Page 1


Tarby 1  

Sara Tarby   Susana  Tosca   Digital  Aesthetics   12.12.12   We  Used  to  Wait  for  HTML5     Introduction:   I   live   in   Copenhagen   and   I   have   lived   here   for   more   or   less   five   years.   I   moved   from   Silkeborg,   a   medium   large   city   in   eastern   Jutland,   when   I   was   18   years   old   and   hated   everything   about   my   birthplace   like   I   imagine   so   many  other  teenagers  do  in  that  age.  I  wanted  to  live  in  the  big  city  of  Copenhagen,  where  I  would  find  my  call   and   where   life   would   show   itself   in   all   it’s   bright   colors   and   twisted   characters   in   the   night.   In   writing,   I’m   homesick  and  all  I  want  to  do  is  to  get  on  the  next  train  to  Jutland  and  find  my  way  to  my  fathers  house,  the   place   where   I   grew   up,   and   just   be   there   in   the   surroundings   I   know   so   well   and   the   surroundings   that   somewhat  witnessed  me  developing  more  than  I  ever  will  or  so  it  sure  feels.  No  matter  what,  the  place  where  I   grew  up,  has  great  value  to  me  for  many  reasons.  It  still,  even  though  I  have  lived  in  the  same  apartment  for   five   years,   is   the   only   place   I   call   ”home”.   I   get   nostalgic   when   experiencing   something,   that   reminds   me   of   home  and  then  I  try  to  dig  up  some  old  memories  in  my  head  and  try  to  see  life  as  it  was  for  my  inner  eye,  but   my  memory  has  it  that  only  scattered  images  and  short  ”clips”  of  sound  are  to  find  in  wholeness.  Everything   else   is   just   a   pond   if   impressions   and   strange   feelings,   that   do   not   have   real   shape,   sound,   taste   or   feel   anymore.  This  essay  is  about  a  music  video  that  awakened  homesickness  and  nostalgia  in  me.  The  paper  will   by   using   literature   on   nostalgia   as   an   aesthetic,   the   HTML5   format   that   the   video   is   build   on,   on   spatial   montages   and   city   symphonies   and   how   to   create   space   in   motion   pictures.   It   is   a   very   interesting   field,   because   I   have   read   about   many   genres   in   motion   pictures   that   are   to   make   people   feel   something   in   particular.  An  example  is  the  horror  genre  that  is  to  scare  people  and  startle  people  that  practices  the  use  of   particular  movie  formats,  angles,  sounds,  clipping  technique,  color  correction  and  so  on  to  do  so.  But  I,  when   experiencing   the   video   being   explored   in   this   paper,   felt   a   deep   sense   of   nostalgia   and   that,   making   people   nostalgic,  is  something  interesting.  One  can  only  imaging  how  we,  viewers  of  motion  pictures,  have  same  ways   of  reacting  on  horror  movies,  comedies  and  so  on,  but  we  might  not  have  the  same  base,  when  it  comes  to   showing  ”home”.  What  is  home  to  me  has  never  been  home  to  you,  so  how  is  it  possible  to  make  one  video  

Tarby 2  

about mine  and  your  past,  when  we  are  not  sharing  the  same  past  and  upbringing  like  we  share  the  fright  of   sudden  shocks  and  murderers  in  clown  suits?     Arcade  Fire:   Arcade   Fire   is   an   indie   rock   band   from   Montreal,   Quebec,   Canada.   They   where   formed   in   2003   and   consists   of   Win  Butler,  who  is  main  vocalist,  plays  the  guitar  and  piano,  Régine  Chassagne,  who  is  singing  secondary  vocals   and  plays  hurdy  gurdy,  drums  and  keyboards,  Richard  Reed  Parry  who  is  on  the  bass  guitar  and  guitar,  William   Butler   who   is   on   keyboards   and   guitar,   Tim   Kingsbury   on   bass   guitar,   Sara   Neufeld   who   is   playing   violin   and   finally   Jeremy   Gara   on   drums.   These   are   the   consistent   members   of   the   band,   there   are   several   other   musicians  who  play  on  their  tours  on  many  other  instruments  (LastFM).  

Figure  1  (LastFM)     The  Suburbs:   On  their  debut  album,  Funeral,  2004  the  band  already  begun  exploring  the  theme  of  ”neighborhoods”,  and  in   2009  Win  Butler,  the  lead  singer  of  the  band,  received  a  mail  from  an  old  friend  he  grew  up  with  in  the  suburbs   of   Houston,   Texas.   "He   sent   us   a   picture   of   him   with   his   daughter   on   his   shoulders   at   the   mall   around   the   corner   from   where   we   lived,"   says   Win,   "and   the   combination   of   seeing   this   familiar   place   and   seeing   my   friend  with  his  child  brought  back  a  lot  of  feeling  from  that  time.  I  found  myself  trying  to  remember  the  town   that   we   grew   up   in   and   trying   to   retrace   as   much   as   I   could   remember."   (Merge   Records).   The   other   band  

Tarby 3  

members also   tried   to   go   back   to   the   places,   where   they   grew   up   and   in   some   cases,   they   found   there   was   nothing  left.  Merge  Records  states:  ”buildings  were  boarded  up,  if  they  still  existed  at  all;  new  roads  and  rivers   had   magically   appeared,   altering   the   landscape   that   now   only   existed   in   faded   photographs.   When   they   reconvened,  the  first  song  they  wrote  was  The  Suburbs'  title  track.”  (1)   Themes   such   as   scarcity,   of   generations   past   and   future,   responsibility   and   maturity   ended   up   filling   the   entire   album  also  with  a  ”hope  that  something  pure  can  last”  (1).  The  band  has  a  mission  with  the  suburbs  and  in   nostalgia  and  the  thought  of  something  being  good  in  the  past.  We  can  by  this  assume  that  the  song  ”We  Used   To   Wait”   is   somehow   connected   to   the   feeling   of   being   nostalgic.   Holbrook   and   Schindler   are   describing   literature  on  nostalgia  and  mention  several  big  historical  works,  including  the  bible  and  how  Adam  and  Eve  are   condemned   to   forever   be   missing   paradise.   This   state   of   longing   for   the   lost   innocence   of   the   past   is   being   described  as  ”true  romanticism”,  but  more  on  that  later.     The  Wilderness  Downtown:   The   Wilderness   Downtown   is   the   title   of   an   online   video   HMTL5   experience.   It   is   a   hybrid  mash   up   of   video   footage,   geo-­‐imaginary,   3D   animation   and   Google’s   ”street   view”   function   (Dragon,   4).   It   is   functioning   as   a   music   video   for   the   song   ”We   Used   to   Wait”   on   Arcade   Fire’s   album   The   Suburbs   from   2010.   The   viewer/listener   is  experiencing  The  Wilderness  Downtown  by  firstly  typing  the  address  of  his/her  birthplace  or   the  place  where  he/she  grew  up  in  a  search  field.  The  algorithm  in  the  program  searches  for  the  coordinates   and   assembles   a   personalized   show,   where   the   plot   of   the   picture  is   looking   like   it   is   happening   there.   Dragon   is  nicely  stating  how  this  ”In  a  curious  act  of  digital  flânerie,  the  user  gets  multiple  points  of  view  shots  of  video   and  street-­‐view  imagery  stitched  together,  adjusted  to  the  movement  of  the  faceless  protagonist  of  the  clip,   using  several,  dynamically  changing  browser  windows  as  a  multiplication  of  screens  within  the  screen”  (4).  

Tarby 4  

Figure  2  (The  Wilderness  Downtown)     These   screens   or   pop   up   videos   firstly   show   a   video   clip   of   a   faceless   and   androgynous   character   who   is   running   down   an   anonymous   road.   Another   pop   up   window   shows   another   video   of   black   birds   flying   in   a   yellow   sky   and   when   the   music   changes   settings,   they   dive   down   and   flies   over   the   satellite   image   of   the   address   the   viewer/listener   has   typed   in.   You   can   see   an   animation   of   the   tiny   character   down  on   the   road   on   the  image,  making  the  image  look  less  static  and  makes  the  viewer/listener  aware  of  the  fact  that  the  person   running  is  actually  running  down  there,  in  your  old  neighborhood.     Memory  and  spatial  montage.   This  is  where  defining  the  video  as  one  video  is  difficult  because  in  some  extent  The  Wilderness  Downtown  is  a   cluster  of  videos  played  in  order.  The  windows  pops  up  here  and  there  and  there  are  only  few  features  but  the   fact   that   you   have   no   control   over   the   videos   appearance,   like   black   birds   flying   from   one   ”screen”   to   another   in   the   HTML5   construction   and   some   of   the   colors   that   somehow   fit   together.   The   question   is   if   this   particular   way  if  telling  a  story  or  showing  something,  is  something  that  a  person  can   comprehend  or  if  it  is  a  medium  of   use,   that   is   going   to   confuse   the   viewer.   On   ”Kaleidoscopic   narratives   and   spatial   mapping”   Prager   is   mentioning  Moholy’s  idea  of  something  called  ”Pylocinema”  and  his  installation  peace  that  focused  on  the  use  

Tarby 5  

of more  than  one  video  clip  at  the  same  time  within  one  bigger  round  screen,  where  these  clips,  as  it  is  with   The  Wilderness  Downtown,  clips  appeared  and  disappeared  with  different  timing  and  different  places  (196).   Janet   Murray,   mentioned   in   same   paper,   describes   a   ”kaleidoscopic   story   with   multiple   points   of   view.”   which   in   our   case   is   interesting   since   the   ”plot”,   the   person   running   down   the   streets,   are   ”filmed”   from   many   varies   of  angles  and  views  and  with  different  formats.  In  one  particular  scene,  the  anonymous  character  stops.  The   next   scene   is   seen   by   satellite,   regular   film   footage   and   images   from   Google   Street   View.   You   see   one   window   or  frame  that  shows  video  from  his/her  feet,  when  he/she  starts  turning  around  himself/herself.      

Figure  3  (The  Wilderness  Downtown)     I   am   going   to   stop   here   and   say   ”she”   from   now   on,   since   she   is   running   down   my   neighborhood   and   I   can   relate  to  her  running.  I  am  after  all  the  only  person  I  have  known,  who  has  ever  been  running  down  that  street,   so  the  surroundings  are  making  me  remember  the  various  reasons  I  had  to  run  at  the  time.  While  watching  the   video  of  the  character  running  it  feels  like  witnessing  happenings  that  has  been  already.     You  see  another  frame  showing  the  satellite  photography  with  her  in  the  middle,  this  picture  is  turning  as  well,   and   finally   Google   Street   View   images   put   together   in   an   order   that   makes   it   look   like   her   point   of   view,   when   she  is  turning  the  same  way  as  if  you  would  turn  around  with  a  video  camera  in  your  hand.  This  scene  is  seen  

Tarby 6  

from three   different   angels   and   views,   which   is   an   odd   thing   compared   to,   what   one   formally   has   learned   about   the   film   language   and   usage   of   angels   and   point   of   views.   This   is   not   necessarily   confusing.   Prager   is   stating  how  both  Moholy,  Manovich  and  Murray  has  been  exploring  this  usage  of  spatial  cinema  and  they  are   all   agreeing   on   the   fact,   that   the   modern   human   is   capable   of   comprehending   such   practice   of   spatial   montage:   Janet   Murray   states   that   ”the   kaleidoscopic   power   of   the   computer   allows   us   to   tell   stories   that   more   truly   reflect   our   turn-­‐of-­‐the-­‐century   sensibility.   We   no   longer   believe   in   a   single   reality,   a   single   integrating   view   of   the   world,   or   even   the   reliability   of   a   single   angle   of   perception.”   (Prager,   197).   Maybe   the   satellite  images  are  manifesting  ”the  bigger  picture”  for  the  viewer/listener,  who  in  this  sense  is  being  aware   of  her  tiny  neighborhood  while  in  the  same  time  actually  is  turning  around  herself  in  the  streets  in  front  of  her   old  home  being  young  of  age  while  looking  at  herself  from  the  outside  as  the  adult  she  is  today.  And  maybe   the  viewer/listener  will  in  fact  be  able  to  experience  all  of  this  at  once  and  the  different  angles  contribute  to   the  sense  of  the  world  being  presented  realistic.  By  this  it  is  also  said,  that  the  viewer  is  sensing  being  here,   now,  and  being  there  when.  She  is  both  experiencing  the  present  and  the  past.  I  can  relate  to  this  statement   since   I,   after   experiencing   the   video,   felt   the   time   as   a   ripping   and   destructive   force   and   watching   the   past   made   me   really   think   about   how   my   old   neighborhood   is   falling   apart.   In   writing,   I   am   convinced   that   the   people   behind   The   Wilderness   Downtown   wanted   me   to   experience   what   the   band   experienced   when   they   explored  and  visited  their  old  neighborhoods.     Manovich  is  mentioning  memory  and  how  humans  perceive  time  when  it  comes  to  spatial  imaging  and  this  is   most  certainly  the  very  reason  why  The  Wilderness  Downtown  should  be  considered  a  very  interesting  case:     ”The  logic  of  replacement,  characteristic  of  cinema,  gives  way  to  the  logic  of  addition  and  co-­‐existence.  Time   becomes  spatialized,  distributed  over  the  surface  of  the  screen.  Nothing  is  forgotten,  nothing  is  erased.  Just  as   we  use  computers  to  accumulate  endless  texts,  messages,  notes  and  data  (and  just  as  a  person,  going  through   life,   accumulates   more   and   more   memories,   with   the   past   slowly   acquiring   more   weight   than   the   future),   "Spatial   Montage"   accumulates   events   and   images   as   it   progresses   through   its   narrative.   In   contrast   to   cinema's   screen,   which   primarily   functioned   as   a   record   of   perception,   here   computer   screen   functions   as   a   record  of  memory.”  This  is  very  relevant  since  I  experienced  both  a  plot  of  a  narrative  continuous  storyline  and   also  felt  the  sensation  of  memory.  My  own  mind  is  reflecting  through  several  pictures,  images,  sounds  and  so  

Tarby 7  

on, so  by  this  anonymous  yet  relevant  material  I’m  witnessing  on  screen,  I’m  visualizing  my  own  memory.  At   least  one  can  argument  that  the  HTML5  format  and  spatial  cinema  (before  mentioned  kaleidoscopic  cinema)   has  resemblance  with  how  one  associates  and  remembers.     Where   there   in   Pragers   text   is   a   focus   on   how   we   in   modern   society   have   been   pushed   into   this   matter   of   sensing  our  surroundings  and  impulses   in  bits  and  pieces  put  together,  Dragon  (4)  has  an  interesting  saying  on   The  Wilderness  Downtown,  that  might  lead  us  into  a  new  direction  of  creating  nostalgia  with  HTML5  video(s):   “A   nostalgic   gesture   indeed,   the   clip   in   fact   utilizes   the   spatial   memory   of   the   user-­‐subject,   connecting   the   psychological   factors   with   an   algorithmic   rendition   of   space.   It   dynamically,   in   a   procedural   manner,   repositions  the  subject  through  the  interface  of  the  mash-­‐up  to  recreate  the  once  visited  spatial  coordinates   that   allow   the   subject   not   only   the   recollection   of   psychic,   but   also   of   bodily   engagement   within   the   given   spatio-­‐temporal  setting.  The  subject’s  spatial  memory  thus  comes  to  be  aligned  (and  overseen)  by  digital  and   performative  cartography”.     Nostalgia:   One   thing   is   to   witness   ones   memory   and   to   experience   the   video   that   is   in   actuality   videos   put   together,   as   a   whole.   Another   thing   is   to   remember   and   feel   nostalgia.   Memory   is   somewhat   a   neutral   ground   while   nostalgia  is  subjective  and  colored  in  a  way  that  makes  the  memory  of  a  certain  time  in  ones  or  others  time   seem   positive.   Holbrook   and   Schindler   is   defining   nostalgia   as   being   an   extension   of   Fred   Davis’   saying:   Nostalgia   is   ”yearning   for   yesterday”.   The   longing   for   the   past   is   defined   as   a   preference   (general   liking,   positive   attitude,   or   favorable   affect)   toward   objects   (people,   places,   or   things)   that   were   more   common   (popular,   fashionable,   or   widely   circulated)   when   one   was   younger   (in   early   adulthood,   in   adolescence,   in   childhood,  or  even  before  birth.  It  is  difficult  to  say,  that  this  video  will  make  an  impact  on  the  viewer/listener,   and   the   viewer/listener   will   because   of   these   uses   become   favorable   on   his/her   upbringing.   People   have,   as   said,   not   had   the   same   upbringing   as   I   had,   maybe   better   or   worse.   But   there   are   several   factors   in   the   experience  that  indicates  a  positive  view  on  the  past.     As   said   in   the   review   of   Suicide   Virgins,   a   movie   by   Sofia   Coppola,   reviewed   by   Bill   Rendall,   yellowish   color   filters  on  movie  screen  makes  things  look  older  and  worn  by  time.  The  sky  is  yellow  in  the  entire  film,  that  is  

Tarby 8  

one thing,  but  in  one  scene,  when  a  chorus  of  the  song  is  reaching  its  climax,  the  satellite  image  is  making  a   zooming  out  motion,  making  you  see   more  and  more  of  your  past  neighborhood  as  you  go  further  and  further   up  in  the  air.  In  the  same  pace  as  you  go  up,  the  area  is  fading  into  yellowish  colors,  making  it  look  and  feel  like   this   place   is   getting   centuries   older   in   just   a   few   seconds.   It   looks   beautiful   and   the   yellow   colors   are,   as   Rendall   said,   it   has   a   nostalgic   feel   to   it.   Nothing   in   the   movie,   but   the   images   in   Google   Street   View   is   indicating   what   time   is   being   shown,   making   it   possible   for   people   in   all   ages   to   become   nostalgic.   The   members  of  the  band  Arcade  Fire  where  children  in  the  1970’s  but  I,  without  having  seen  or  experienced  the   70’s,  feel  the  history  of  the  place  being  presented  in  The  Wilderness  Downtown.       When   Holbrook   and   Schinder   are   arguing,   that   the   sense   of   nostalgia   has   always   inextricably   infused   our   consciousness  of  the  basic  human  condition,  The  Wilderness  Downtown  has  presented  to  me  pictures  of  my   childhood  neighborhood  in  a  way  that  triggers  emotions  and  a  state  that  is  difficult  to  avoid,  since  the  sense  of   here   and   now,   in   my   case   Copenhagen,   December   2012,   is   undesirable   compared   to   the   time   and   place   represented   in   The   Wilderness   Downtown.   All   in   spite   of   the   fact   that   I   remember   how   I   hated   my   last   year   in   Silkeborg,   when   I   was   yearning   for   going   to   Copenhagen   and   start   my   life   there   as   an   adult.   Maybe   it   is   a   common   condition,   nostalgia,   no   matter   how   true   it   is,   that   the   90’s   where   better   or   not   or   whether   it   always   snowed  in  December  back  in  the  70’s.  History  and  human  memory  will  maybe  always  boil  past  down  to  the   gems  when  being  presented  with  such  images  as  seen  in  The  Wilderness  Downtown.     A  word  on  City  Symphonies  and  Zeitgeist   Capturing  and  expressing  the  spirit  of  a  time  and  what  can  be  called  zeitgeist  or  ”feel”  of  a  particular  area  is   somehow   been   characterized   in   City   Symphonies,   that   in   some   extend   has   similarities   with   The   Wilderness   Downtown.  Good  representatives  for  this  genre  in  cinema  is  Rien  Que  Les  Heures  by  Alberto  Cavalcanti  from   1926,  Berlin,  Symphonie  of  a  Great  City  by  Walter  Ruttman  from  1927  and  Man  With  a  Movie  Camera  by  Dziga   Vertov     from   1929.   (Thomas   and   Penz,   144).   Using   montage,   these   three   motion   pictures   created   a   new   genre   in  cinema.  Now,  if  putting  the  fact  aside,  that  the  character  in  The  Wilderness  Downtown  is  actually  running,   the   music   video   is   carried   by   same   ideas   as   City   Symphony’s   by   showing   a   certain   place   observantly   and   through  several  channels.  City  Symphonies  are  carried  out  with  the  idea  of  experiencing  cities  when  strolling,   idling,   watching   and   observing   (145).   The   montage   is   an   attempt   to   philosophically   move   away   from   the  

Tarby 9  

fictional narrative  tradition,  and  one  sees  the  montage  like  style  in  The  Wilderness  Downtown,  observing  the   bits   of   clip   a   long   part   of   the   way   is   not   per   se   pushing   the   plot   forward.   I   would   rather   characterize   two   montages   in   one   film:   The   first   act,   where   the   girl   is   running   and   the   environment   is   shown   through   montage.   The   second   act,   where  the   viewer/listener   is   encouraged  to   write   a   post   card   to   herself   while  machineries   are   moving   to   the   rhythm   of   the   viewer/listeners   actions   on   the   computer   keyboard.   And   a   third   act   of   the   environment  being  ”destroyed”  by  trees  popping  up  from  the  ground,  which  also  has  no  actual  plot  but  the   trees   appearing.   The   use   of   montage   is,   when   looking   at   the   tradition   on   City   Symphonies,   a   good   way   of   experiencing  city  space  -­‐  this  being  suburban  space  with  its  characteristics.  And  it  might  be  a  good  use,   since  it   might   be   important   for   the   experience   to   see   the   place   in   small   non-­‐connected   clips,   so   the   ”feel”   and   the   zeitgeist  of  the  place  is  remembered.     Steampunk.  Manifesting  nostalgia  in  objects.   I   am   going   to   shortly   demonstrate   how   some   of   the   objects   in   the   project   of   The   Wilderness   Downtown   is   adding   on   to   the   sense   of   nostalgia   in   the   experience   of   the   interactive   music   video.   Some   of   the   aesthetics   ar (Prager) (Prager)e  resembling  steampunk,  which  is  a  genre  generated  from  inter  alia  nostalgia  (Perschon).  On   one   scene   in   particular,   where   the   viewer/listener   is   asked   to   write   a   letter   to   her   old   self,   who   lived   there   before,  in  the  neighborhood  portrayed,  writing  on  her  keyboard  or  drawing  with  her  mouse.  When  dragging   the   courser   or   writing   letters,   three   other   windows   in   the   HTML5   spatial   video   are   showing   machinery   moving   with   the   tempo   of   the   writing,   making   it   look   and   feel   more   like   a   mechanized   practice   than   a   electronic   practice,   hence   under   the   paradigm   of   steampunk,   that   idealizes   the   mechanical   from   the   digital   and   electronic  (Perschon).  Technology  is  within  steampunk  also  in  its  right  to  be  visible  and  not  become  something,   that   humans   does   not   see,   like   clock   gear   being   visible   instead   of   just   showing   the   interface   of   the   clock   (Perschon).  It  shall  be  said,  that  The  Wilderness  Downtown  should  not  be  characterized  as  a  steampunk  video,   neither   should   Arcade   Fire   be   characterized   as   a   steampunk   band,   but   it   is   noticeable   how   some   of   the   aesthetics   in   the   bands   objects   and   fashion   seems   historical   and   looks   like   objects   from   the   nineteenth   century.  This  does  not  make  them  fall  under  the  category  necessarily,  but  the  fact  that  they  use  some  of  the   same  objects  as  steampunk  makes  them  seem  nostalgic  in  a  way.  The  look  and  feel  of  the  steampunk  bits  in   the  music  video  makes  one  associate  the  nostalgia  and  the  romantic  look  on  the  past.  The  big  different  lie  in   the   time   period   being   idealized,   which   is   also   one   of   the   reasons   one   should   only   look   at   the   steampunk  

Tarby 10  

materials as   associative   and   not   idealistic   statements.   The   romanticism   and   the   ”yearning   for   yesterday”   is   somewhat  manifested  in  the  mechanical  objects  in  the  second  act.  

Figure  4  (The  Wilderness  Downtown)     Final  words.   The  true  romantic  statement  ”hope  for  something  pure  to  last”  is  not  only  said  by  Win  Butler  in  an  interview  it   is  also  part  of  the  lyrics  to  the  song  ”We  Used  to  Wait”  that  also  tells  the  story  about  how  ”We  used  to  wait.   We  used  to  write  letters.  I  used  to  sign  my  name.  I  used  to  sleep  at  night.”.  This  tells  a  story  about  the  time,   where   we   used   to   wait   for   growing   up   and   our   lives   could   start.   We   have   explored   how   the   video   for   the   song   reminds  us  of  our  memory  in  its  HTML5  format  and  spatial,  kaleidoscopic,  cinema  and  some  of  both  the  filters,   movements  and  objects  are  adding  on  to  our  positive  view  on  the  past  while  we  watch  it  and  observe  it,  while   comprehending  it  with  todays  eyes.  It  sure  is  a  sentimental  and  moving  experience.  There  is  one  thing  though,   that   I   cannot   help   but   noticing.   The   album,   the   Suburbs,   the   song,   We   Used   to   Wait,   and   the   video   The   Wilderness  Downtown  are  all  trying  to  comprehend  the  struggles  of  missing  time  and  place  long  since  past  and   watching  the  surroundings  around  ones  former  neighborhood  disappear  and  the  romantic  view  is  somewhat   making   me   being   stuck   in   presence   in   an   inadequate   world,   that   no   longer   is,   as   it   should,   and   all   the   innocence  is  gone  in  modern  technology  and  society.  But  the  video  for  the  song  from  the  album  is  made  with   cutting  edge  technology,  the  HTML5  format.  It  is  very  interesting,  that  in  order  to  make  people  travel  back  to   the  good  old  days,  where  there  was  no  Internet,  you  have  to  use  internet,  3D  animation  and  satellite  images.  It   is  a  paradox,  that  is  difficult  to  ignore,  and  it  is  ironic  how  Arcade  Fire  in  corporation  with  Chris  Milk,  has  made  

Tarby 11  

a digital  time  machine,  that  is  suppose  to  make  one  dream  bitter  sweetly  back  to  a  time,  where  people  did  not   have  time  machines.     Bibliography   Barclay,  Michael.  Arcade  Fire  Bio.  July  2010.  <>.     Bill  Rendal,  “Movie  Review  by  Bill  Rendall”.  Virgin  Suicides,  by  Sofia  Coppola.  Web.   Dragon,  Zoltán.  »The  Augmented  Subject.«  dragonweb.   <­‐content/uploads/downloads/2012/06/augmented-­‐subject.pdf>.   Fire,  Arcade.  The  Wilderness  Downtown.  2010.     <>.   LastFM.  Arcade  Fire  Biography.  November  2011.  <>.   Manovich,  Lev.  »Manovich.«  What  Is  Digital  Cinema?  <­‐cinema.html>.   Perschon,  Mike.  »Steam  Wars.«  neo  victorian  studies.     <­‐1%202010/NVS%203-­‐1-­‐5%20M-­‐Perschon.pdf>.   Prager,  Phillip.  »Back  to  the  future:  interactivity  and  associational  narrativity  at  the  Bauhaus.«  Digital  Creativity   17  (2006):  195-­‐204.   Schindler,  Robert  M.  og  B.  Morris  Holbrook.  »Echoes  of  the  Dear  Departed  Past.«  Some  Work  in  Progress  on     Nostalgia  1991:  330-­‐333.   Thomas,  Maureen  og  Francois  Penz.  »Capturing  and  Building  Space,  Time  and  Motion.«  Thomas,  Maureen  and   Francois  Penz.  Architectures  of  Illusion:  From  Motion  Picture  to  Navigable  Interactive  Environments.     Bristol:  Intellect  Books,  2003.  135-­‐164.  

Read more
Read more
Similar to
Popular now
Just for you