emotions or any other kind of personal attachment. Contradictory, there were American mall rats, for whom non-lieu's became places of choice. Among vaporwave community non-lieus seem to be areas loaded with meaning, a space for fruitful exploration.
There's something I'm wondering about – liminal spaces can radiate with negativity, sometimes described as an eerie or unsettling aura, but also they can be a source of nostalgia and comfort. The negative side remind me of urban legends. Their lifespan is connected with negative emotional response. Some environmental characteristics are seen as potentially dangerous, so it's possible that uncanny feelings are just an evolution-old phenomena mixing into newer experience of liminality. But what constitutes the soothing effect then? Is it just a sentiment? Or pleasure of being detached from overflowing information highway? Can I say it's a vision of empty and anonymous space that gives us a sense of security and control we lack in realm of data foraging social media? Last but not least, maybe vaporish lens is an attempt to regain power over these ubiquitous no-one's lands with our own personal touch?
I honestly prefer positive, vibrant side of aesthetics. I'm fond of that slightly naïve idealization vaporwavers like to use, but since we're all about the media, I'm just going to post what I have found today in my archives. It's definitely on the grim side and it's far from capitalist realism we would supposedly prefer to discuss here; I took these pictures shortly before closing and demolition of big post-soviet mall. So yeah, it is a communist decayism.
One of the most popular depictions of liminal spaces is, paradoxically, Eno's album titled Music For Airports – nature of liminality seems to be very abstract and therefore makes a good pair with music. Among countless of other examples Koyaanisqatsi was the one that spoke deeply to my imagination: aerial photographs of American suburbs juxtaposed with microscopic images of integrated circuits showed that machine-like iteration isn't specific to obviously transitional places only; sometimes we wake up in planned, systemic liminality.
There's a term coined by anthropologist Marc Augé to denote such places as malls, airports and hallways – non-lieu, which translates to non-place. Defining characteristic of Augé's non-places is their inability to evoke emotions or any other kind of personal attachment. Contradictory, there were American mall rats, for whom non-lieu's became places of choice. Among vaporwave community non-lieus seem to be areas loaded with meaning, a space for fruitful exploration.
There's something I'm wondering about – liminal spaces can radiate with negativity, sometimes described as an eerie or unsettling aura, but also they can be a source of nostalgia and comfort. The negative side remind me of urban legends. Their lifespan is connected with negative emotional response. Some environmental characteristics are seen as potentially dangerous, so it's possible that uncanny feelings are just an evolution-old phenomena mixing into newer experience of liminality. But what constitutes the soothing effect then? Is it just a sentiment? Or pleasure of being detached from overflowing information highway? Can I say it's a vision of empty and anonymous space that gives us a sense of security and control we lack in realm of data foraging social media? Last but not least, maybe vaporish lens is an attempt to regain power over these ubiquitous no-one's lands with our own personal touch?
I honestly prefer positive, vibrant side of aesthetics. I'm fond of that slightly naïve idealization vaporwavers like to use, but since we're all about the media, I'm just going to post what I have found today in my archives. It's definitely on the grim side and it's far from capitalist realism we would supposedly prefer to discuss here; I took these pictures shortly before closing and demolition of big post-soviet mall. So yeah, it is a communist decayism.
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