Inspired by the way vaporwave summons a time period by sourcing specific materials, Collins says: “I realised that the late 1990s and early 2000s hadn’t been explored or researched in the vaporwave scene as much as prior eras.” He’s even begun seeking donations to enable him to divert even more of his focus to studying Y2K designs.Ī robust music and digital art movement known as “ vaporwave” examines the aesthetics of mid to late-1990s desktop software and the early web from the perspective of a generation barely old enough to remember them. The architect Evan Collins, 26, has undertaken a fascinating curation of this era, which includes heading up the Facebook community and hosting a massive gallery of potentially qualifying images. It’s definitely nostalgic, but participation actively aims beyond simple “remember this?” memes – the goal is to discuss and define, through aesthetics, a sense of the values of the time. Today, the Y2K aesthetic has thousands of fans on Facebook, thousands more on Tumblr, and a dedicatedcommunity that shares images, songs, screencaps and other types of content that recalls the period. With my platform-heeled silver sneakers, frosted glitter barrettes and matching inflatable chair and ottoman, I felt ready to surf the fiber-optic superhighway towards a future where tech was no longer a rare and musty occupation, but a clean, newly made paradise.Ī decade and a half later, that time lives on. Now, brightly coloured iMacs were seemingly sprouting up in every other home, user-friendly identikit Gateway PCs being bundled off to universities. Just a few years earlier I’d been the only one of my friends to have the internet. I graduated from high school in 1999, entering the supposed world of adults at the same time affordable hardware and software exploded into the homes of everyone I knew. Apple CEO Steve Jobs holds up a CD of Britney Spears at a developer conference in May 2000.
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