007
conclusion
“I'm glassy, shattered
Wrapped in bubble plastic
I'm fragile
…
I can tell that something's broken
Stop, smell the roses
I see things in stop motion”
“I'm glassy, shattered
Wrapped in bubble plastic
I'm fragile
…
I can tell that something's broken
Stop, smell the roses
I see things in stop motion”
Fragile, Ecco2k, 2020
The eternal ‘nowness’ amounts to the experience of an elongated virtual present which runs parallel to physical experiences of chronology. In Hito Stereyl’s 2018 lecture, Bubble Vision, she outlines
‘virtual reality’
Stereyl traces this to Jaron Lanier, inventor of some of the earliest virtual reality equipment in the 1990s. She states: “he wrote recently that virtual reality is best thought of as the removal of a single human shaped mass from the fabric of the universe” (Stereyl, 2018).
as a space/time in which we can be teleported into without corporeal reality: “everything revolves around you, like a spherical universe, yet at the same time, your body is usually missing from the scene. So you’re both at the centre, yet you are not there” (Stereyl, 2018). This phenomena can be further extended to the data storage facilities which allow me to access these cultural moments and relive them on loop. The intercise between physical reality; the located cloud and the experience of it as entirely virtual is predominantly an experience of time and its displacement. Fictionalising chronology in a way which mimics the internet experience seems key to the aesthetics of lingering - in this framework, time is not only not linear, but a narrative tool. The tongue-in-cheek Drain Gang fanbase operates - like Wong Kar-Wai - from within cliche, a folding mythologising of genre protagonists which further removes a coherent idea of time and place. As step-printing and other visual techniques of synchronicity/lack thereof make visible our experience of fractured chronology; lucid instrumentals blur this distinction between now and not now.
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