The Sound of Crises – Accelerationist Theories in “Post-Internet Music” from the 2010s to the Present.
The project examines how the online electronic music phenomenon known as “Post-Internet Music,” which emerged in the 2010s, was and is permeated by accelerationist theories. During this period, both left-wing and right-wing accelerationism experienced a resurgence, finding resonance in the art and music worlds of the era. “Post-Internet Music” emerges in an environment shaped by the internet, taking into account both its technical and social aspects; it does not refer to a time after the internet, but rather to a mindset in the sense of an “internet state of mind.” With the aim of elucidating these connections, the study examines not only the most famous and notorious accelerationism associated with Nick Land—
which calls for unbridled capital and technological change to drive social transformation—but also later variants such as "Xenofeminism," “left-,” “cute-,” and “effective accelerationism,” the latter influencing US politics and society through tech oligarchs such as Marc Andreessen. The work also examines emerging musical genres, artists and their practices, the influence of
accelerationist concepts on the aesthetic design of these musical forms, and the impact of the Cybernetic Culture Research Unit (CCRU), which emerged in the 1990s, including figures such as Mark Fisher, Kodwo Eshun and Steve Goodman. This approach provides an unprecedented analysis of contemporary music, history and culture by tracing the emergence of "Post-Internet Music" as an underground phenomenon, its development into a multimedia soundtrack with a distinct aesthetic, and its influence on the self-image of a younger generation—before evolving into a soundtrack that purportedly reflects the self-image of the American tech-elite ruling class.