I have always had an intense obsession with the art form of music video. Rage influenced my childhood more than I’d like to admit – but it was never just about music (although Daft Punk at 9a.m. never hurt anyone). Film-clips gave musicians an additional platform to not only convey their tracks, but an effective tool they could use to speak to the masses that exceeded the lyrics of their songs. These days I feel it’s actually quite rare to find a film clip that correctly depicts the actual lyrics or narrative of the song. For my research project I want to analyse messages, statements and feelings that are conveyed in a variety of music videos and pinpoint the correlation to the lyrics if there is any. To do this I’ll be breaking it down into 3 categories (w4: gender/sexuality, w6: race/culture, w8: war/politics) and looking at them specifically. I have always thought of music videos as a powerful form of communication because of the influence that musicians have over such large populations. Now with access on every device we own through the youtube app, it is more relevant than ever.
We have seen this activism through music videos cover an enormous range of social, political, environmental and economic issues that need attention. Musicians and producers over the ages have found this loophole in an industry where shallow content is celebrated (now more than ever with money, hoe’s and substance abuse being a prolific focus) and refined it to convey important messages to the generations that can make a difference.
I think it would be interesting to study the comments on the videos, analyse the feedback the musicians are receiving and determine if the statements are being received in the intended manner and /or making a difference.
Apon conducting research into cyborgs, I came across the highly skeptical practice of biohacking.
Biohacking differentiates from cyborgs in that most of biohacking is not approved. Although cyborg is still a term that the public tends to not use due to misconceptions about what they exactly are. Though there are some people with implants that call themselves cyborgs. And are proud to be known as that.
Now I am not completely familiar with cyborgs and the culture surrounding them, as the further I’ve researched, the more complex the topic appears to be. So with the knowledge I have obtained from my research I will be making my Youtube videos into a mini information series about the culture.
Some ideas I am thinking for topics include:
– What is a Cyborg?
– The Rise of the Cyborg
– Modern Day Cyborg
And more ideas when they come to mind!
Lovecraft and cyberpunk intersect through a few key themes. These exist as more of a web than a list, so I’ll do my best to explain my thoughts on them as I go.
> Cosmic Horror
The idea of nihilism – that nothing you do could possibly matter – is the first one I would tackle in order to build an atmospheric foundation for my work. Lovecraft’s cosmic horror plays on our fear of the unknown, the unknowable, and the universe’s indifference. This is the core of weird fiction, when applied subtly. The most straightforward way to transpose this onto a cyberpunk setting is through a metropolis which functions as a microcosm of Lovecraft’s universe-spanning horror. Manifestations of the nihilism that comes with cosmic horror in cyberpunk include rampant drug culture and escapism, as well as human redundancy with androids and AI.
> Magic and Technology
The second issue to look at is a balance between magic and technology – or fantasy and science fiction. This is a particularly cyberpunk theme that has parallels in Lovecraft. The futuristic technologies that exist in cyberpunk spaces act as a necronomicon of sorts – a technology with fundamental importance yet unknown breadth.
> The City’s Beating Heart
I dove into the idea of a “living city” as a starting point for my visual experiments with intersecting cyberpunk and Lovecraft. Though it’s a lot more straightforward than much of Lovecraft’s nuanced weird fiction, which relies far more on uncertainty, this kind of visualisation is an important part of the experimentation process. The top of the image is obscured in smog and darkness – it is distant, crowded, and cold. The closer you get to the bottom, the more vibrant it becomes – and more disorganised and slum-like. This is where the life is; the warm bodies on cold ground. Up the top exist the people with a voice but no ears, and down the bottom exist the people with ears but no voice.
Original post on Data Eater: The Beating Heart of the Metropolis