Post-1960s popular culture carried a clear audible technological date stamp

Evidence

Those of us who grew up in the decades between the 1960s and the 1990s became accustomed to rapid changes in popular culture. Theorists of future shock such as Alvin Toffler and Marshall McLuhan plausibly claimed that our nervous systems were themselves sped up by these developments, which were driven by the development and proliferation of technologies. Popular artefacts were marked with a technological signature that dated them quite precisely: new technology was clearly audible and visible, so that it would be practically impossible, say, to confuse a film or a record from the early 1960s with one from even half a decade later. — Mark Fisher (edited by Darren Ambrose), K-Punk, 1227

Categorization

• XREF: Ties into Fisher’s broader haunto-/accelerationist archive and the idea of technological signature; also resonates with discussions in White Noise about media saturation of perception. — connects to: Sixties texts are now dated precisely by straddling modern and postmodern paradigms — Marianne DeKoven, Utopia Limited: The Sixties and the…, 89; Rapid sound change drives nostalgic fictionalization of past sounds — Schafer, Murray R, The Soundscape- Our Sonic Environment…, 607; Modernist allusion and postmodern pastiche were indistinguishable in the sixties — Marianne DeKoven, Utopia Limited: The Sixties and the…, 663 (+1 more)

Broader Connections

• Sixties texts are now dated precisely by straddling modern and postmodern paradigms #expands (0.85) — Marianne DeKoven, Utopia Limited, 89
• Rapid sound change drives nostalgic fictionalization of past sounds #corroborates (0.75) — Schafer, Murray R, The Soundscape- Our Sonic Environment…, 607
• Modernist allusion and postmodern pastiche were indistinguishable in the sixties #corroborates (0.75) — Marianne DeKoven, Utopia Limited, 663
• Periodizing popular culture questionably links it to external historical movements #qualifies (0.72)