'80s vaporwave aesthetic commercials compilation'
https://www.youtube.com/embed/izjk2beWjQ8
Context: "We can find amid this nexus key ingredients that would come to define vaporwave as it emerged and proliferated on the subcultural web during the early 2010s: piracy and recirculation of audio-visual fragments; an obsession with the period from roughly 1980 to the mid-1990s, encompassing the childhoods of Generation X and early Millennials; the combination of analog media such as cassette tapes with outmoded high-end consumer technology and home computing software; deliberately crude looping, echo effects, and speed shifting; pseudonyms, aliases, and anonymity with oblique references to Japanese tech corporations; incipient 3D videogame graphics and synthesizers; TV commercials; playful irony seamlessly imbricated with sincerity; and a fascination with hollowness, simulation, and ubiquitous music. In addition, we find an intriguing premonition of how users of the Reddit r/Vaporwave forum would later choose to depict the genre: 'music optimized for abandoned malls.'... The vaporwave https://www.reddit.com/r/Vaporwave/comments/74ond7/the_most_important_term_in_the_discussion_of/ nexus attracted a surprising degree of critical attention as it crystallized into a recognizable genre. In 2010, Mark Fisher depicted Lopatin’s 'nobody here' video as a paradigm of what Evan Calder Williams has termed 'salvagepunk'—the 'post-apocalyptic vision of a broken and dead world, strewn with both the dream residues and real junk of the world that was, and shot through with the hard work of salvaging, repurposing, détourning, and scrapping.' For Fisher, such work was not merely a flat pastiche or montage of signs but rather an act that 'retains the specificity of cultural objects, even as it bolts them together into new assemblages.' Although Fisher would later reject vaporwave as a signal of 'diminished expectations,' his writing on hauntology effectively set the terms for the genre’s reception through a distinctive feedback loop amplified by Fredric Jameson’s Postmodernism and Jacques Derrida’s Specters of Marx. In this reading, present society is haunted by successive failures to deliver on past promises such as those implicit in postwar social democracy (Fisher’s focus is on Britain): hauntology was therefore a musical call-to-arms, the last frail memory of progressive possibility. " (pp.300-303). More: 'Midnight Television 1989 | Vaporwave VHS Nostalgia Mix' https://www.youtube.com/watch?v=lc5N5swj3LQ&t=123s Bibliography: Cole, R. (2020). 'Vaporwave Aesthetics: Internet Nostalgia and the Utopian Impulse'. ASAP/Journal, 5(2), 297–326. https://doi.org/10.1353/asa.2020.0008 https://muse.jhu.edu/pub/1/article/760297/pdf
