A crumpled local newspaper, ink bleeding in the rain, a tattoo of useless words on the Styrofoam takeaway. A case of stacked metaphors, every sentence weighted with the freight of muscle, plunge, pressing ahead. Snowflakes of unbreakable material make their way across bladderwrack pavements. Words like eateries and retail melt through the cracks and what’s left is the skeletal possibility of what could be, mulched in quicksand, the mall revamped with luscious funds and pumped to the brim with glass, tiles of parquet impression, leisure. The Kyle Centre mall, as understood in American English (O to cue Idlewild forever in the longing for that sensitive, Irvine drawl), once boasted a fountain where you tossed in your lucky pennies. There was a genuine, operating foodcourt. In the summer, tents would be erected upstairs for sale; a bouncy castle provided cheap joy for children and teenagers bored by another washout July. Many of us stole first kisses in the warm, polyester glow of those tents. We’d take caffeinated beverages and go browsing, the way you do now with the ease of a thumb and the screen, the virtual checkout. The semiology of colour in familiar high street stores, from Next to Topshop, functioned as landmarks in the crisscross abyss of ersatz environs, scaled to micro.
What comes next, next, next—a panoply of signage directs the flow of bodies. There were four entrances and exits, but only locals mastered the correct orientations. Kids drifted aimlessly up and down the escalators, shouting to friends who clustered on the floor below, sharing meal deals purloined from Superdrug, dropping fake grated cheese on the sallow floor. Medievals feeding their daily, carpeted fodder; a spin-cycle draining the pockets of millennials. All was amalgamation, consumerism in miniature. There was the looping belt of process that brought each person’s return on a Saturday afternoon. You might say bustling, even, if you were a journalist running out of words. You felt the bloat, the awkward accrual of bags, the jostle towards actual sunlight fizzled in the imminent night. Evening came quicker by the sea, shaded by islands and cloudy bars. Making impulse decisions, drawing back to the thing that comes without thinking.
To return ten years on is to witness the boom and bust cycle’s distilled effect. Scrunched out remnants of culture, expendable income bleached to regret. Towns throughout Britain, of course, lay waste to the whims of the market; but few as strong as this one. A smattering of bookies, charity shops, pawnbrokers and dingy discount stores spring up where cafés and clothes shops used to be. The supermarkets teem with the deranged ennui of the drifters. Old folks carry their bags to and fro, not gathering—not even picking the fruit of occasional Watt Brothers lipsticks. Their gums sink with cheap mints, the quality of the buskers slackens to fraught renditions of ‘All of Me’. As if the comprehensive self were still a myth to be chased. Pill poppers make the rounds quite openly, TKMaxx installs vein-resistant violet lighting in its bathrooms to stave off addicts. The establishment dwindles. Woolworths closed an age ago; they are slowly getting used to it.
As operational concept, the town brings out its humming despair. Gulls swoop in circles, waiting to descend on their carrion, the fag butts flicked into new oblivions. When dropped from a four-storey carpark, nutmeg stoned, you practise the art of temporal refusal—stepping literally into the upswept dust of the times. Trying out the bone-shattering acrobatics. Something glimpsed on telly. Creating a whirl of delusion which staves off the fear, if only for three hours with side effect headaches. You sit in the sticky dark of the Odeon, chewing peanuts, waiting for the arrival of those who won’t come. A shower runs on in the back of your mind; numeric paranoias flourish like dog daisies in June-green meadows. All of a sweetness, lingering aspartame. River Island being that literalised metaphor for outdoor fashion, something exotic in the lurid schemes. New tribes stranded on the traffic islands of their adolescent years, calling for help but only serving to prompt more crashes. The roadsides fill up with scrap metal, coke cans, broken dreams. Only the criminals pick litter and weeds. Somebody stops you on the street to ask about your pension, your PPI. In trackies you concoct some lie of an income. It feels better to exist beyond form, chewing a pack of mucilaginous candy, taming the jaw towards process. I run, I run, I run.
Practitioners of parkour and skaters clatter up the common walkways, alleys–backflipping normality. In that violent clack or fall of trainers, they emit fresh wavelengths on the general orbit. They are trying to avoid, like all of us, the inevitable, hullabaloo pull of the Kyle Centre, its middling void drawing us back to terrible origins. Returning after years, I found the mall to be almost utterly empty. The floor tiles coated with a fine layer of dust. I could almost hear the tinny echoes of Macintosh Plus resonate in the brain as I glided around, glancing into the charnel grounds of abandoned shop windows. Was this the mall of yesterday, snagged in its vividly bland, retro-futurity? Tacky goods, novelty toys and festive decorations were stacked up without sale, all in a jumble, asynchronic. There was an elegiac quality to the silence, the desolation, the click of my heels on the tiles. Usually, a curated selection of galling chart bangers would blast from some unseen stereo, but this has been replaced by a low-level, Lynchian electrical hum. There’s almost a sense that the whole setup could explode; something of J. G. Ballard’s comment that ‘reality itself’ feels like some kind of elaborate ‘stage set’, one that ‘could be dismantled at any moment’. Who would do the dismantling–and how violently? An irritated, private developer, snuffling the truffles of riches buried beneath crumbling plaster? When I touch shop signs, the tarnish comes apart in my fingers, along with all youthful glitz of faith. Consumerism comes here to evade its afterlife. I consider the rent rates of a gamble.
April 2017, a fresh visit. The only shop that appeared to be open—beyond a curious popup tent with a sunglass stand of neon hairbands—sold vapes in all sorts of flavours. Oddly appropriate that the vaporisation business flourished under recession. Ye olde Marx strikes again: ‘All that is solid melts into air’. The material basis of capital, of physical living–structures defined and hardened over years of labour relations–is eventually dissipated under the strain of its own regime. Our cloying desires rent free and exhaled as vapour, the flavours of youth recreated with chemical enhancements. Cookies and cream, strawberry sundae, cherry cola; all the treats once devoured in these hallowed walls provide now the scented mists of our caustic lungs. We choke on the smallness of the shrinking world, distracted by flickering images.
Quite satisfying, really, to find oneself wandering around in the new vacuity. Less sincerity than simple dwelling in abstraction, a reminder that such clear plexiglass canvases once held the false cheer of advertisements. Stalking the old trajectories, attempting to align memories of space, place, movement. By posing at the broken fruit machine, sticking post-its upon the locked bathroom doors, peering into grime-smeared windows, are we enacting a form of détournement, constructing a new milieu, hijacking a bland, capitalist reality? EAT ME/DISCOUNTS/SALES/NEW DEALS (Tony Blair’s Cheshire cat grin suspended in symptomatic darkness). The devouring logic of the overdraft reigns, gasps, struggles for land. We snap for Instagram, slathering everything with inevitable millennial humour, a soft irony tinged with longing. These washed-out, fluorine filters; do they augment the dreaminess or merely expose the inherently bland, detached, trifling logic of the fetish? For all love for material is only immaterial. What you trade on a wage, the price of petrol; a burnout dependence, the chalky velocity.
I once saw my friend play guitar here, his voice resonating with surprising boom in the faux-brick cavern. It was a Sunday, no-one around but other hoodies, pensioners, lovers on their way between worlds. More than ever, the c e n t r e becomes transit zone, the overlap of other non-places. Time exists perpetually at four o’clock, the imminent closing of the shops, the light spilling in so grey and serene from tiny windows. It could be any time, in dreichest summer or dimmest winter. With sloganeered t-shirts, devoid of irony (“I Love to Shop Til I Drop”), we depart from resistance and give ourselves freely to the tide of tabloid iconography. It sweeps us inside its beige dripping media, sickly vanilla, till we are left like baby in the corner, picking dirt from beneath our milky nails. Waiting. People stop buying us ice-creams, frappuccinos, smoothies. All sugar departs by the lore of the body’s exhaustion. The inner world of the subject meets its flux in the antique plasticity of a once blazing commercialism. The streets shriek with bird-shit, pollutant buses, football hooligans and irate teenagers. Always there is the sharp, iodine smell of the sea. Someone stuck their disposable fork in an apple, set rotten upon a statue, as if waiting to be struck by lightning, lottery, something. A bottle of vodka is thrown from the luminous heights of White City, the same old hood in its twilight sleep.
The new silver screen dream was deemed a ‘multiplex’, a grand unveiling with the rich promise of quick progress, an ambitious proposal; a snip off the cash boost economy, a successful investment. Two years on and the ghosts still roam the walls, the bleak clichés of everything must go. Go where? Capitalism, in the age of waste, strips us of former ideals for nowhere, elsewhere. We know all the junk floats back somehow; we’ve seen the debris, the bottles, the latex remains washed up on the shore. You can just about hear the dull roar of an old hairdryer, blasting away the years in what once was a trendy hair salon. Temporary beauty, a pencil full of noxious lead. Nobody leaves Yelp reviews for the dead. The eighties decor, the depression of spirit. We circle back round, take the westerly entrance out towards honey-drip sunsets. Nobody weeps for the high street store, nor sheds a penny for the sake of nostalgia. Soon all will be gone, sodium dissolved; as sure as your new emporium, the vapours coming in through the walls, coating each residue thing with virulent mists. For reminiscence, for seconds caught static in the gleam of the fountain, an imaginary power sweeps us northward, drawn to other versions of lost dreams, lost treats, the endless catacomb concrete.
The resonance is a tinny vintage, anachronistic; tinselled with eighties synths and a vocal sample that never quite begins. That baggy voice, normally soft as milk, becomes jagged, inhuman. Creepily crystallised. Your aunty’s favourite easy-listening is stripped of all coherence and synthesis; the tacky detritus of Steve Wright’s Sunday Lovesongs repackaged for an ersatz world of sulphurous sunsets and crumbling metropolises imploding like the plastic dust of an Arizonan dead mall. Back to the dark desert highway, purple-skied and dripped in molten neon. This isn’t what you’d enjoy on a leisurely car trip to the drive through…Or is it?
Listen to : : :
death’s dynamic shroud.wmv // I’m at the point in the level where the road narrows, curves, swirls upside down. Death is imminent. You can see the gloved fingers slipping a compact disc into the slot of a monster, borrowed straight from the architectures of Digimon. I’m thinking: Elizabeth Fraser’s sweetly haunting soprano (imagine being ghosted by the purest aural distillation of beauty); the chilled techno-ambience resurrected from the nineties. There’s heartbreak ahead. If you jump too far—and you will, won’t you—the space around you will glitch. There you’ll be, suspended in the space twinkles. An empty swimming pool. Climb into the cracks. Why is everything so gleaming, so white? I’m obsessed with getting back to matter. The music restores the filth, the glitch. There’s a vast acceleration of beautiful colour. The soprano grows warped, the orb-like contortions are glowing off kilter, off rhythm. The seven lumps of Galaxy chocolate I’ve just eaten melt sticky bits of sugar in my mouth, refuse to dissolve. They’ll coat my teeth like that.
Vapourwave coats your teeth. God knows how or why you should define it. It’s like cheap candy, utterly sugary but filled with mysterious ingredients, mystic chemicals from another dimension. One minute I’m being instructed about the start of a sequence (it’s the eerie echoes of a sci-fi style video game)- – – loading loading loading – – – and then trap style beats come bouncing slowly in, delayed as if strained through some outpouring of weird gravity. There’s a purity to some of it, which feels more like an original composition; the ambient atmosphere of something along the lines of Aphex Twin’s Selected Ambient Works…There’s a sense of distortion, disorientation. Hyperreal landscapes lit in luminous pinks and purples. What’s that gleam, is it rain? Tokyo on a postcard, dipped in cross-processing chemicals, in violet acid. Then you’ve got a vague array of p a r a d i s e lighting up the screen. Palms and sand and cerulean sea.
As soon as you get attached to a sample, you’re away. Rarely does the beat resolve. You’re like, totally always stuck on the pre-beat. To the point that human expression becomes a technological fault, a beep, a burp. Sometimes it sounds like waves are being pulsed through your brain, blurred in a malfunction of some tacky machinery cooked up for a pulp movie of the nineties. Do scanners really look like that? Coated in rhinestones, bathed in pink. Some of it’s dreamier. Arpeggios of bell-scented keyboards (what do bells smell like? Not musty old church bells, but the sonorous chimes of noughties computers). Arpeggios climbing and climbing, dissolving, rising. A pop melody shining through. I’m in a rainforest of futurist skyscrapers, cloud-surrounded, everything drenched in pastel-hued pixels. It’s so serene.
Vapourwave. What a joke, an internet meme. Didn’t it die a couple of years ago?
I’m so confused. What is this monstrosity that’s eked itself into my life like a viral code luxuriating in my brain? At once disdainfully ironic, crass, tacky as hell; but also painfully sincere, nostalgic, full of a misplaced longing. The metamodern paradox of postmodern irony and modernist authenticity cooking up an endless loop of misplaced longing. I find myself thirsty for shopping malls from the seventies, for grotesque cups of Diet Pepsi, for the glossy pop of the eighties and the apocalyptic reveries of the nineties. I’m drifting through a city stripped of its glitz and left with patches of bright matte colour, refusing to reflect the glass through which dreams have appeared and got lost. I remember polishing a CD with the back of my sleeve, watching the lines of rainbows beam. Slotting it into a computer that hummed and whirred at my touch. I remember when technology felt somehow homely.
That comforting little Windows XP flourish, how friendly it was compared to the blasé boom of Apple’s triumphant C chord. Glitch, glitch, glitch. I pick the pixels out with my fingertips. The eerie keyed chords of MACINTOSH PLUS’ 地理 fill me with a sinister sense of urgency. It’s an entropic catastrophe of dissonance.
At the heart of vapourwave is a tension between the sweet and disturbing, between satisfyingly vacuous muzak and dissonant, deliberate glitching. This is related to its deterritorialising impulse, by which I mean (borrowing from Deleuze and Guattari lingo), the way it extracts and recontextualises some element of a thing, then placing it elsewhere in a different environment. Vapourwave is a sort of bulimic, abject, rhizomatic discourse. It gorges on the symbols of late capitalism (the glossy muzak and soft rock of the eighties, international brands like Nike or Microsoft, the aesthetics of corporate advertising and so on) and then expels them in a gross reinterpretation that seems to purge them of their original, seamless facade. It might be useful here to mention that sociologist/criminologist Jock Young (2007) once described late modernity as a ‘bulimic society’, where we are all (internationally) included in the dreamlike semiotics of the rich through the opulence and availability of global branding, advertising and popular culture, but increasingly we are structurally excluded from the means which would allow us to achieve such dizzying heights ourselves. This social anomie is jarringly rendered in vapourwave’s shameless embrace of corporate culture; at once poking fun at it but also monumentalising it in an ambiguous way. It’s by no means a didactic movement, but as Grafton Tanner tends to argue in his excellent book Babbling Corpse: Vapourwave and the Commodification of Ghosts (2016), it’s symptomatic of its times. The very poetics of vapourwave reflect the uneasy experience of being unable to escape the system, the uncanny effects of our perpetual cultural nostalgia—the celebration and denigration of late capitalist modernity and all its forms of post (post (post) post).
Outside of their usual contexts, corporate and commercial visuals (the vapourwave a e s t h e t i c) seem absurd, funny, strange, alienating. It hollows out the imagined ‘core’ of the brand and replaces it with a sort of free-floating lack of functionality, a disembodied eeriness. Chuck a logo in with a pastel-hued painting of palms and corny dolphins lifted from a SNES game and there you have it. Old Apple logos might be hovering over a pixellated ocean, waiting to plunge inexorably. Not only the aesthetics, but also the music itself, creates this sense of fragmented capitalism. Tanner talks briefly about the relevance of Derrida’s idea of hauntology to understanding the politics of vapourwave and this seems to me very astute. It’s the idea that the future is irrevocably haunted by the past; that culture and politics are also spooked with spectres from the past—from communism (Derrida’s book is called Spectres of Marx) to old technologies. It’s the idea that things are always-already obsolete, that there’s a sense of being itself as displaced and never quite fully present. It’s an ontology of difference, deferral, doubling, of objects which become ‘a little mad, weird, unsettled, “out of joint”’ (Derrida 1994). Derrida’s gloss on Marx’s analysis of the commodity-table gives us a sense on the ghostliness of consumer objects:
For example — and here is where the table comes on stage — the wood remains wooden when it is made into a table: it is then “an ordinary, sensuous thing [ein ordindäres, sinnliches Ding]”. It is quite different when it becomes a commodity, when the curtain goes up on the market and the table plays actor and character at the same time, when the commodity-table, says Marx, comes on stage (auftritt), begins to walk around and to put itself forward as a market value. Coup de theatre: the ordinary, sensuous thing is transfigured (verwandelt sich), it becomes someone, it assumes a figure. This woody and headstrong denseness is metamorphosed into a supernatural thing, a sensuous non-sensuous thing, sensuous but non-sensuous, sensuously supersensible (verwandelt er sich in ein sinnlich übersinnliches Ding). The ghostly schema now appears indispensable. The commodity is a “thing” without phenomenon, a thing in flight that surpasses the senses (it is invisible, intangible, inaudible, and odourless); but this transcendence is not altogether spiritual, it retains that bodiless body which we have recognised as making the difference between spectre and spirit. What surpasses the senses still passes before us in the silhouette of the sensuous body that it nevertheless lacks or that remains inaccessible to us.
Vapourwave, of course, exploits this ‘ghostly schema’ of consumer objects. ‘Woody and headstrong denseness’, the sheer materiality of the thing is ordinarily supplanted by its mystical, transcendent value as a commodified good or brand. When we think of Nike trainers, rarely do we care for their actual material structure; usually it is the symbolic resonance of the brand that captures us. In Vapourwave, materiality comes back, vicious and strange. Fredric Jameson laments the way that postmodernism presents us with a meaningless concatenation of cultural nostalgia, often without context—BuzzFeed’s noughties nostalgia lists perhaps being a case in point. Vapourwave takes this ‘out of context’ randomness and runs with it. Art objects, textures, corporate iconography and screen-saturated colours combine in a collage of irony and contrasts. The mishmash quality of the vapourwave aesthetic lends it to easy manipulation and re-creation. This is the DIY ethic of the movement, its impulse towards constant theft, the cut and paste fun of sampling, the wilful shredding of distortion which creates a contemporary rendering of William Burroughs’ literary cut-up method or the random-making ‘recipes’ of Dada poetry, as described by Tristan Tzara.
Now, the effects of this mixed-bag of internet treats aren’t just weird and humorous, but weird also in an unsettling way. The samples become points of focus in a manner that strips away the normal cultural values of the original song; the easy soft-rock of the eighties becomes haunted with lo-fi feedback and interruption, compression and echoes. It sounds like it’s being heard through a cave or the underwater atrium of an abandoned mall, after the apocalypse. One of vapourwave’s most prominent releases to this day remains Macintosh Plus’ Floral Shoppe (2011) and on this record the production warps its soul music with a surrealist synth-driven dreamscape, in which R&B beats become slow and trippy and human voices are dehumanised into drawls and robotic calls. Often a sample starts but never resolves its line, constantly stumbling over itself. Tempos are spliced and no song follows conventional structure, but instead runs on repetitions, overlaps, interruptions; completely jarring changes in rhythm and key with no transition. Funk and soul from the eighties are no longer smooth and satisfying radio filler, but are turned inside out, their inherent weirdness exposed. Some of the highlights include ‘It’s Your Move’ by Diana Ross and ‘You Need a Hero’ by Pages. The effect of listening to this album is sort of like pushing a shopping cart round a supermarket and gazing around in wonder at the saturated pastels, the pointless products, the detritus of cluttered consumer madness. Glitches, twinkles, the beats of unsteady feet. Random tannoy announcements like a call from some parallel universe, the underground, the flickers of the internet ether.
Tanner’s Babbling Corpse usefully makes a connection between the dehumanisation of human voices in vapourwave music and contemporary philosophical movements such as speculative realism and object-orientated ontology. Both movements share the fundamental rejection of correlationism (the dominant, anthropocentric idea in Western philosophy that views reality only in relation to and projection from the human perspective). Instead, they turn to the world experience of the nonhuman, the sentient and foreign perspective of matter and objects. They expose the contrived nature of our distinction between self and world, showing how we are world, entangled in a way that is inextricable and disturbing (Timothy Morton, for instance, points to the crustaceans that live in our eyelashes or the bacteria in our gut as examples of how we are the environment, rather than self-complete and separate beings). Vapourwave in some way manages to evoke this weird world of objects, at a level only barely accessible to humans. Its use of glitches and looped samples disrupts the ordering of people and things. As Tanner puts it,
Glitches interrupt our expectations while deceiving and annoying us. They undermine our notion of what the machine is supposed to do for us, not without us. In this way, our electronic machines take on lives of their own and appear capable of functioning perfectly well without humans – a complete transcendence into other-worldly sentience.
We might consider this in relation to Martin Heidegger’s (2008) idea that we only notice a tool as a thing when it stops working. A broken hammer suddenly becomes a strange entity in its own right, rather than just one chain link in the process of a means to an end. Chuck Persons Eccojams Vol. 1, for starters. The very name: Eccojams. It implies the jams are a product of this Other: the ecco, ecology, echo…The title derives from an old Sega Megadrive game called Ecco the Dolphin, an action adventure game which featured dreamy music and a very minimalist gameplay narrative. You made Ecco sing to attract and interact with other objects and cetaceans; you could evoke echolocation in order to unfold a map of your oceanic surroundings; you could call to special crystals (glyphs) which in various ways controlled Ecco’s access to different levels. There is a beautiful otherworldliness to this game, and not just because Ecco ends up at the City of Atlantis. It’s created its own mythology, and the emphasis on song (like The Legend of Zelda’s ocarina melodies, which initiate effects in the game) opens up the possibilities for a nonhuman conscious or logic. Music, perhaps more than language, has effects on nonhuman consciousness. At a certain pitch, it can shatter a glass, or cause buildings to rumble with bass. It opens up its own logic of cause and effect.
Hauntology, in a sense, is about being stuck on the loop of the end of history. Technology constantly dislocates our awareness of time and space, so that linearity is replaced with instancy, repetition and reiteration, the constant recycling of former styles and events. Repetition is uncanny partly because, as Freud argues in ‘The Uncanny’, it’s the structure of the unconscious. When we notice repetition, we notice how our whole psyches are built on the compulsion to repeat even that which is most traumatic to us. It also violates our sense of identity and experience as singular and unique (an idea that liberal democracy and consumer capitalism likes to perpetuate). Identical twins are uncanny for this reason, as is deja vu. We feel that the normal order of time and space has been distorted (this is of course made explicit in films like Donnie Darko, which deal with parallel universe theorems). Repetition is also uncanny because it suggests that things we thought were unique to a moment, imbued with their apparent transience, are actually lingering and potentially eternal. It’s unsettling to have the buried constantly disinterred and broken out into the open present. Tom McCarthy’s Remainder (2005) is a novel which explores the logic of repetition in relation to a trauma narrative in which the protagonist becomes obsessed with re-enacting events to the point of absurdity and violent conclusion. It’s that overlap of the real, where dreamlike remembrance meets actual performed repetition, that is the orgasmic satisfaction of the psyche.
Listening to vapourwave enacts this perfectly. We might start to recognise the songs from which these samples were drawn, but our recognition is distorted along with the samples themselves. The past floats uncannily into the future. Eccojams Vol. 1 drops its tinkling beats on a loop and the vocals from eighties ballads are stripped of their velvet and become mournful, minor, distorted. Inhuman, odd. There’s a sense in which our contemporary experience of reality in the face of apocalypse and pathological nostalgia is both dark and sweet. Morton’s branch of object-orientated ontology, dark ecology, perfectly captures this experience (in fact, in Dark Ecology (2016) he describes the process of dealing with this ‘grief’ as sharing the structure of a ‘dark ecological chocolate’). Vapourwave is at times incredibly saccharine, mapping itself through the cheerfully smooth loops of Muzak; but it is also jarring, dissonant, deeply unsettling. It takes dirty club techno, the complex tempos of intelligent dance music, and puts them through the cheap production of the GarageBand blender. Vocals echo like a broken tannoy machine. Vapourwave, as both visual and musical aesthetic, fundamentally opens an aural space in which past, present and future become a haunting echo chamber of one another. No longer is this the mere surface play of postmodern collage, but instead it’s the material manifestation of a specific cultural hauntology. As Tanner puts it, hauntology ‘is unlike Jameson’s pastiche in that it complicates the past (specifically, the past’s image of the future) in order to call attention to capitalism’s destructive nature as a subjugating force that only fools others into thinking it came to eradicate “history”’ (2016: 35-36). Capitalism is hollowed out, its signature brands become lost echoes in a vaguely recognisable, a hypnotically attractive yet alarming vision of our near-present future; blended with the figures of mall culture, the colours of early aughts internet webspaces and the abyssal possibilities of a Tumblr scroll.
I’m interested in how vapourwave re-enacts a different form of consciousness and how this might be ecological, even though the movement’s only obvious engagement with Nature as Such is through the proliferation of palms and potted plants that drift incongruously as consumer goods through some of its artwork. To get at its ecological sweetness, it’s like cracking open a crystal to see its lattice parameters (what a beautiful phrase), the places where the material cleaves (its lines of weakness), its cubic structure. The interplay between structure and embedded weakness is what motivates vapourwave; it contains its own failure, the undeveloped samples, the way a tiny snatch of a song is unfolded into a tranquil sequence of soporific, nonsensical sound. This is not music with a coherent logic. You look for lines and trends and vague traces of structure, but a song will become something more fluid and fragmented. Vapourwave’s material metaphors cannot be coherent; it’s at once free-floating, vaporous, seeping, gelatinous, oozing, splitting, cracking, choking, pulsing, dissolving. Hard matter, soft matter, chemical, vapour, waves and glitches and tiny explosions.
Sometimes, the structure is completely frustrating. On Person’s Eccojams Vol. 1, for example, the slowed-down, reverb-heavy sample from Gerry Rafferty’s ‘Baker Street’ repeats endlessly and never resolves itself into the next line: ‘another year and then we’ll be happy / just one more year and then we’ll be happy’. The twinkle signifies the glimpse of a transition and there’s a blip of the ‘b’ which should resolve into ‘but you’re crying, you’re crying now’ and yet here never does. Instead the song becomes an endless loop of implied futurity, the future conditional, ‘we’ll be happy’ that doesn’t get to complete itself but instead hangs. We’re taken out of time and left in this limbo. Here, the repetition isn’t soothing, it’s unsettling—mesmerising in a disturbing way. We question our longing for the song to resolve and before we have a chance it’s skipped to the next track. So we go back, search out the original version. Is it satisfying? Listening to Raferty’s original now feels weird in a way it didn’t before. It’s like this lost artefact from the past, spliced across the future ether rendered by Person’s eerie and hypnagogic album. While ‘Baker Street’ implies a specific place, now it’s thoroughly displaced, an effect of the internet’s rhizomatic possibilities.
As Morton puts it, ‘in order to have environmental awareness, one must be aware of space as more than just a vacuum. One must start taking note of, taking care of, one’s world’ (2002: 54). Ambient poetics disturb our assumed distinction between inside/outside, self/other; they show how we are entangled in a shared space of coexistence (Morton 2002: 54). Ambient music, in its sensuousness, its borrowing from the world—for example, by using samples of music concrète and field recordings from both nature and urban spaces—embeds us inside an environment in a way that is at once comforting and disturbing. It literally surrounds our senses. Brian Eno famously sets out a manifesto for ambient music by describing ambience as ‘an atmosphere, or a surrounding influence, a tint’, and ‘whereas conventional background music [i.e. Muzak] is produced by stripping away all sense of doubt and uncertainty […] from the music, Ambient Music retains these qualities. […] Ambient Music is intended to induce calm and a space to think’. As Morton puts it, ambient music as figured by Eno deconstructs the ‘opposition between foreground and background, or more precisely, between figure and ground’. In this sense, ‘ambience could be shown to resist the reification of space in capitalism’, ‘at once fill[ing] and overspill[ing] the ideological frame intended for it by the social structure in which it emerged’ (Morton 2001).
Think of it this way: could you get away with playing vapourwave in a mall or a supermarket or diner? Sure, it would ‘fill’ the space in one sense, but also exceed it, rendering all our cultural and material associations with this space uncanny and distorted. It would become a sci-fi space, a space displaced into the future. We would be inhabiting a doubled world, a doubled temporality. I tried playing Floral Shoppe in the restaurant where I work once (obviously when there were no customers) and the effect was actually very comforting. I felt like I wasn’t trapped in the familiar twenty-something existential limbo and instead inhabiting a plane of dreamlike contemplation, like the Rainbow Road level on MarioKart: Double Dash. I close my eyes and the scratched wooden floor spills out into a highway of colour; the tables I’m bumping against are bright yellow stars and fragments of unknown matter. I’m back in the supermarket, trolleys wheeling away from me and products falling off the shelf. I open my eyes and there’s the mirror and a reflection of someone that might be me, wearing a uniform, the chairs and tables flashing around me like holograms. I’m not exactly sure where that association sprung from (it’s been a long time since I’ve turned on the old GameCube), but I guess that’s the free associative impact of the music itself.
Like Jean-Jacques Rousseau’s Reveries of the Solitary Walker (1782), vapourwave is about an experience of travel and movement without necessarily describing that movement itself. Crucially, the emphasis is on slowing down, on dwelling in a moment; a moment which is looped, repeated, pondered over, exhausted, reflected on. ‘I undertook to subject my life to a severe examination that would order it for the rest of my days in such a way as I wished to find it at the time of my death’ (Rousseau 2011: 24). Vapourwave subjects the e v e r y t h i n g of capitalist late modernity to such self-reflexive inner scrutiny. This scrutiny enacts a slowing down of perception, a sense of looking around and absorbing one’s place in the environment. Through an uncanny distortion, doubling back and becoming the environment. Vapourwave allows us to adopt both a blasé and a highly perceptive attitude to the ad-saturated world in which we exist; the metropolis of the internet becoming some great labyrinth in which we linger at every turn, mesmerised by the neon palms swaying in time to the untimely music, to cans of diet coke and the universal resonance of that bold tick logo. Everything surrounds and coagulates, connects.
This aesthetic dwelling is crucial for ecology because it forces a recognition of the world which we are and in which we live, a recognition that notices patterns of interconnectedness and coexistence. For Gregory Bateson (2016), aesthetics means ‘responsiveness to the pattern which connects. The pattern which connects is a meta-pattern’; both cities and their parts form part of this pattern, of the patterned aesthetic of vapourwave. The metropolis, the mall, the fountain plaza, the computer screen, the window of a building, the burnished, pixellated sunset. All are the environs of sound and vision, the movement between figure and ground, the deconstruction of synecdoche. The part and the whole are constantly supplementing each other (the song, the sample; the symbolism, the surface aesthetic). It’s a bewildering, shape-shifting experience. It forces us to take notice of our world. There’s something about vapourwave which always suggests to me a sort of endless highway, where the vehicles move as if through some viscous substance that drags the experience of time and space. Our perception becomes blurred and starry, with blips of unconsciousness and moments of epiphanic reverie. Things around us fade or glow. The radio rumbles in the darkest cavity of our chest. Am I even breathing? I don’t feel human. Is this freedom?
Alongside this dwelling is a certain playfulness of a way unique to vapourwave. James Ferraro’s Far Side Virtual (2011) might be the classic here. It blends together the inane and cornily flourishing samples from Muzak with automated audio speech stolen from corporate contexts and sound effects from everyday tech life—the message-send swoop, a mouse click, laptop crashing sounds and start-up tunes. The result is something that might reflect Jean-Francois Lyotard’s famous definition of postmodernism as ‘eclecticism’, the ‘degree zero of contemporary general culture [where] one listens to reggae, watches Westerns, eats MacDonald’s for lunch and local cuisine for dinner, wears Paris perfume in Tokyo and retro clothing in Hong Kong; knowledge is a matter for TV games’ (2004: 76). This eclecticism is made playfully manifest in Ferraro’s lively, atmospheric and at times downright trippy record, where twinkles of commercially-drenched, techy synths give way to stuttering keyboards, ringtone effects and twirls of familiar message noises which become maddeningly synced with finger clicks and conversations between robotic voices. A CONUNDRUM article argues that ‘since vapourwave functions namely as commentary, it loops, pitch-shifts and “screws” the utopia of the virtual plaza, creating a harsh, grating sound in away that brings each muzak sample’s faults to the forefront of the track’. This is certainly true of Ferraro, but I’d also suggest that vapourwave is more than mere commentary; Ferraro especially revels in the silliness of corporate culture (check out ‘Pixarnia and the Future of Norman Rockwell’, with its drink slurping sound effects and jingly, kids tv-worthy melody), at the same time as revealing its peculiar utopian unreality, a world of shimmering sound and holograms. There’s a self-consciously affective and pleasurable aspect to the music. Sometimes it sounds like the demonstration music on an art channel, to the point where I’m expecting some beautiful, sellotaped creation to materialise with every musical flourish.
On the other hand, there’s the total weirdness of ‘Palm Trees, Wi-Fi and Dream Sushi’, which takes us through a scintillatingly bizarre encounter with a ‘touchscreen waiter’ who explains the ordering process at a sushi restaurant—apparently in Times Square, with Gordon Ramsay as chef—to the backdrop of exuberant synths and glitchy effects which sound like a Windows 95 laptop gone haywire, or merely said customer making her selections from the menu software. The result is to render a future where restaurants and coffeehouses are devoid of human interaction, becoming impersonal encounters with creepily enthusiastic machine waiters (creepy not just because they’d put me out of a job). The contrast between this manic happiness, this constant focus on choice, with the maddening music is to create a deep sense of unease, to reveal the artifice of such utopian tech constructions. Do we really have a choice? Is life being boiled down to a series of computer menus? Is the future bound to the unsettling intonations of such robotic encounters? I can’t help but escape into the absurdity of the music and try to forget this hauntological disaster is always-already constantly happening…
The comparatively meditative ‘Bags’ weaves its entrancing ambience from an early Windows startup theme, dipping into sonorous caverns of sparkling synths and lifting for air bubbles and irregular, incongruous finger clicks. I am reminded here of a beautiful essay by Steven Connor on the magic of objects, specifically here bags: ‘because they are in essence such fleshly or bodily things, bags enact as nothing else does our sense of the relation between inside and outside. We are creatures who find it easy and pleasurable to imagine living on the inside of another body’. There’s an amniotic vibe to Ferarro’s ‘Bags’; the swaying, dreamy pace that makes us feel as though we are inside those palms, or encased within a glossy plastic number, bouncing away against some glamorous knee. Just as humans have a sort of supplementary, life-giving association with bags, we also have this relationship with the plazas of capitalism and the affective world they render. Ferarro has said that he conceived of Far Side Virtual as a series of ringtones, a musical form which inherently suggests consumer transience, tackiness, kitsch, the whims of passing fashions (not least because the polyphonic presets change with each phone upgrade). He’s also said that he loves the idea of the album being ‘performed b a Philharmonic Orchestra […] Imagining an orchestra given X-Box controllers instead of mallets, iPhones instead of violins, ring tones instead of Tubular bells, Starbucks cups instead of cymbals. All streamed online, viewable on a megascreen in Times Square’. That’s what’s special about vapourwave: its commitment to the endurance of art and the a e s t h e t i c alongside an ambiguous relationship with the ephemerality of corporate kitsch. The artistic rearrangement of these samples, alongside their visual presentation and marketing as alt music through sites like Bandcamp, completely reterritorialises their original framework of meaning.
There’s a sense in which this music—with its self-conscious materiality, the recognisably tacky mattering of its samples, its embrace of the ambient disruption of foreground and background—is inherently committed to some kind of hauntological ecological project, the kind advocated by Tim Morton’s dark ecological poetics. As Ferarro himself says of his album, it’s a ‘rubbery plastic symphony for global warming, dedicated to the Great Pacific Garbage Patch’. Vapourwave recycles culture, proliferates both beauty and trash, endlessly parodies itself and its references. It renders explicitly what Marc Augé calls the ‘non-places’ of supermodernity: the anonymous malls, airports, offices and stations where cultures blend and collide and become foreign places of blank existence, of non-place, of disembodied temporality and physical and social experience. Places emptied out of cultural specificity. Places where one might eat Japanese sushi in a New York airport restaurant, concocted by a holographic rendition of a grumpy English chef and served by a robot developed and programmed by a Chinese tech company. Vapourwave is melancholy and strangely displaced. The frequent use of anonymity by many of its prominent artists (Xavier, for example, is responsible for more than just Macintosh Plus), alongside the Eastern characters for song titles, creates again a dehumanised, uncanny and culturally displaced understanding of identity. It weaves an almost Orientalist mystery through its art, so that we can’t quite geographically place the origins and players of this musical movement. It’s all about dissemination, reappropriation, the instancy of recycled production; but it’s also about slowing down to notice the flaws inherent in our everyday, consumer lives. The heavily sampled, rhizomatic nature of vapourwave forces you to become a more active consumer of both music and other forms of material pleasure, from picking your morning coffee to choosing your desktop screensaver. Perhaps it’s this recognition that gives vapourwave the vague trace of disruptive impulse; the way it strips away the uneasy pleasures and pink mist of the late capitalist plaza and replaces it with a mystique that haunts us back from the future. Objects and humans withdraw from our grasp and we are left with the surface detritus of crushed coke cans, defunct MacBooks, coffee cups and robot voices stuck on repeat, cleaning the floor of the mall to a vicious gleam that threatens to bounce back like a screen and remind us that we haven’t left the room at all – we’re still on the internet, chasing our dreams.
Augé, Marc, 2009. Non-places: Introduction to an Anthropology of Supermodernity (London: Verso).
It’s not all about realising you can get 10% off at Topshop again (although my ID photo is so bad this year I’m no sure I can brandish it in public). I didn’t know what to expect, going back to uni after a year out. It all happened so fast. Working for over a year as a full time waitress, doing 35-55 hour weeks, I didn’t really give myself the headspace to prepare myself for what uni entails. Despite knowing for several months that I had secured my place, a Masters in MLitt Modernities at Glasgow Uni just seemed something far in the distance, the uncertain plane which I would embark upon after an endless summer.
No matter how it feels at the time, summer is never endless. August was a strange old month, and horrible, tragic things kept happening around me. Amidst all that, it didn’t seem real, making my way through the infernal labyrinth of MyCampus; applying for scholarships, spending inordinate time staring at screens again, making lists of things to be done. I found myself in a room up high in the Boyd Orr building, listening to the inimitable and infectiously enthusiastic Rob Maslen give a speech about the strange history of these hallowed walls; being introduced to the university as if it were the first time all over again.
It is weird going back to the same university after a year out, especially if you’ve not gone far. I walked up the hill listening to Tigermilk feeling blissfully like a total Glasgow cliché and it was like nothing had changed at all; it was my first seminar of the semester and I felt bright and hopeful. Glasgow gifted us with a particularly gorgeous autumn, trees bronzing languidly into darkening violet as twilight fell and I was still sitting by the fountain, making notes on poetry. I tried to take walks in Kelvingrove as often as possible. Quite quickly, however, the daylight ran out. Nights drew in. Still stuck in waitressing mode, such thing as a sleeping pattern proving an elusive remnant lost somewhere back in 2015, I found myself going to sleep at 5am every night, often staying in the library till everyone on the floor had left and the lights kept going out automatically. There I was, alone in the dark in front of a dull-glowing screen (though one must note the upgrade in PCs at Glasgow Uni Library, which are much preferable). It’s easy to spiral into that maddening routine, trying to do all the reading, make notes on everything. I’ve never been a meticulous note-taker, not by a long shot, but I like to handwrite things and have a tangible record of ideas and theorists and possible avenues for further study.
I would walk home at 2am, stumbling tired-eyed through Kelvinside, hoping for a glimpse of the river, some tangible reminder of nature. How long had it been since I’d seen the sea? During reading week, I allowed myself a cheeky day trip to Arran, which felt so unreal it was almost magic. The days passed and ideas started to percolate in my head. The power of procrastination unleashed itself again. I did more creative writing in the past three months than probably I’ve done all year. I guess the more you read, the more you want to write. I sat on level 11 and watched the sunset over Park Circus, making airy, vague notes about queer temporality and thing theory on a 60p sketchpad. I went to seminars and was reminded of how nice it is to listen to people share a subject, to listen to experts talk with passion about something they must have covered a thousand times before and yet still they can find fresh things to say about it. To actually talk to said experts about such interesting topics (instead of merely serving them glasses of wine and plates of fish, as the Oran Mor waitress will often do for GU academics). Although a bit scary at first (not least because I had a screenwriter and published author in one of my seminars!), it was nice to actually have proper formal discussions about books again. Often we veered slightly off-topic, with Trump becoming the proverbial wall against which we hit our heads in frustration, but everything felt prescient, useful. I went to visiting speaker seminars with the likes of Stephen Ross, Graeme Macdonald and Darren Anderson, who talked about all manner of interesting topics: Beckett’s invention of the teenager, petroculture and the politics of space and architecture. Having been at Glasgow Uni four and a half years now, I was still struggling to find half the rooms and buildings I needed to get to.
I went to a couple of nights at The Poetry Club in Finnieston and actually read poems aloud to real humans. Got a few wee things published here and there. Went to a ceilidh. Realised that I want to do lots and lots of creative writing and really try and learn from people. Started writing music reviews for RaveChild which has been really rewarding, not least because it’s encouraged me to broaden my musical horizons and go to more gigs. Started tweeting again. I managed to go to a few Creative Writing Society workshops, wrote a collaborative sonnet and played around with tarot cards. Went to Creative Conversations at the Chapel and saw very smart and fascinating people talk about writing: Amy Liptrot, Liz Lochhead, Mallachy Tallack, for example. Developed many creative crushes on various academics.
My stress levels tend to rise in tandem with the library’s rising busyness and so I stopped going altogether about a month ago. I’ve more or less forgotten what sunlight is, except for the wee slant that comes through the window of the building in Professors’ Square where every Thursday we had our Modern Everyday seminar. I sit in bed everyday and try and write and write. I spent the first four weeks of this semester trying to read a section fromThe Derrida Wordbookeveryday, until my brain started to melt a bit too much and I was thinking in riddles. One day I was so tired I woke up at 10.46 for an 11am seminar but somehow still made it on time, looking like something the cat had dragged in. I tried to get my head round Blanchot, and even went to a reading group where we poured over The Space of Literature and maybe I came out with some sense of the link between writing and death. I wrote reflective journals for my core course seminars and every time came back to Tom McCarty references. The man and his ideas are just so seductive.
Coming to the end of my first semester as a postgrad student, I’m not sure how I feel. I didn’t wash my hair for nearly four weeks. On the one hand, my brain feels heavier, I’m exhausted, probably much less fit; I’ve lost contact with a few friends. On the other, I’ve got ideas all the time, I’m meeting new people, I can understand a little bit of Heidegger. I’m extremely lucky to be able to study at all, especially on such a well-run, exciting course like Modernities.
Things I miss about waitressing:
Being on my feet all day. Coming home feeling like an honest hard day’s work has been done, that I really earned that massive block of chocolate.
Gossip. Constant streams of salacious stories.
The visceral fuck-strewn quality of hospitality patter.
Unlimited access to coffee at the point of need.
Making strangers happy through simple acts of kindness.
Being with friends all day and plotting grand schemes.
Telling ghost stories to tourists.
Having a reason to put makeup on in the morning/having a reason to get up in the morning before 10.
That amazing post-coffee rush feeling when you know your break is due and you’ve got a good book on you.
Finishing a shift and leaving it at the door for a Netflix binge.
Meeting new people more or less constantly.
Having actual muscles from plate carrying.
Playing the game of concocting life stories for strangers.
Teamwork! (which is sorely missed on an English Lit degree…)
Solving completely unsolvable problems, like trying to find and polish 50 champagne flutes in five minutes, or sourcing pathologically evasive salt shakers, or convincing the kitchen not to slaughter you because your table’s arrived 45 minutes late, just in time to clash with every other function in the building.
Unexpectedly deep conversations about love, life, literature, music, family, mental illness, travel, astrophysics, the ethics of illustration, Tumblr, queer theory, feminism, television, childhood memories and sleep deprivation all while polishing cutlery.
The thrill of days off.
Going part-time, I still get some of these fun things, and less of the bad things. Maybe that’s a nice balance. The Christmas period is always a test for our sanity and endurance. Still, hopefully the feeling of handing in my essays will get me through the rest of the season, and if not god knows I have enough books to read to escape into! Maybe I should tidy my room first.
I scroll down my Facebook timeline, and there is a photograph of a pavement – on a real street which I recognise – and on that pavement is a Pidgey. You know, the wee brownish flying thing from first generation Pokémon? I scroll down a bit more and folk have been out and about all over the place: there’s a Weedle on the gingham tablecloth in a cafe, a wee purple-grey Nidoran on a hay bale, a Magikarp bouncing around by the Kelvin. This is, if you haven’t guessed already, people sharing their spoils from Pokémon Go, an augmented reality game which allows you to catch Pokémon in the wild, a.k.a real life. There was a glorious month in the summer when you could go for a walk and see clusters of people milling around with their phones in the air, as if trying to channel some ethereal spirit that was wafting in the atmosphere. They were out catching Pokémon. All of a sudden, people were going for walks again, leaving the house and the cosy glow of the television to catch invisible beasties who lived in trees and parks, museums and street corners.
As a kid, I was an avid Pokémon fan. I missed the boat for Red and Blue but had Yellow, Ruby, Sapphire, Leaf Green for my Game Boy Colour and Advance and played them all to death. What I loved more than the battles was the wandering part. So much of your time is taken up pushing your way through long grass, cycling along seaside promenades, bobbing along the ocean, taking shortcuts through forests, crossing through dungeons, traversing the plains of mountains and deserts. You’re constantly interrupted by Pokémon encounters; so much so that often you double back in confusion, any instrumental pathway you’re trying to take disrupted by the screen switch to a battle. The towns often had such picturesque names as ‘Petalburg City’, ‘Sootopolis City’, ‘Lilycove City’ and ‘Mossdeep City’. Then there’s Meteor Falls, the Sunken Ship and Sky Pillar – these are just from Ruby/Sapphire alone. Yes, the game has a final purpose: you’re supposed to beat the gym leaders of every town and follow some convoluted let’s beat Team Rocket narrative, but often its trajectory is beautifully non-linear. You can explore, catch Pokémon in your own time, find side quests to achieve, people who need help. Acquire potions, level up your Pokémon, learn intriguing stories from local mythology.
There is an obsessiveness to Pokémon, a desire to always repeat. As much as possible, you find yourself returning to previous towns and locations, either to seek out more Pokémon known to appear in the area or simply to explore, to see what you’ve missed. Invariably, you do nothing new, and manage to enjoy that process of wandering again. You fight the same Pokémon, hoping they will flee but secretly enjoying taking them down in one shot with your level 40 team, where once you’d have to fight tooth and nail with a goddamn Zubat. To some extent, Pokémon is a rhizomatic game: once you get to a certain stage, the world is yours to explore and you can map out your own routes and lines of flight as you see fit, flying and sailing and seeking locations of your choosing. However, you are still governed with the impulse of narrative, which spurs you onto particular places: sometimes you can’t move on till you’ve beaten the gym leader of that town, for example. You can regress, but not progress. There’s that sort of macho narrative of levelling up which you’re impelled to follow. It’s only when you’ve completed the game that you can reap the rewards of complete exploring.
Pokémon Go changes that. By transferring Pokémon to real life, you are as free to explore its terrain as you are to wander the streets of your local town or city, or indeed the plains of the countryside. Real life is transformed by augmented reality, the imposition of Pokémon on material space. Creatures that only the player, holding up her phone, can see. This is already getting very Black Mirror, but wait. It’s a competitive game, yes, but there aren’t the drastic consequences of social exclusion and alienation experienced by many of Black Mirror’s tech addicts. There is a lovely playfulness to Pokémon Go which somehow has generally avoided becoming cutthroat competition. For a while, everyone was playing it. It was a form of camaraderie (folk would go out in packs to hunt for Pokémon, or indeed organise mass hunting expeditions via Facebook). More time was being spent on the Pokémon Go app than on Snapchat, Twitter and Whatsapp. I’d go into the kitchen at work and the chefs would gleefully show off their Pokédex; which was glorious, seeing all those familiar creatures again in this new and surprising context. And since chefs have hardly a moment’s time when they’re not in the same place, working 14 hour shifts at a time, I can only imagine the extent to which people in other walks of life played it.
Pokémon Go is a strange way of making people notice their surroundings, particularly in the sense of urban space. Sure, most of the time their faces are glued to the maps on their phone screens, but in placing themselves in the world, they are forced to confront physical structures, obstacles, windows, private property and so on. It becomes even more of a game when you have to work out how to attain Pokémon in elusive locations. I’ve heard stories about folk knocking on your door asking if they could come in because they’ve noticed you’ve got a rare Pokémon in your house. It sounds pretty sinister, but it shows the level of commitment the game inspires.
Think of it this way: why is it so addictive? Like Tinder, it’s a form of locative media which uses your GPS to determine who or what will appear in your surroundings. Pokémon Go also uses your phone clock, as different types of Pokémon appear at different times of day. I’m reminded here of one of my favourite games, Animal Crossing,where you could go fishing and bug-catching but what was out there was determined by the ‘real time’ of your Game Boy’s internal clock. It followed the real time of a 24 hour day, of the seasons and so on, so that in December there’d be snow and falling leaves in autumn. It was very beautiful and the real time aspect has an addictive quality. I think it’s because the game becomes less a form of escapism and more a parallel to reality, to everyday life. You know it’s reached that status when The Mirror runs a how-to guide, eh?
What’s so cool about Pokémon Go is how it adds meaning to real space. A school, town hall, park or pub becomes a Pokémon Gym and everyone wants to visit. I swear business at my work improved for a month as we quickly realised we were a Pokémon Gym and groups of sullen young adults would gather silently at bar tables, trying to battle other trainers at the gym and hoping to win Pokécoins. A guy I work with would heavily protest when he saw someone playing the game because he was currently gym champion and got surly at the prospect of newcomers taking his title. If I was late bringing someone a coffee, nervous they’d be grumpy with me, often they were so distracted by the game that they’d not even noticed the time. In a sense then, Pokémon Go transforms both time and space. Everything is flattened into a map, where flashing nodes indicating Pokémon are the symbols of desire, the objects of pursuit.
In a compelling, complex and challenging article on Facebook as a ‘desire-network’, Maria-Daniella Dick and Robbie McLaughlin argue that ‘Facebook effects a mutation in desire and thus in capitalism’, and in tandem with this, a ‘historical shift inn the relationship between psychoanalysis and capitalism’ (Dick and McLaughlin 2013). With Facebook, ‘desire remains impossible to satiate, but it is now without object’ (Dick and McLaughlin 2013). They suggest that Facebook is situated within the Lacanian Imaginary order (which constitutes the intrinsic narcissism through which the human subject constructs fantasy images of both herself and her object of desire). According to Lacan, desire (unlike need) is always unfulfilled; we are always moving towards a lack, the anxiety prompted by something lost (as in the child’s original sense of wholeness before discovering the fragmentation of her parts, the split between her body and world and mother, in the mirror). The Imaginary is that which we create to attempt to fill that fundamental gap, the fantasies of the ‘ideal ego’ which compensate for an originary loss. Facebook is basically the ultimate web of the Imaginary: all our time is spent scrawling through pictures and statuses and shared media which all in various ways represent fragments of the ideal selves we project online. Yet our browsing is ultimately without end, it is ceaselessly rhizomatic, decentralised; we end up on one place, a restaurant page or old friend’s profile, without really knowing how we got there. Our passage through the network is governed by algorithms which attempt to map our desires; algorithms which are self-sustained by users’ input data, the patterns of usage recorded with every click. While this may seem revolutionary, a democratic decentering of the system, Dick and McLaughlin are highly sceptical of Facebook’s subversive potential at the scale of the political.
While the likes of Facebook were integral in the organising of such glocalised (global/local) revolutionary events as the Arab Spring or the Occupy Movement, ultimately ‘[s]ocial networking completely embodies and facilitates these phenomena in which the masses are now able to organise efficiently but without being unified by a radical ideological alternative’ (Dick and McLaughlin 2013). The fragmentary pathways of Facebook map out the lines of insidious liberal democracy, and as engrained as they are in corporate culture (the corporation itself becoming the medium for mass communication) offer little opportunity for imagining visionary alternatives to liberal capitalism. Crucially, Facebook (with all its user-directed interfaces based on algorithms of taste and so on) perpetuates the myth of the liberal individual, who curates her profile, her tastes, conducts a life of many choices. As Dick and McLaughlin (2013) put it: ‘[t]he so-called 99% are already conditioned by a liberal democracy in which they have the self-identical sovereignty of an individualistic ideology that places the subject at the centre of the world’. To really offer a vision for an alternative future, we have to actually come up with a plan. Recognise that we are always-already networked individuals, whose subjectivities are hardly unique and instead constituted through structures of discourse and power, and use this in a positive way, to undermine the liberal justifications for free-market capitalism.
What does all this have to do with Pokémon Go? The thing is, Pokémon Go seems like innocent child’s play, but it’s bound up in the politics of space. It’s fundamentally structured by GPS software and urban space, and let’s face it, urban space is always ideological. Whether it’s homeless spikes, shiny new glass-fronted apartments built where Brutalist high-rises used to be, gated communities, the psychotic disarray of London’s property market, the genuine promotion of American Psycho-style yuppie-targeting ads or simply the denigration of social housing as ‘slum housing’, space and architecture is always somehow political. In a recent talk given at the University of Glasgow titled ‘Remembering the Future: The Politics of Space and Architecture’, Darran Anderson argued that the current failure of the Left is a failure to put forward a vision of the future that is compelling and actually positive; if we don’t act soon then someone else (i.e. Donald Trump and his cronies) will determine the future for us. One way Anderson proposes we can intervene in the social order is through architecture, by building sustainable forms of urban space, housing and energy production that take into account the fact that we are living in the Anthropocene. We need to accept the imminence of ecological disasters, which are indeed already happening. Oh how Trump hates those windfarms. We need to rethink our fantasy imagery of the city; it needs to become a network of playful imagination, of empowerment, rather than just passive defeat, or the kind of share-lite politics, browsing, blasé escapism and distraction offered by Facebook.
What is interesting about Pokémon Go is that it restores to some extent the object of desire, which Facebook, in its endless networks of people, places, photos and check-ins, displaces. ‘With Facebook’, Dick and McLaughlin (2013) argue, ‘people no longer live the present as present; it exists only insofar as it is exists to be recorded and later uploaded to Facebook’. This temporal displacement shifts with Pokemon Go, which insists on the present as present. Pokémon only appear for a limited amount of time so the imperative is to catch them in the game space of the now. The impulse of shopping or clubbing to buy buy buy or drink drink drink is gleefully interrupted by the appearance of Pokémon, who are quickly snapped up and snapped, shared online. The allure of ‘cool’ or the aura of dreamlike consumption attached to consumption-based social places is disrupted by the childlike logic of the game. And there’s nothing the companies can really do about it, since technically Pokémon isn’t intruding on reality, it’s only intruding on maps of reality. Now I’m thinking of that Jorge Luis Borges story, ‘On Exactitude in Science’ (1946), and getting very confused about reality itself. In the story, Borges imagines an empire where cartography has become so exact that its map of the empire must match in size and detail the empire itself—after which, what’s the difference between the map and the original? Do you need the map anymore, or can you use real space to map out real (map?) space?
There is almost something a tad Situationist about Pokémon Go. It offers no restrictions on movement, the way the Game Boy games do, according to a linear narrative. If you want that elusive Vulpix or Meowth, perhaps you will have to explore territories previously uncharted in your running app or Instagram places map. You might end up in the strange end of town. And what will you find when you get there? Traversing space this way leads to opportunities of surprise and discovery. The fact that so many people are posting photos of their Pokémon Go encounters online adds a new palimpsest of meaning to our understanding of place. The appearance of Pokémon disrupts the order of cities; it adds new points of desire to the map. Sure, most gyms are in tourist hotspots, but that doesn’t mean you don’t have to explore the more unseemly areas of town to catch ‘em all. In wandering out your comfort zone, you’re enacting a sort of De Certeauian ‘tactic’, resisting the signage and flows of capital which generally direct your movement in urban space (i.e. according to the circuit-like lure of the shops, the home or workplace). Ironically, you’re doing this at the inspiration of a global corporation (the folks who own the Pokémon Go app), but in this case, it doesn’t necessarily mean your actions and movements aren’t subversive. Nevertheless, the transgression of space according to augmented reality is unfortunately still bound by societal racism, highlighting the fact that we experience space differently according to who we are—despite its best intentions and possibilities, a game like Pokémon Go can hardly overthrow the prejudices of the Repressive State Apparatus…
Since Pokémon Go is based mostly on algorithms of mapped information, there is an element of chance which escapes the systems of data (could we call this glitch a Lacanian intrusion of the Real?). Pokémon crop up in controversial places. Since ghost Pokémon are attracted to graveyards and places of mourning (think: the original Lavender Town), they have been appearing in places like the Holocaust Memorial or Ground Zero. The incongruity of the playful critters in these places of silence and solemnity is startling and forces us to rethink our expectations of memorialising space. In a sense then, for better and worse, Pokémon Go has a reterritorialising impulse. Sure, you can report inappropriate places and instigate a process for removing them from the Pokémon Go map, but that initial appearance, based on some kind of algorithmic randomness, has already violated the implicit expectations of such places in terms of silent respect and mourning. There is in a sense an overflow of the gaming impulse, where the augmented reality becomes more distracting than reality itself (even when you are in such a compelling and startling location as the Holocaust Memorial…).
Perhaps this is the danger then, of supplanting a fictional reality (the map) for the territory itself. I’m thinking of the protagonist in Tom McCarthy’s novel Remainder (2005), whose response to trauma is to assemble a detailed map of a very specific retrieved memory, based in a house where there was a very specific synaesthetic symphony of liver-frying, cats on roofs, piano playing and motorbike clanging. Eventually this map is transferred to the ‘real’ as the protagonist recreates mimetically the details of this spatial memory. Yet pursuit of the real is addictive; the protagonist soon begins recreating more extreme and harrowing memories he’s encountered: traffic accidents, bank robberies. What intrudes, eventually, is the remainder: the real itself which spills out of the recreated event. As McKenzie Wark writes in the preface to McCarthy’s novel, ‘[t]he simulation is never perfect, always in excess of the thing itself. It always leaves a remainder. The most troubling remainder is himself [the protagonist]. He is a leftover God, a God as debris of creation’ (Wark 2015: xi).
In a way, Pokémon Go represents a God-like desire to reconfigure reality, to impose the Imaginary space of the simulated game upon the ‘game’ of ordinary existence. Is this a postmodern statement of irony, a pastiche of 1990s nostalgia in the age of the smartphone? Yes, and no. There’s something kind of modernist and sincere about it too, a sense of genuine interest in creating the Big Project, a utopian potential for gaming to bring people together. While Pokémon Go is partly about earning currency (Pokécoins) to buy more materials which help level up Pokémon or revive them during battle, its general impulse is towards exploration. Conquering, yes, to an extent; but mostly exploration. What happens when you’ve captured every Pidgey in your neighbourhood? You travel farther, maybe even beyond your hometown or city. Of course there comes a point where most of us get bored and stop playing, but there was a moment when the game genuinely seemed to interrupt reality in a way that felt genuinely liberating. The fact that so many people deemed it silly, a waste of time and completely illogical only highlights the ways in which the game resists the general instrumentalism of capitalism (i.e. every minute should be spent doing something useful, like finding ways of accumulating money and furthering one’s career). The time wasting aspect, the fact that so many people love its paean to repetition (you can walk the same route every day and still get different Pokémon appearing), is a queer sort of logic; it goes against capitalism’s futurity, the linear progression of temporality, in favour of a kind of maddening impulse of looping, overlapping desire. We accumulate the same Pokémon several times and this is part of the internal logic of the game, compelling us to traverse the various spaces again and again. It represents at once the immateriality of twenty-first capitalism (as based on flows of ‘invisible’ capital and immaterial goods, symbols of status) and the potential for subverting the logic of accumulation to one that is both bizarre and based on the ethics of play rather than success.
Sure, a great deal of the game might be about levelling up and being the best, but you can also play it with general disregard to those impulses. Collecting, in a sense, transforms the use-value of goods by placing them in a new circuit of information, taking them from the marketplace to the geeky world of the collector, whose interest in based on details and aesthetics, often more than financial worth. Just look at what happens when someone tries to make money off becoming a hire-out Pokémon Go trainer: they are threatened with being banned from the game, since it violates their code of ethics/terms of service. Play, rather than capital, is at the heart of the game’s map of trajectories. It brings people together – even adults – in a space of play. I’m not saying it’s changed the world by any means, and indeed it has its slightly absurd but very real dangers, as people blithely ignore the potential perils of the real landscape in pursuit of the desired (simulated) object, like Icarus flying too close to the sun…However, there’s something genuinely refreshing about how Pokémon Go forces us to reconfigure our sense of reality, space and the routing of our desires and movement. While world-views are shrinking and narrowing in post-Brexit times, Pokémon Go reminds us of the value of expanding our horizons and getting up to just go and wander, maybe aimlessly.
There will always be moral panics over deaths from selfie-taking, planking and cavorting in dangerous places, but will there be anything quite like Pokémon Go?
(other references are hyperlinked in the text)
Anderson, Darran, 2016. ‘Remembering the Future: The Politics of Space and Architecture’, Lilybank House Seminar Room, University of Glasgow, 15th November 2016.
De Certeau, Michel, 2011. The Practice of Everyday Life (Berkeley: University of California Press).
I haven’t been ‘abroad’ since Dublin in June 2014, so the prospect of Berlin was pretty exciting. I thought it was about time I spent my birthday somewhere different and I’ve never heard a bad word said about Berlin. We stayed in the Heart of Gold hostel, which is in Berlin Mitte, about ten minutes from Friedrichstrasse train station and a short walk away from Brandenburg Gate, Reichstag and Museum Island. This was my first time in a hostel and it felt a bit like going on a residential school trip combined with student halls; only unlike a school trip you had total freedom over your time, and unlike student halls people actually respected the place. The decor was kinda cool and space-themed, plus there was a pool table and unlimited free hot drinks and super cheap beer. The slightly rickety bunk beds were worth it in terms of price and location. Also, not many budget hotels will bless you with music ranging from Radiohead to German techno to obscure Cure albums to enjoy over your breakfast. I loved it.
I always forget how funny a place airports are. Their sense of spatial and temporal dislocation. Everyone just waiting; not exactly lounging around, but waiting all the same. Checking their phones, browsing the duty free, trying not to lose each other. If you’re like me and don’t go away much, you forget that whole other culture – that of the British holidaymaker. Screaming families and the endless churning crowds making their way to Spain, their unprotected, pasty skin volcanically craving the crack-over burn of continental sunshine. Groups of lads with Nike snapbacks making their way out to Zante or Magaluf for their sixth year holidays, my brother beside me tearing their outfits to shreds with his devastating fashion analysis.
Berlin kinda has it all. There are vegan and vegetarian restaurants and cafes everywhere. We came across a place with hammocks that allowed you to concoct your own tea and watch the traffic go by as you swayed from side to side. Cool riverside cafes with bars embedded inside cabana-style sheds. Supermarkets which sell hummus and play Lana Del Rey on their speakers (what more do you need?!). A frankly mesmerising selection of Ritter and Lindt chocolates (the best). Parks where all sorts of people hang out, drinking beer and wine and throwing frisbee for dogs. It’s legal to drink in the street in Berlin and the vibe is always pretty chilled. The streets weren’t covered with litter, and generally the abundance of graffiti gave off the impression that to remove it would be to strip something pure from the city. It’s a colourful place, a dusty place (lots of construction going on), a green place. There’re parks everywhere, not to mention the massive Tiergarten, where you can lay around for hours, make friends at an outdoor bar, go rowing along the pond, check out a statue dedicated to good old Rousseau. There were little stands outside train stations which sold nothing but punnet after punnet of fresh strawberries. Beautiful Brutalism. Boutique coffee shops, vintage clothing stores, fruit and veg stalls everywhere. It’s super hipster, yes, but not in the kind of wanky obsessed-with-‘taste’ Shoreditch way, just in this laid-back, established way of cool. Plus, all the spirits seemed to be served as doubles, which was fun.
We walked around for hours and hours in the heat, sometimes catching a train, sometimes just walking some more. We walked more than 60km in three days, according to my phone! We saw the main shopping precinct, the parks, the lovely laid-back bar areas, the touristy stuff, the artwork at the East Side Gallery. I already want to go back, preferably with a group of pals who are brave enough to explore all the crazy warehouse raves, speakeasies, weird bars (especially The Black Lodge – think this might’ve freaked my brother out too much!)and clubs in the depths of Kreuzberg…
Some of my favourite Berlin things:
The place which used a gym bench as a bar top and sold my favourite whisky (Talisker)
The riverside cafe with a hairdresser inside a treehouse
Double gin & sofa after walking for hours in the sun
The laid-back cafe vibe around Mitte
The crazy hotchpotch of people at Mauerpark
Ritte ‘Nougat’ chocolate, which is like those Guylian seashells only in a block of chocolate, yummmm
The African festival at Alexanderplatz (everyone looked cheerful)
All the lovely Americans we met at the hostel
Vodka bottles for like €1 at the supermarket
Seeing posters for loads of cool festivals, even though I won’t be going to them
The fact that cigarette machines still exist here!
All the bright yellow buildings
The solitary man with long black greasy hair playing lovely sad dissonant songs on his cello, sitting under a bridge
Not having WiFi for a few days then coming home to lovely birthday messages!
One of the first things you notice when you come to university in Glasgow is the building that passed you by on the open days: Boyd Orr. Orr…ore…or? With such connotations of alchemy, alternation and mechanical process – the extraction of mineral from rock – you’d be forgiven for thinking this building might have that rare quality of metallic extraction. The glint of some loveliness got from the mined core of the earth – or at least some relic of its crust. Boyd Orr himself, as Wikipedia tells me, was a Scottish teacher, doctor, biologist and politician, who also bagged himself the Nobel Peace Prize for work relating to wartime nutrition. Fitting, perhaps, that this man who dabbled in the arts of healthy eating would give his name to a building that some have found physically repulsive and ugly – if anything, unhealthy.
Still, nutrition involves mining particles of food for their usefulness. Finding all the vitamins as a geologist might take ore from a rock. There is something abject about all this: wrenching nature inside out, textually taking apart her insides with the bland incisiveness of a knife (the linguistic thrills of science course-books). The molten loveliness of erosion, rocks, temporal process – we can reduce them to names and building blocks. And so we have Boyd Orr, that building of much usefulness and much disgust. The beast of a building that somehow you find yourself in, day after day, traipsing up the stairs for lectures, waiting for someone to give you their jewels of information. You came here thinking you’d be living the Harry Potter high-life in the extravagantly gothic main building, chased by ghosts and granted with turret views. Instead, you end up four floors up in a building that sends its gross sneer across the otherwise lovely architectural landscape of the West End.
Whatever you might say about Boyd Orr – with its dirty-white panels, greying windows and greyer walls, with the greenish mould that creeps up its underside like seaweed on a rock and the ugly stark jut of its body against the surrounding skyline – you must say that it is a fine example of Brutalist architecture. The heyday of Brutalism was the period between 1950 to the mid-1970s, a reaction to the modernism of the early twentieth-century. Most examples of Brutalism tend to be found in governmental or institutional buildings (university libraries, shopping malls, high-rise housing), whilst corporate buildings have always favoured a more glassy, futurist chic. The thing that strikes you first about a Brutalist building is its sheer expression of, well, concrete. It hits you with the blunt materiality of a prison or fortress, and you know, it does take a while to get used to going inside. Sometimes it seems impossible that such a monolithic block is carved out inside with such things as canteens and toilets and classrooms. Part of its statuesque aura relates to its positioning: right on the corner of University Avenue and Byres Road, where the surrounding buildings are much smaller or indeed older (and prettier for that matter). There’s no getting away from this eyesore, this monument to an industrial modernity that seems now to be receding in the mise-en-abyme of contemporary metallic panelling, plexi-glass and plastic coating.
Like the rest of Glasgow’s culture, its architecture is a tale of two cities. There’s the legacy of our colonial history, with flourishes of opulence on every corner; but there’s also the leftovers of 1970s ‘slum’ housing, the crumbling tenements where once upon a time (and, unfortunately, perhaps still today) a whole family would share a bedroom and washing was done at the ‘steamie’. In one street you might have a bizarre Art Deco number next to some crumbling sandstone tenements, or a gleaming new-build sprung up alongside Victorian houses with massive (single-glazed and listed) bay windows. There’s the black-and-white nostalgia of the Gorbals and then there’s the grandiose Park Circus, sat atop Kelvingrove Park looking out with picturesque views over the city. There’s the famous Carpet Factory, the Rennie Mackintosh Art School, the various churches, mosques and synagogues with their unique homage to Roman and Eastern styles. There’s the uncomfortable fact that much of Glasgow’s beautiful marmoreal and sandstone glory is built on the slave trade. We also have the bug-like SECC resting next to the Clyde as if we were in Sydney, the Royal Concert Hall that crowns the top of Buchanan Street, the new Hydro that more than anything resembles a UFO. It’s definitely a city of eclectic architecture. While we might not have the equivalent architectural (and indeed financial) notoriety of Edinburgh’s Scottish Parliament building (which in my family alone has been called ‘horrible’, ‘interesting’, ‘a waste of money’, ‘too modern’ and ‘more of an art gallery than a parliament’), we were in 1999 designated the UK City of Architecture and Design, beating the likes of London, Liverpool and of course, Edinburgh. You only have to reflect on the response to last year’s Art School fire to recognise how seriously we take our physical landscape and architectural heritage (even if it is often covered with ad posters and graffiti).
Anyway, back to Brutalism. The key word related to its style, aside from concrete, is perhaps ‘function’. Stripped to its core elements, Brutalist architecture involves repeated ‘modular elements’ which are grouped together to form the whole. This is the raw fragmentation of modernism, here transformed into something with instrumental purpose, something solid that seeks to counteract the airy dissolution of modernity. ‘All that is solid melts into air’, Marx said. With Brutalism, the response is to make things as solid as possible. How ironic that Marx predicted a revolutionary dissolution of oppressive social structures, whilst the ‘proletariat’ in question remain literally trapped inside buildings which encase them in a physical manifestation of the very (metaphoric) solidity which binds them socially – the hard class structure, the poverty cycle and so on. And perhaps also ironic that some of these buildings were erected at a time when industrial labour was entering its decline in Britain and elsewhere, especially in Glasgow towards the end of the 1970s, as Thatcher came to power and that mineral source of wealth and opportunity (going back to ore of course) – mining – was dissolved from the national economy.
There is also the uncanniness of paradox attached to the fact that when one observes a Brutalist building, it is often difficult to discern its function due to the sheer vastness of its functionality. This relates back to what Edmund Burke in 1757 defined as ‘the sublime’:
The passion caused by the great and sublime in nature […] is Astonishment; and astonishment is that state of the soul, in which all its motions are suspended, with some degree of horror. In this case the mind is so entirely filled with its object, that it cannot entertain any other.
Burke was talking about the sublime as it was caused by scenes of nature: mountains, chasms, forests that seem to stretch on forever. However, as urban landscapes increasingly eat into our countryside, it seems fitting that we might consider the vastness of their proportions – or indeed, their ugliness – a kind of sublime in themselves. What else do we feel than a kind of passionate ‘horror’ as we find ourselves faced for the first time with buildings like London’s Trellick Tower and Barbican Centre or India’s Palace of Assembly? All those pattern-like repetition of squares resembling a Kantian ‘mathematical sublime’, whereby an overflow of signifiers stretching out into tedious infinity bears the threat of all meanings, distinctions and associations collapsing into one long metonymic chain leading to nothing but more signifiers. It’s enough to give you a headache, and quite ironic that Boyd Orr is next to the equally hideous though somewhat-smaller Mathematics Building.
Central to Burke’s idea of the sublime is the notion of the pleasure associated with terror: as we gaze at something which overwhelms us, we find ourselves staring into the abyss of meaninglessness, on the sheer precipice where representation itself collapses. St. Augustine suggested that the ugly was that which embodied formlessness in its lack of beauty. This aesthetics of excess or hideous terror appears curiously inappropriate for a style of building whose very purpose was built on form as function. We might think of Frankenstein’s monster, whose ugliness stems not only from the fact that he is composed of the flesh of dead cadavers, but also his sheer pointlessness – the fact that he is a ‘blot upon the Earth’, as Mary Shelley has him lament. Might we consider the likes of Boyd Orr a horrible, monstrous ‘blot’ upon our sacred streets? Or is this more than a question of mere aesthetics?
As Romantic poets readdressed the Neoclassical distaste for the gross pointlessness mountains (favouring, as Alexander Pope’s Windsor Forest perhaps best exemplifies, a view of nature as ordered and harmonious) by fetishising the psychologically disruptive experience of the sublime (in the way that Coleridge, de Quincey et al also favoured the psychologically disruptive experiences of opium), today’s generation are raising Brutalism to idolised status rather than rejecting it as a mere eyesore. Sure, you will have the many students who moan about Boyd Orr’s appearance on their campus, but you will have an equal number of enthusiasts on the likes of Tumblr posting Brutalist architecture onto their blogroll, alongside your Banksys and softcore erotica and fan-fiction all that other Tumblr jazz. Stark black and white photographs record an almost antiquarian fascination with the aesthetics of these buildings and their value as some relic of a solid past we can’t quite get back to in our shiny era of crazy postmodern architecture.
But is there an ethical problem underlying this fetishising of some Brutalist buildings? They are, after all, often the homes of many people living in relative poverty. Sometimes, these buildings are just down the road from areas of affluence and architectural extravagance. I don’t need to mention specific areas for you to think of places in Glasgow, because there are certainly many. It’s a problem related to the way that urban decay is appropriated as a kind of dark backdrop upon which a white, middle-class guy sorts his life out. There’s always been the ethnographer’s dilemma of how ethical it is making a living out of describing poor conditions without doing anything about it politically or practically. I suppose what I’m getting at though is that there’s something a bit more uncomfortable about using these buildings as ‘cool’ aestheticism, a mere viewing-spot on the blasé scroll of online photography. Still, I don’t think there are clear answers to this; and maybe it’s good to share images, because sharing raises awareness. You just have to keep in mind the whole problem of ‘poverty porn’, and the notion that by glorifying certain buildings you are also glorifying a particular experience of poverty, however unintentional your actions.
Indeed, this perhaps is what made me so uncomfortable about last year’s plans to demolish the iconic Red Road tower blocks and transmit the demolition live as part of the Opening Ceremony of the Commonwealth Games. While it is of course good that the Games involved building new, much more accommodating and safer houses to replace these crumbling relics of Glasgow’s past, I don’t agree that it should’ve been broadcast to add a ‘bang’ to the Opening Ceremony. London gets magnificent fireworks for the Olympics, we get…glorified demolition? Destroying a symbol of poverty doesn’t destroy poverty itself, however easy it makes it look. Luckily, these controversial plans were scrapped in the end after much public opposition (which just shows again how much Glaswegians care about their physical environment and the social consciousness within it). Regeneration is underway with the Games’ legacy and of course it is a great thing, but there is no need to sanctimoniously erase history in front of the world to show that you’re doing it.
This points to the whole issue of Brutalism’s somewhat brutal decline since the 1980s, especially in Britain. Vocalised distaste from public figures, the association with urban decay, problems with graffiti, cramped living conditions and its starkly cold, almost totalitarian appearance, all contributed to this decline. Another contribution to this decline perhaps came from British Literature’s concrete guru, J. G. Ballard, as his novel High Rise (1975) documents a dystopian, Lord of the Flies situation where the closed conditions of a high-rise building lead to a swift degeneration of the residents lives. The enclosed spatiality of place itself gives rise to a carnival of savagery and violence, where primitive desires are unleashed in this isolated environment. The opening line perhaps gives you a good indication of where Ballard is going with this novel: ‘Later, as he sat on his balcony eating the dog, Dr Robert Laing reflected on the unusual events that had taken place within this huge apartment building during the previous three months.’ There is a strain of dark humour running through the text, as well as the shock value of its exposure of human nature placed in its urban limits. You get the sense that Ballard secretly revels in both the sheer surreal ugly inhumanity of it all, whilst critiquing the politics of urban planning that might one day lead to such a scenario.
Overall, I’m not sure where my position on Boyd Orr lies. There are days where I’m walking to uni along Highburgh Road and when Boyd Orr looms out of a cloudy winter sky my spirits sink like a puddle of snow slush. But there are times when you can’t help but notice the strange beauty of copper-coloured sunlight flashing upon its windows at dusk, as if a thousand eyes were staring out of those cold, impersonal walls. I think there’s value in preserving these buildings, not just because they possess a kind of chic urban sublime, but because they remind us of the ideals our society once held, even if they were misguided, flawed or impossible. I suppose I’d rather stare at the stark reality of an ugly monster, a decrepit Boyd Orr, than lose myself in the illusory surfaces of the glassy Wolfson Medical School, or the kitsch blue and green panels of the neo-Brutalist Fraser Building. I’d rather a chunk of dull glowing ore than a perfect rhinestone…