Pop Hits of the 2000s is a series of semi-readymade sound-art pieces. Utilizing pop music hits from the 2000s, such as Katy Perry’s I Kissed a Girl, the original music is slowed down drastically, changing the emotional relationship with the viewer. Explored are themes of alienation, and a sense of being out of sync, particularly with and during one's adolescence. The songs chosen were popular during the artist's own teenage years. The songs in their slowed state grab the viewer, but not with the joy associated with the original music. Lyrics and intonation become ghostly, even threatening. Viewers may find themselves desiring the song to end, or even be repulsed. In this way, the musical and emotional canon are recontextualised.
Pop Hits of the 2000s is a series of semi-readymade sound-art pieces. Utilizing pop music hits from the 2000s, such as Katy Perry’s I Kissed a Girl, the original music is slowed down drastically, changing the emotional relationship with the viewer. Explored are themes of alienation, and a sense of being out of sync, particularly with and during one's adolescence. The songs chosen were popular during the artist's own teenage years. The songs in their slowed state grab the viewer, but not with the joy associated with the original music. Lyrics and intonation become ghostly, even threatening. Viewers may find themselves desiring the song to end, or even be repulsed. In this way, the musical and emotional canon are recontextualised.
Pop Hits of the 2000s is a series of semi-readymade sound-art pieces. Utilizing pop music hits from the 2000s, such as Katy Perry’s I Kissed a Girl, the original music is slowed down drastically, changing the emotional relationship with the viewer. Explored are themes of alienation, and a sense of being out of sync, particularly with and during one's adolescence. The songs chosen were popular during the artist's own teenage years. The songs in their slowed state grab the viewer, but not with the joy associated with the original music. Lyrics and intonation become ghostly, even threatening. Viewers may find themselves desiring the song to end, or even be repulsed. In this way, the musical and emotional canon are recontextualised.
Pop Hits of the 2000s is a series of semi-readymade sound-art pieces. Utilizing pop music hits from the 2000s, such as Katy Perry’s I Kissed a Girl, the original music is slowed down drastically, changing the emotional relationship with the viewer. Explored are themes of alienation, and a sense of being out of sync, particularly with and during one's adolescence. The songs chosen were popular during the artist's own teenage years. The songs in their slowed state grab the viewer, but not with the joy associated with the original music. Lyrics and intonation become ghostly, even threatening. Viewers may find themselves desiring the song to end, or even be repulsed. In this way, the musical and emotional canon are recontextualised.
Pop Hits of the 2000s is a series of semi-readymade sound-art pieces. Utilizing pop music hits from the 2000s, such as Katy Perry’s I Kissed a Girl, the original music is slowed down drastically, changing the emotional relationship with the viewer. Explored are themes of alienation, and a sense of being out of sync, particularly with and during one's adolescence. The songs chosen were popular during the artist's own teenage years. The songs in their slowed state grab the viewer, but not with the joy associated with the original music. Lyrics and intonation become ghostly, even threatening. Viewers may find themselves desiring the song to end, or even be repulsed. In this way, the musical and emotional canon are recontextualised.
Pop Hits of the 2000s is a series of semi-readymade sound-art pieces. Utilizing pop music hits from the 2000s, such as Katy Perry’s I Kissed a Girl, the original music is slowed down drastically, changing the emotional relationship with the viewer. Explored are themes of alienation, and a sense of being out of sync, particularly with and during one's adolescence. The songs chosen were popular during the artist's own teenage years. The songs in their slowed state grab the viewer, but not with the joy associated with the original music. Lyrics and intonation become ghostly, even threatening. Viewers may find themselves desiring the song to end, or even be repulsed. In this way, the musical and emotional canon are recontextualised.