The anxious interval: The anxious interval is the recent past. It's long enough ago to feel not-contemporary, but not long enough ago to feel utterly removed. It's at an uncomfortable distance, which is why I call it "anxious". You could think of the anxious interval as the temporal equivalent of the uncanny valley, that place where robots are similar enough to us to give us an uncomfortable shudder. You could also say the anxious interval is a place, a style, a set of references we avoid, repress, sublimate, have selective amnesia about, stow away, throw out, deliberately forget.
An example: Devendra Banhart and the scene that was called Freak Folk or New Weird America. The Wire magazine cover feature on New Weird America dates from August 2003. By April 2005 the San Francisco Chronicle is telling us that Freak Folk Flies High. By June 2006 the New York Times is telling its readers that "a music scene called freak folk is bursting up from underground" but adding that "it looked like a trend of the moment a couple of years ago". By 2009, it's safe to say that a reference to Freak Folk would be more likely to puncture your credibility than bolster it. Freak Folk is in "the anxious interval".
The goldmine is the cultural era the present is currently reviving. I've put a picture of Buggles, because in general we're reviving the 80s at the moment. You know, the guy from Hot Chip wears Buggles-like glasses, and so on. The goldmine is a goldmine for people who run secondhand clothes stores and have lots of stock from the requisite era, or people who are selling synths from that era, or people who've got a bunch of cheap Chinese Ray Ban copy frames. The smartest people in the present are remembering the goldmine and sifting through its waters like a crowd of panhandlers.
The battlefront is the area right at the edge of the goldmine -- the place where the acceptable and lucrative revival era meets a time which is currently repressed, neglected, and a-slumber. What's so interesting about the battlefront is that the process of reassessment is so visible here, and the revaluation is so daringly and consciously done. An elite of taste-leaders and taste-formers unafraid of ridicule are hard at work here, foraging for bargains, bringing an unacceptable era into fresh acceptability. There's a kind of shuddering repulsion for long-neglected, long-repressed artifacts, and yet something compellingly taboo about them. Their hiddenness makes them fascinating -- it's as if their very sublimation has given these cultural objects some kind of big power over our unconscious. The best curators and fashionistas are to be found at the battlefront, battling for the fascinating-repellant things they find in that twilit zone between acceptability and unacceptability.
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