Abstract and Keywords
Toward the end of the first decade of the new millennium, several distinct but connected musical movements emerged that renegotiated the relationship between creative subjectivity and irony. Though stylistically distinct, hypnagogic pop, chillwave, vaporwave, and distroid all display an approach to creative appropriation that forces renegotiation of the tenets of irony. Drawing influence from a range of established styles and aesthetics connecting directly to both popular memory and the individual memories of its creators, these new forms suggest a post-ironic interpretation of source material that is informed by obsolete technology, the dust of memory, and the ability in a post-information age to recall those memories instantaneously. All these aesthetics emerged online, free from the traditional geo-social constraints of musical scenes, informed instead by the aesthetic possibilities of informational abundance, and the possibilities of the virtual as a space for exploration of memory.
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