Visible seams in music retain fascination while polished seamless pop repels it

Evidence

Whereas the conspicuous completeness of Eighties entryist pop repels fascination, the queasy, uneasy unfinishedness of post-punk pop — the lurching “doubtbeat” of a collectivity discovering itself — is uncannily compulsive. In punk cut and paste, the joins, the cuts (in other words the ways in which any world does not coincide with itself) are flaunted and foregrounded. Entryism is the capture of cut and paste into Photoshopped seamlessness. — Mark Fisher (edited by Darren Ambrose), K-Punk, 986

Categorization

• XREF: Relates to theories of the uncanny and unfinishedness — resonates with Adorno’s critique of the culture industry’s polished commodities and with the craftsman’s trace of making. — connects to: Vinyl crackle in music marks audiovisual distance from a lost tactile materiality — Mark Fisher, Ghosts of My Life: Writings on…, 332; Adding soft noise can make music subjectively sound more brilliant; Degrading music into audio-fog makes it more evocative rather than less — Mark Fisher, Ghosts of My Life: Writings on…, 264
• SEED: An essay angle: why aesthetics of imperfection and visible process retain fascination across music, craft, and software — the lure of the unfinished.

Broader Connections

• Vinyl crackle in music marks audiovisual distance from a lost tactile materiality #expands (0.85) — Mark Fisher, Ghosts of My Life, 332
• Degrading music into audio-fog makes it more evocative rather than less #corroborates (0.82) — Mark Fisher, Ghosts of My Life, 264
• Adding soft noise can make music subjectively sound more brilliant #corroborates (0.78)