Nostalgia
nostalgia noun nos·tal·gia nä-ˈstal-jə nə-, also nȯ-, nō-; nə-ˈstäl- 1: a wistful or excessively sentimental yearning for return to or of some past period or irrecoverable condition also : something that evokes nostalgia
Rules for Nostalgia Lemmy Community
1. Respectful Nostalgia Share nostalgic content and memories respectfully. Avoid offensive or insensitive references that may be hurtful to others.
2. Relevant Nostalgia Posts should focus on nostalgic content, including memories, media, and cultural references from the past. Stay on topic to preserve the nostalgic theme of the community.
3. Source Verification If you share nostalgic media or content, provide accurate sources or background information when possible.
4. No Spamming Avoid excessive posting of similar nostalgic topics to keep content diverse and engaging for all members.
5. Positive Discussions Encourage positive discussions and interactions related to nostalgic topics. Respect different viewpoints and memories shared by community members.
6. Quality Content Strive to post high-quality content that sparks nostalgia and meaningful conversations among members.
7. Moderation Guidelines
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Respectful Behavior Treat fellow members with kindness and respect. Harassment or disrespectful behavior will not be tolerated.
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Appropriate Content Only Ensure all content aligns with the nostalgic theme and community guidelines. Inappropriate or offensive material will be removed.
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Engagement and Participation Engage actively with posts and discussions. Constructive feedback and contributions enrich the community experience.
By adhering to these rules and guidelines, we can create a welcoming and enjoyable space to relive nostalgic moments together. If you have any questions or suggestions, feel free to reach out to the moderators. Thank you for sharing your nostalgia responsibly!
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This is the best summary I could come up with:
I find the sculptures of Nairy Baghramian, the videos of Stan Douglas and the environments of Pierre Huyghe to be artistic achievements of the highest caliber; I think Ali Smith is writing novels of tremendous immediacy; I believe “Transit” and “Drive My Car” reaffirm the vitality of cinema; I love South African amapiano and Korean soap operas and Ukrainian electronic music.
“It’s still one Earth,” the novelist Stacey D’Erasmo wrote in 2014, “but it is now subtended by a layer of highly elastic non-time, wild time, that is akin to a global collective unconscious wherein past, present and future occupy one unmediated plane.” In this dark wood, today and yesterday become hard to distinguish.
In fact, the sampling techniques pioneered in hip-hop and, later, electronic dance music — once done with piles of records, now with folders of WAV files — have trickled down into photography, painting, literature and lower forms like memes, all of which now present a hyperreferentialism that sets them slightly apart from the last century’s efforts.
(Kerstin Brätsch, one of the smartest abstract painters working today, has acknowledged that any mark she makes is “not empty anymore but loaded with historical reference.”) Consider last year’s hit “Creepin’,” by The Weeknd: a 2022 rejigger of the 2004 Mario Winans song “I Don’t Wanna Know” with no meaningful change in instrumentation in the nearly two intervening decades.
Trapped on a modernist game board where there are no more moves to make, a growing number of young artists essentially pivoted to political activism — plant a tree and call it a sculpture — while others leaned hard into absurdity to try to express the sense of digital disorientation.
This institutional hunger for novelty combined with digital requirements for communicability may help explain why so much recently celebrated American culture has taken such conservative, traditionalist forms: oil portraiture, Iowa-vintage coming-of-age novels, biopics, operettas barely distinguishable from musical theater.
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