# data[].attributes.attachment_link.title
What is hauntology? And why is it all around us? - BBC Ideas

# data[].attributes.attachment_link.description
From TV, to art, to design "nostalgia for lost futures" seems to be everywhere... Watch this BBC video to find out why.

# data[].attributes.body
The stainless-steel asymmetric ashtray is part of the much admired Old Hall Alveston range designed by Robert Welch and registered in 1963.  Of the British designers of his generation, Robert was passionately driven to design highly functional products which possessed a timeless elegant beauty.

# data[].attributes.attachment_link.readable_text
( Results include Ads Sellers looking to grow their business and reach more interested buyers can use Etsy's advertising platform to promote their items. You'll see ad results based on factors like relevance, and the amount sellers pay per click. ) Learn more.

# data[].attributes.attachment_link.title
Vintage modernist ashtray Alveston Robert Welch Old Hall | Etsy

# data[].attributes.attachment_link.description
Vintage modernist ashtray Alveston by Robert Welch for Old Hall stainless steel In almost perfect condition, this gorgeous ashtray is by Old Hall, a quality British manufacturer. Dating from the early 1960s, it looks like it has been little used. Old Hall was known as the wedding present brand and

# data[].attributes.body
Welch was born in 1929 and studied at Malvern College of Art, Birmingham School of Art and the Royal College of Art.

His interest in stainless steel began with a visit to Scandinavia as a student and was followed by a period of work at the firm of J&J Wiggin in Bloxwich.

Of the British designers of his generation, Welch was the most clearly influenced by Scandinavia in his functional precision, his love of the clean line.

# data[].attributes.attachment_link.title
Robert Welch Designs | Dining, Kitchen, Living & Gifts

# data[].attributes.attachment_link.description
Welcome to our home: we create timeless, classic pieces inspired by an iconic heritage. Queen's Awards. Lifetime guarantee. Free UK delivery over £75.

# data[].attributes.body
(1) a summer design course in Sweden:

Robert encountered for the very first time stainless steel, a then seemingly new material that would open his eyes to interesting design opportunities within the field of metalwork.

' the philosophy of the Scandinavians, so popular at that time, designing simple everyday objects that were functional and beautiful and which most people could afford, greatly appealed to me.'

(2) the summer of 1954 Robert returned to Scandinavia (Norway):

He produced a candleholder that he sold through the exhibition by the Museum of Applied Arts in Bergen.

He made the career-defining decision to concentrate on stainless-steel design during his final year at the RCA.

This seemingly state-of-the-art material offered exciting formal possibilities.

# data[].attributes.body
• Old Hall Tableware Ltd. (a quality British manufacturer) was known as "the wedding present brand" and many of these expensive items were put away to be used only on special occasions.
• Scandinavian companies produced stylishly modern stainless-steel wares, the firm knew it must revitalize the design of its product line to give it a more contemporary feel, and Robert appeared to be just the right person to do this.

# data[].attributes.attachment_link.description
Old Hall stainless steel tableware was once the wedding present of the 1960s and 70s and is now a much sought after tableware following the closure of the company in 1984. A thriving collectors club now exists with regular newsletters and social gatherings.

# data[].attributes.body
Alveston was designed by Robert Welch in the 1960s and won a coveted 'Design Centre' award.

This Modernism ashtray is part of the much prized and admired Alveston range designed by Welch and registered between September and November 1963.

# data[].attributes.attachment_link.provider_name
Victoria and Albert Museum: Explore the Collections

# data[].attributes.attachment_link.readable_text
Robert Welch trained in drawing, painting and silversmithing at Malvern School of Art and then at Birmingham College of Art. He began his studies at the Royal College of Art in 1952 and enrolled in the silversmithing school under Robert Gooden.

His interest in stainless steel began with a visit to Scandinavia as a student and was followed by a period of work at the firm of J&J Wiggin in Bloxwich. He created a range of influential designs for mass produced domestic items but also one-off commissions of handmade silver.

Categories

Object Type

Parts

This object consists of 2 parts.

Sugar Bowl

Lid for a Teapot

Materials and Techniques

Stainless steel with satin finish.

Brief Description

'Alveston' range, stainless steel, England, Bloxwich, 1962, designed by Robert Welch RDI.

Physical Description

Sugar bowl, stainless steel, circular with straight sides, chamfered top and bottom.

Dimensions

Height: 6cm

Diameter: 10cm

Style

Production type

Mass produced

Marks and Inscriptions

Object history

Part of a teaset with teapot, milk jug and jug for hotwater.

Summary

Robert Welch trained in drawing, painting and silversmithing at Malvern School of Art and then at Birmingham College of Art. He began his studies at the Royal College of Art in 1952 and enrolled in the silversmithing school under Robert Gooden.

His interest in stainless steel began with a visit to Scandinavia as a student and was followed by a period of work at the firm of J&J Wiggin in Bloxwich. He created a range of influential designs for mass produced domestic items but also one-off commissions of handmade silver.

Associated Objects

Bibliographic Reference

Charlotte and Peter Fiell, Robert Welch Design Craft and Industry, London, Laurence King Publishing, 2015. pp.92-93. ill. ISBN. 9781780676050

Collection

Accession Number

Explore the Collections contains over a million catalogue records, and over half a million images. It is a working database that includes information compiled over the life of the museum. Some of our records may contain offensive and discriminatory language, or reflect outdated ideas, practice and analysis. We are committed to addressing these issues, and to review and update our records accordingly.

You can write to us to suggest improvements to the record.
Suggest Feedback

# data[].attributes.attachment_link.title
Alveston | Robert Welch MBE, RDI | V&A Explore The Collections

# data[].attributes.attachment_link.description
Robert Welch trained in drawing, painting and silversmithing at Malvern School of Art and then at Birmingham College of Art. He began his studies at the Royal College of Art in 1952 and enrolled in the silversmithing school under Robert Gooden.

# data[].attributes.headline
Retrofuturism: 80s revivalism /Nostalgia aesthetic and Steampunk/ Cyberpunk

# data[].attributes.subject
Retrofuturism: 80s revivalism /Nostalgia aesthetic and Steampunk/ Cyberpunk

# data[].attributes.body
The Past Imagines The Future. It’s a cultural/design trend that takes inspiration from retro sci-fi.

Ready Player One & The Shining

# data[].attributes.body
Blade Runner 2049 & Elvis Presley & Marilyn Monroe

# data[].attributes.body
• Synthwave is we were promised a future that was cool and we want that so we really love the 80s coolness.
• Vaporwave is we were promised a future that was safe.

（1）music: Synthwave developed in the mid-to late 2000s, and Vaporwave music didn't exist pre-2008.
（2）neno color schemes: Synthwave use the complimentary neon colors with heavy saturation. The color palette of steamvapor has a lighter base with pastel colors with pink and teal frequently being paired together.

# data[].attributes.attachment_link.title
The Rise of Synthwave and Vaporwave | Video Editing Tips

# data[].attributes.body
Haunt + ontology ( a branch of philosophy that studies the nature of being) = real yet absent
The word “hauntology” is a portmanteau of “haunting” and “ontology”, the branch of philosophy concerned with questions about being and existence.

Derrida used the word hauntology to refer to the way in which we never encounter things us fully present. In all of our experiences, the present is always mixed up with the past and the future that which is present is always mixed up that which is absent. We can only make sense of any present moment by comparing the past and anticipating the future.

# data[].attributes.attachment_link.readable_text
Hauntology is probably the first major trend in critical theory to have flourished online. In October 2006, Mark Fisher - aka k-punk - described it as "the closest thing we have to a movement, a zeitgeist". A mere three years later, Adam Harper prefaced a piece on the subject with the following caveat: "I'm all too aware that it's no longer 2006, the year to blog about hauntology". Two months ago, James Bridle predicted that the concept was "about six months away from becoming the title of a column in a Sunday supplement magazine". Only four months to go, then. My hunch is that hauntology is already haunting itself. The revival starts here.

Like its close relative psychogeography, hauntology originated in France but struck a chord on this side of the Channel. In Spectres of Marx (1993), where it first appeared, Jacques Derrida argued that Marxism would haunt Western society from beyond the grave. In the original French, "hauntology" sounds almost identical to "ontology", a concept it haunts by replacing - in the words of Colin Davis - "the priority of being and presence with the figure of the ghost as that which is neither present, nor absent, neither dead nor alive".

Today, hauntology inspires many fields of investigation, from the visual arts to philosophy through electronic music, politics, fiction and literary criticism. At its most basic level, it ties in with the popularity of faux-vintage photography, abandoned spaces and TV series like Life on Mars. Mark Fisher - whose forthcoming Ghosts of My Life ( Zer0 Books) focuses primarily on hauntology as the manifestation of a specific "cultural moment" - acknowledges that "There's a hauntological dimension to many different aspects of culture; in fact, in Moses and Monotheism, Freud practically argues that society as such is founded on a hauntological basis: "the voice of the dead father". When you come to think of it, all forms of representation are ghostly. Works of art are haunted, not only by the ideal forms of which they are imperfect instantiations, but also by what escapes representation. See, for instance, Borges's longing to capture in verse the " other tiger, that which is not in verse". Or Maurice Blanchot, who outlines what could be described as a hauntological take on literature as "the eternal torment of our language, when its longing turns back toward what it always misses". Julian Wolfrey argues in Victorian Hauntings (2002) that "to tell a story is always to invoke ghosts, to open a space through which something other returns" so that "all stories are, more or less, ghost stories" and all fiction is, more or less, hauntological. The best novels, according to Gabriel Josipovici, share a "sense of density of other worlds suggested but lying beyond words". For the reader or critic, the mystery of literature is the opacity - the irreducible remainder - at the heart of writing that can never be completely interpreted away. The whole western literary tradition itself is founded on the notion of posterity, which Paul Eluard described as the "harsh desire to endure" through one's works. And then, of course, there's the death of the author ... All this, as you can see, could go on for quite a while, so perhaps we should wonder if the concept does not just mean all things to all (wo)men. Steen Christiansen, who is writing a book on the subject, explains that "hauntology bleeds into the fields of postmodernism, metafiction and retro-futurism and that there is no clear distinction - that would go against the tension which hauntology aims at".

As a reflection of the zeitgeist, hauntology is, above all, the product of a time which is seriously "out of joint" (Hamlet is one of Derrida's crucial points of reference in Spectres of Marx). There is a prevailing sense among hauntologists that culture has lost its momentum and that we are all stuck at the "end of history". Meanwhile, new technologies are dislocating more traditional notions of time and place. Smartphones, for instance, encourage us never to fully commit to the here and now, fostering a ghostly presence-absence. Internet time (which is increasingly replacing clock time) results in a kind of " non-time" that goes hand in hand with Marc Augé's non-places. Perhaps even more crucially, the web has brought about a "crisis of overavailability" that, in effect, signifies the "loss of loss itself": nothing dies any more, everything "comes back on YouTube or as a box set retrospective" like the looping, repetitive time of trauma (Fisher). This is why " retromania" has reached fever pitch in recent years, as Simon Reynolds demonstrates in his new book - a methodical dissection of "pop culture's addiction to its own past".

Hauntology is not just a symptom of the times, though: it is itself haunted by a nostalgia for all our lost futures. "So what would it mean, then, to look for the future's remnants?" asks Owen Hatherley at the beginning of Militant Modernism, "Can we, should we, try and excavate utopia?" It might just be worth a shot.

# data[].attributes.attachment_link.title
Hauntology: A not-so-new critical manifestation

# data[].attributes.attachment_link.description
Hauntology is probably the first major trend in critical theory to have flourished online. In October 2006, Mark Fisher - aka k-punk - described it as "the closest thing we have to a movement, a zeitgeist".

# data[].attributes.body
Mark Fisher claimed our futures that never arrived. --- an updated notion of the concept of hauntology coined by philospher Jacques  Derrida in his 1993 book Spectres of Marx.
Cultural hauntology: the way we are haunted by our past in our media art and entertainment often referring to the way in which we paradoxically try to relieve our anticipations of a future by going back to the past.
The fact that certain aspects of culture are cyclical is evident in almost all music genres, as well is in fashion art, and cinema.

# data[].attributes.attachment_link.title
Mark Fisher - Capitalist Realism and Hauntology

# data[].attributes.body
• Hauntology plays into how the music is produced.
• This phrase is rooted in the concept of Hauntology, a philosophical concept that refers to how we relate our memories to the past, whether that past is real or imagined, and how elements of those memories persist and "haunt" us today.
• The melody is never fully present but only arises from an interplay between the past, present and future.

For example: Ghost Box Records

# data[].attributes.attachment_link.provider_name
Night Clerk Radio: Haunted Music Reviews

# data[].attributes.attachment_link.readable_text
Introduction to Hauntology

Episode Summary

What do we mean by the term "haunted music?" This phrase is rooted in the concept of Hauntology, a philosophical concept that refers to how we relate our memories to the past, whether that past is real or imagined, and how elements of those memories persist and "haunt" us today. Join us as we discuss how Hauntology relates to vaporwave and how it can be a useful tool for examining media more generally.

Episode Notes

What do we mean by the term "haunted music?" This phrase is rooted in the concept of Hauntology, a philosophical concept that refers to how we relate our memories to the past, whether that past is real or imagined, and how elements of those memories persist and "haunt" us today. Join us as we discuss how Hauntology relates to vaporwave and how it can be a useful tool for examining media more generally.

Relevant Links
---------------
Ghosts of My Life by Mark Fisher
Capitalist Realism by Mark Fisher
Babbling Corpse by Grafton Tanner
Specters of Marx by Jacques Derrida
Arctic Monkeys - I Bet You Look Good On The Dancefloor (Official Video)

Credits
--------
Music by: 2Mello
Artwork by: Patsy McDowell
Ross on Twitter
Birk on Twitter
Follow Night Clerk Radio on Twitter for updates

# data[].attributes.attachment_link.title
Introduction to Hauntology | Night Clerk Radio: Haunted Music Reviews

# data[].attributes.attachment_link.description
What do we mean by the term "haunted music?" This phrase is rooted in the concept of Hauntology, a philosophical concept that refers to how we relate our memories to the past, whether that past is real or imagined, and how elements of those memories persist and "haunt" us today.

# data[].attributes.headline
The Hauntological Sounds of Ghost Box Records

# data[].attributes.subject
The Hauntological Sounds of Ghost Box Records

# data[].attributes.body
Ghost Box consequently became associated with the 2000s music trend known as hauntology.

# data[].attributes.attachment_link.provider_name
Horrified Magazine - The British Horror Website

# data[].attributes.attachment_link.readable_text
H auntology of the musical kind has gone mainstream. It has a Wikipedia page, an official Spotify playlist, and even citable academic research. In the process, though, its meaning has been diluted; it has to be about more than just 'the aesthetics of the past,' as Wikipedia puts it, or there's nothing to distinguish it from bog-standard nostalgia and retro stylings. And indeed to listen to any release from Ghost Box Records, the British label that helped establish the genre fifteen or so years ago, is to be immersed in music that's at the same time familiar and strange, like the soundtrack to a Public Information Film from a universe just a few degrees off from this one.

The term 'hauntology' made its debut in Jaques Derrida's 1993 book Spectres of Marx (or to give its full burdensome title, Spectres of Marx: The State of the Debt, the Work of Mourning and the New International). It's a portmanteau of 'haunt' and 'ontology,' and in its original French, it's a pun - hantologie with a silent h, indistinguishable in pronunciation from ontologie. The h is present but absent, like a ghost - very Derridean. And though hauntology is undoubtedly Spectres' most famous contribution to popular culture and discourse, Derrida only actually uses it three times in his book's two hundred-odd pages. When the term does appear, its precise meaning is a bit difficult to discern. No one has ever accused the French philosopher of being too straightforward, and the closest he comes to supplying a definition of 'a hauntology' is that it is:

Repetition and first time, but also repetition and last time, since the Singularity of any first time, makes of it also a last time. Each time it is the event itself, a first time is a last time.[1]

'Hauntology' is a neat word, but it needed a clearer meaning if it was ever going to escape the confines of academia. Fortunately, in the mid-2000s a few vaguely off-beat music bloggers were looking for a term to describe the sound and aesthetic of artists like The Caretaker and the whole Ghost Box label, and they landed on Derrida's neologism. The late, great Mark Fisher supplied it with a more coherent definition, suggesting that we 'think of hauntology as the agency of the virtual, with the spectre understood not as anything supernatural, but as that which acts without (physically) existing.'[2] Hauntology is what Hamlet meant when he said that time was out of joint: the spectre of an unresolved past that we are compelled to revisit, and the ghost of a future that never was but that haunts us with the possibility that it might have been.

Ghost Box is hauntological in both senses. As Fisher notes, the bands on the label ( Belbury Poly, The Focus Group, Eric Zann) are 'names from an alternative 70s that never ended.' They hail from a timeline where the austerity of the Thatcher years never came about, the postwar consensus never died, and - crucially - where ITV and the BBC never stopped airing things as gloriously weird as Children of the Stones (Peter Graham Scott, ITV, 1977), The Prisoner (Don Chaffey, etc., ITV, 1967), or the oeuvre of Nigel Kneale. The music of The Advisory Circle in particular sounds like it might have come out of a haunted reimagining of the Radiophonic Workshop, soundtracks to Play for Today (BBC, 1970-84) episodes that never saw the airwaves. Their albums are punctuated by logotones, the vaguely unnerving channel identifiers that once blared out at the top of the hour, now made eerier in distinctly Scarfolkian British fashion ('The Advisory Circle: We make the decisions, so you don't have to').

It's a label saturated with the weird in general - the name itself is a reference to a piece of ghost-hunting equipment designed to capture the voices of the dead by sweeping through radio channels - and 70s-era British weird in particular. Kneale's spectre is especially active: his 1972 television play The Stone Tape (Peter Sasdy, BBC) gets a reference from Pye Corner Audio, and Mount Vernon Arts Lab's 2007 album ' Séance at Hobs Lane' takes its name from the infamous setting of Quatermass and the Pit (Roy Ward Baker, 1967). These are all stories of the past returning to haunt us; so too, in a way, is ' Chanctonbury Rings', from Justin Hopper and Shannon Krauss with Belbury Poly. Over the latter's allusive instrumentation, Hopper reads extracts from his book The Old Weird Albion (2017), a psychogeographic travelogue of Britain in which history, mythology, and memory interweave and inscribe themselves on the island's landscape.

Ghost Box Records (and I apologise for how this is going to sound) should really be experienced physically, ideally on vinyl. Not for audiophile reasons which at any rate are mostly made up, but because each release goes far beyond the music in establishing its tone, its feel, the particular space it's carving out in the other world from which it hails. Everything from the bold retro artwork to the liner notes works to summon up something that is old and new and strange. The latter alludes to snippets of stories never played out, like the memo from a mysterious agency in Pye Corner Audio's ' The Concrete Tape' that seems to be conducting some kind of paranormal investigation into 'anomalous activities in Belbury' where snippets of a manipulated past seem to be embedded in the material structure of the buildings, endlessly repeating.

This is hauntology: the past returning, the present bending under the influence of something that does and does not exist. In a distinctly tongue-in-cheek characterisation of the album, the inner sleeve describes the recurrence of 'dyschronic' music that Belbury residents hear in their dreams: 'It doesn't appear to belong to any definite historical period; instead it is characterized by a strange temporal slippage, an overlaying of sounds from different eras.' This is presumably what the record we're holding plays back for us, as well as an apt description of Ghost Box's general output. It's also where nostalgia and the Freudian uncanny meet to produce Fisher and Derrida's hauntology. For Freud, the uncanny can arise from repetition, from the appearance of something that is at once familiar and strange. This is the experience of listening to a Ghost Box pressing. It's nostalgia for a past that never was and a future that won't be, and on that never and won't rest all the melancholy of hauntology. There's a sadness underneath even the most joyful tracks on Belbury Poly's 2020 release ' The Gone Away ', and the core of the album is about a felt absence: the departure of the faeries.
Sources:
Derrida, Jacques. Spectres of Marx: The State of Debt, the Work of Mourning and the New International. Trans. Peggy Kamuf. New York and London: Routledge (1994).
Fisher, Mark. Ghosts of My Life: Writings on Depression, Hauntology and Lost Futures. Alesford: Zero Books (2014)

# data[].attributes.attachment_link.title
Yesterday's Entertainment: The Hauntological Sounds of Ghost Box Records | Horrified Magazine - The British Horror Website

# data[].attributes.attachment_link.description
H auntology of the musical kind has gone mainstream. It has a Wikipedia page, an official Spotify playlist, and even citable academic research. In the process, though, its meaning has been diluted; it has to be about more than just 'the aesthetics of the past,' as Wikipedia puts it, or there's nothing to distinguish it from bog-standard nostalgia and retro stylings.

# data[].attributes.body
• Haunted movie's virtual world is presented as unreal, it is not very different from ours populated by cultural reference to the past that have been taken out of their old contexts and placed in spaces that are repeatable and replicable.

For example：
· Forbidden Planet (1956) - first major movie to have an entirely electronic soundtrack

· Blade Runner 2049 (2017) - futuristic mivies are mostly characterized by reviving the past

· Ready player one (2018) - takes place in the future yet in the most important moments in aspects it simply replays the past. (1) The movies' virtual world oasis is an amalgamation of past cultural icons such as Godzilla the DeLorean from back to the future or the Iron Giant and The Shinning. (2) Its cutting-edge visual effects and computer-generated imagery are entirely subordinated to the demands of past cultural forms.

# data[].attributes.attachment_link.title
Hauntology, Lost Futures and 80s Nostalgia

# data[].attributes.body
pixel art and chiptune music in games

For example: Fallout

# data[].attributes.attachment_link.description
Bethesda Game Studios, the creators of Skyrim and Fallout 4, welcome you to Fallout 76, the online prequel where every surviving human is a real person. Work together, or not, to survive. Under the threat of nuclear annihilation, experience the largest world ever created in Fallout.

# data[].attributes.attachment_link.readable_text
Let's explore the visual art style of two retro genres - Synthwave and Vaporwave - and talk about how to incorporate them into your video project.

Have you noticed the increase in 80s/90s visuals in modern entertainment? Ready to delve into the worlds of Synthwave and Vaporwave? In this video tutorial, we'll learn about the visual styles of Synthwave and Vaporwave. Let's get started!

Music Origins

We can't talk about Synthwave and Vaporwave without mentioning the electronic music that is at their core - heavy on nostalgia with an 80s or 90s vibe to it. Two good examples of Synthwave music artists would be Kavinsky and The Midnight. Likewise, Macintosh Plus and Blank Banshee are two examples of popular Vaporwave artists. Both of these genres have a distinct visual art style, which is the focus of this tutorial.

The Look of Synthwave

The visual look of Synthwave is 80s-centric with plenty of retro-futurism styling. Dark scenes, with neon colored grids and sunsets, are quite common. Think of early wire-frame computer graphics with a low-polygon appearance. The original movie is a good example of this. Speaking of movies, the Synthwave genre draws heavy influence from over-the-top 80s action heroes. Think of Escape from New York, The Terminator, and .

Racing and mid-engine sports cars are also a frequent visual, as well. The color palette usually has a darker base tone, with complementary bright neon colors.

The Look of Vaporwave

The visual look of Vaporwave has a surreal 90s vibe to it, frequently combined with early Greek or Roman statues - similar to the interior design of shopping malls in the 90s. Consumerism and early computer technology are regular elements, as well. Vaporwave frequently has an over-the-top aesthetic, falling into the "so bad it's good" arena. The styling is popular with meme culture. Even talking about the "aesthetic" of Vaporwave has become a meme of its own.

Japanese text, glitchy visuals with chromatic aberration, and tropical themes are quite common as well. The color palette usually has a lighter base of pastel colors, with pink and teal often paired together.

Modern Entertainment

Visuals from both genres frequently cross over to modern entertainment. Elements of Synthwave and Outrun can be seen in shows like Stranger Things and movies like . Whereas, elements of Vaporwave (being more abstract), appears more in music videos. The music video "Cross Me" by Ed Sheeran has elements of both Vaporwave and Synthwave throughout.

Inspiration

If you're looking for some artist inspiration, one motion designer who creates a lot of Synthwave and Vaporwave-style loops is KidMoGraph. He features a lot of work on his Instagram. Also, be sure to check out the Reddit groups r/outrun and r/VaporwaveAesthetics for some great examples.

Free Retro Pack

PremiumBeat has a freebie retro pack that includes over thirty different loopable elements and backgrounds. Some of the elements are Synthwave and some are Vaporwave-inspired. You can combine them in different ways to get a lot of mileage out of the pack.

If you'd like to take the look even further, I highly recommend checking out two other tutorials on PremiumBeat.

The first is How to Create a VHS Look in Premiere Pro, which includes a free VHS preset and assets. The second is How to Create an 8-Bit Video Game Look in After Effects, which also has a free preset. Use those presets on top of your retro creations for a new look!

Extra Resources and Plugins

If you're still craving more retro visuals, check out the Synthwave and Vaporwave footage available from Shutterstock. Also, check out the website threedscans.com for some free statue models. All of the scans are from real collection pieces that are perfect for Vaporwave. Finally, a few After Effects plugins I recommend for creating retro visuals would include: AE Pixel Sorter, Deep Glow, and Saber.

Interested in the tracks we used to make this video?

You can also listen and license this collection of curated royalty-free synthwave tracks.

# data[].attributes.attachment_link.title
The Visual Styles of the Synthwave and Vaporwave Video

# data[].attributes.attachment_link.description
Have you noticed the increase in 80s/90s visuals in modern entertainment? Ready to delve into the worlds of Synthwave and Vaporwave? In this video tutorial, we'll learn about the visual styles of Synthwave and Vaporwave. Let's get started!

# data[].attributes.headline
Scandinavian, mid-century design was angling towards the future.

# data[].attributes.subject
Scandinavian, mid-century design was angling towards the future.

# data[].attributes.body
The long-held Scandinavian belief that good design is the birthright of all, and that well-designed objects for everyday use are essentially life enhancing.

# data[].attributes.headline
Stainless steel was an essential element of Scandinavian design

# data[].attributes.subject
Stainless steel was an essential element of Scandinavian design

# data[].attributes.body
• Extraordinary metal alloy, which was lustrous yet also incrediebly durable that was a potent material of the future.
• Remarkable properties: hardness, brillance, durability - were fully exploited to create truly modern-looking designs for the home.
• The definition of good design as that which embodies function, utility and economy is especially applicable to stainless steel.
• The 'distinctive character of good stainless-steel design' accorded with the Scandinavian societies' desire for well-made and democratically affordable design.

# data[].attributes.body
ergonomic design, easy-to-use shapes

# data[].attributes.headline
My first proposal of choosing Scandinavian objects in ILEA collection

# data[].attributes.subject
My first proposal of choosing Scandinavian objects in ILEA collection

# data[].attributes.headline
Campden three-part candleholder, Robert Welch 

# data[].attributes.subject
Campden three-part candleholder, Robert Welch 

# data[].attributes.body
The classic design by Robert Welch of the triple candle holder in stainless steel with rosewood feet, was one of the most successful of his designs produced by Old Hall in the 1960’s.

# data[].attributes.attachment_link.provider_name
Victoria and Albert Museum: Explore the Collections

# data[].attributes.attachment_link.readable_text
Candelabrum
ca. 1957 (made)

Not currently on display at the V&A

Robert Welch (1929-2000) was trained at the Birmingham School of Art under Ralph Baxendale and Cyril Shiner. From 1952 to 1955 he was at the Royal College of Art, after which he was appointed as design consultant to J.J. Wiggin of Sheffield, manufacturers of stainless steel tableware. Throughout his career he undertook many industrial design commissions (he designed the stainless steel tableware for the Orient liner Oriana) while continuing to practise as a silversmith.

Categories

Object Type

Materials and Techniques

Stainless steel with wood

Brief Description

Stainless steel and wood, England, Bloxwich, ca.1957, made by J.J. Wiggin, designed by Robert Welch RDI.

Physical Description

Three legged, stainless steel, candelabrum, with wooden feet.

Dimensions

Style

Credit line

Given by the manufacturer

Summary

Robert Welch (1929-2000) was trained at the Birmingham School of Art under Ralph Baxendale and Cyril Shiner. From 1952 to 1955 he was at the Royal College of Art, after which he was appointed as design consultant to J.J. Wiggin of Sheffield, manufacturers of stainless steel tableware. Throughout his career he undertook many industrial design commissions (he designed the stainless steel tableware for the Orient liner Oriana) while continuing to practise as a silversmith.

Collection

Accession Number

About this object record

Explore the Collections contains over a million catalogue records, and over half a million images. It is a working database that includes information compiled over the life of the museum. Some of our records may contain offensive and discriminatory language, or reflect outdated ideas, practice and analysis. We are committed to addressing these issues, and to review and update our records accordingly.

You can write to us to suggest improvements to the record.
Suggest Feedback

You may also like

# data[].attributes.attachment_link.title
Campden | Welch, Robert (RDI) | V&A Explore The Collections

# data[].attributes.attachment_link.description
Candelabrumca. 1957 (made) Not currently on display at the V&A Robert Welch (1929-2000) was trained at the Birmingham School of Art under Ralph Baxendale and Cyril Shiner. From 1952 to 1955 he was at the Royal College of Art, after which he was appointed as design consultant to J.J.

# data[].attributes.body
This stainless-steel and teak design was unlike any that had been created before and, in common with the other pieces in the Campden range, had a stylish postwar modernity that exuded the casual sophistication so beloved by dinner-part-giving homemakers as well as by the burgeoning hospitality sector.

# data[].attributes.headline
How the artwork fits the theme and how it would be displayed with the ILEA objects?

# data[].attributes.subject
How the artwork fits the theme and how it would be displayed with the ILEA objects?

# data[].attributes.body
What themes should the works speak to? Utopia, hauntology, timelessness, ergonomics, Scandinavia.

Research areas:
Formatasma (and IKEA)
UAL collection
Artists relating to ergonomics
Artists relating to timelessness

Film works + text works：Alex Da Corte, Slow Graffiti (2017)

# data[].attributes.body
Jørgen Leth, The Perfect Human (1967) & Alex Da Corte, Slow Graffiti (2017)

Slow Graffiti is a shot-for-shot remake of ‘The Perfect Human’, the 1967 film by Danish filmmaker Jørgen Leth.

The fact Da Conte remade the film is hauntological in itself - the film refers back to this blueprint for perfect living from 50 years prior. But, the (already broken)  illusion was impossible to recreate. The commodification of perfect living feels mechanical and monstrous instead.

In Slow Graffiti (Alex Da Corte, 2017), the artist updates the 1967 Danish film The Perfect Human demonstrating how little the objects around us contribute towards a fulfilled life.

# data[].attributes.attachment_link.readable_text
Alex Da Corte, "Slow Graffiti," installation view, Secession 2017. Credit... Courtesy of Maccarone, New York, Gió Marconi, Milan and David Risley Gallery, Copenhagen, Photo: Sophie Thun

The artist Alex Da Corte's elaborate installations are often carnivalesque, filled with strange sculptural objects (motorized plastic swans, an enormous box of Kleenex, a cat-shaped neon sign) and otherworldly environments. That makes Vienna Secession - one of the classic white cube galleries in Europe, where Da Corte is currently the subject of a solo show - a rather unexpected place to encounter his work. But, true to form, the artist has transformed the space into a kind of alien disco replete with velvet walls, multicolored carpets, clusters of bright lights and strange scattered objects: a toy chicken atop a plastic tube, an open umbrella, a bench made of a broomstick and a pink neon light.

The centerpiece of the show is a new video called "Slow Graffiti," a more or less shot-for-shot remake of the 1967 short film " The Perfect Human" by Jorgen Leth, the Danish director known for his film of Andy Warhol eating a hamburger from Burger King. "The Perfect Human" has the detached tone of a scientific experiment. It follows a man and a woman as they perform banal tasks, such as clipping their fingernails and eating dinner, in an empty, featureless white room, with voice-over narration that treats its subjects like animals in a nature documentary. "Here is the perfect human. We will see the perfect human functioning ... How does such a number function? What kind of thing is it? We will look into that."

Da Corte's interpretation appears less icy - his colorful modifications to Leth's white room echo the look the interior of his reinterpretation of the gallery space at Secession. In an especially surreal twist, Da Corte plays both parts, man and woman, dressed as Frankenstein's monster, in glam-rock platform boots, and performing the simple tasks of "The Perfect Human" with grotesque updates. At one point in Leth's film, the male actor scratches the back of his neck. This shot is replicated in Da Corte's film, except that instead of merely rubbing his skin, Da Corte slaps a piece of deli meat and a slice of Swiss cheese to the back of his neck and secures it with a flap from his monster mask.

Da Corte's also diverges from the original in his voice-over script, which was written by his friend, the painter Sam McKinniss. But the narration maintains a calculatedly dispassionate mood, describing the monster as "a man at night making a pathetic attempt at connection - to connect with anyone in an empty room." The backdrop of this bit of narration is Da Corte, still dressed as Frankenstein's creature, dancing sheepishly while spraying two cans of spray paint into the air.

If Leth's film feels like a kind of clinical exploration of a human being's basic functions, Da Corte refocuses the story on being an artist in particular. What better description of the creative process than a person in an empty room trying to connect with someone - anyone? Of course, being a human and being an artist are in many ways continuous, and tellingly, both films end the same way, with a man at a table, looking into the camera with great melancholy and saying, "Today, too, I experienced something I hope to understand in a few days."

# data[].attributes.attachment_link.title
An Artist Remakes a Film Classic - With Frankenstein's Monster (Published 2017)

# data[].attributes.attachment_link.description
The artist Alex Da Corte's elaborate installations are often carnivalesque, filled with strange sculptural objects (motorized plastic swans, an enormous box of Kleenex, a cat-shaped neon sign) and otherworldly environments. That makes Vienna Secession - one of the classic white cube galleries in Europe, where Da Corte is currently the subject of a solo show - a rather unexpected place to encounter his work.

# data[].attributes.body
limitation

# data[].attributes.headline
There is a greater sense of co-operation

# data[].attributes.subject
There is a greater sense of co-operation

# data[].attributes.body
extensively research

researching, compiling and preparing written information

# data[].attributes.headline
Foster storytelling and communications skills

# data[].attributes.subject
Foster storytelling and communications skills

# data[].attributes.body
Cyberpunk 2077 is a 2020 action role-playing video game developed and published by CD Projekt. The story takes place in Night City, an open world set in the Cyberpunk universe.

# data[].attributes.attachment_link.provider_name
Cyberpunk 2077 - from the creators of The Witcher 3: Wild Hunt

# data[].attributes.attachment_link.readable_text
PLAYS GREAT ALSO ON XBOX SERIES S | X AND PS5

It looks incredible

~ VG247

Overwhelming with all its detail

~ GameSpot

A beautiful and sprawling RPG

~ IGN

Gameplay blew us away

~ Game Informer

NIGHT CITY CHANGES EVERY BODY

Cyberpunk 2077 is an open-world, action-adventure story set in Night City, a megalopolis obsessed with power, glamour and body modification. You play as V, a mercenary outlaw going after a one-of-a-kind implant that is the key to immortality. You can customize your character's cyberware, skillset and playstyle, and explore a vast city where the choices you make shape the story and the world around you.

PLAY AS A MERCENARY OUTLAW

Become a cyberpunk, an urban mercenary equipped with cybernetic enhancements and build your legend on the streets of Night City.

LIVE IN THE CITY OF THE FUTURE

Enter the massive open world of Night City, a place that sets new standards in terms of visuals, complexity and depth.

STEAL THE IMPLANT THAT GRANTS ETERNAL LIFE

Take the riskiest job of your life and go after a prototype implant that is the key to immortality.

Episode 4

Episode 3

Episode 2

Episode 1

Media

News

# data[].attributes.attachment_link.title
Cyberpunk 2077 - from the creators of The Witcher 3: Wild Hunt

# data[].attributes.attachment_link.description
PLAYS GREAT ALSO ON XBOX SERIES S | X AND PS5 It looks incredible ~ VG247 Overwhelming with all its detail ~ GameSpot A beautiful and sprawling RPG ~ IGN Gameplay blew us away ~ Game Informer Cyberpunk 2077 is an open-world, action-adventure story set in Night City, a megalopolis obsessed with power, glamour and body modification.

# data[].attributes.body
Designed by Arne Jacobsen for A. Michelsen, of Denmark in 1957. This stainless steel, right-handed spoon for breakfast is part of the ‘660’ flatware cutlery range. Among its admirers was the filmmaker Stanley Kubrick, who insisted on using the cutlery as props on the spaceship in his 1968 sci-fi epic 2001: A Space Odyssey.

# data[].attributes.attachment_link.readable_text
The ultra-stylish and minimalist flatware the astronauts Dave Bowman and Frank Poole use aboard the Discovery One spacecraft were designed in 1957 by Danish designer and architect Arne Jacobsen. Kubrick chose this set because of its "futuristic" look and it really meshes well with the rest of the post-modern props and furniture that gives 2001: A Space Odyssey its unique charm.

Jacobsen is most famous for designing the No. 7 chair that you often see in public spaces. Apparently it is considered to be "the most copied chair in the world."

Another noteworthy feature of the flatware is that that the set includes both "right and left-handed spoons." Actor Gary Lockwood, who played Frank Poole in the film, is left handed.

According to the Museum of Modern Art's website, the set "includes a dinner fork and knife, soup spoon, salad fork, and teaspoon... [and is] made of matte-finish 18/8 stainless steel." You can purchase the set at their online store for $95-a little pricey, but how else are you going to eat so stylishly in space? Suck your food through a straw?

Not while the Discovery One has simulated gravity!

You can purchase the set here.

Sources:
momastore.org
wikipedia.org/wiki/Arne_Jacobsen
wikipedia.org/wiki/Model_3107_chair

# data[].attributes.attachment_link.title
Futuristic Flatware - 2001: A Space Odyssey

# data[].attributes.attachment_link.description
The ultra-stylish and minimalist flatware the astronauts Dave Bowman and Frank Poole use aboard the Discovery One spacecraft were designed in 1957 by Danish designer and architect Arne Jacobsen. Kubrick chose this set because of its "futuristic" look and it really meshes well with the rest of the post-modern props and furniture that gives 2001: A Space Odyssey its unique charm.