Burial is an artist capturing withering urban decay. It’s wounded, electronic post-industrial, and even post-modern, eschewing the system of dopamine hitting drops and fist-pounding exhilaration. Although a forebear of dubstep, the secretive South Londoner would never perform on a stage.
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Neil Postman laid it all out in 1992’s Technopoly: The Surrender of Culture to Technology.
A technopoly is a society that accepts data as fact, science as God and sees national progress measured by the rate of technological expansion. Satiated with technophiles, shielded by the benefits of innovation and ignorantly unaware of the threats. The harm in a technophilic culture does not arise from the technology itself.
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Perhaps no one’s artistic trauma manifests more materially than the work of Amy Karle. Born to a biochemist and pharmacist, Amy grew up with a rare and dangerous genetic disorder known as aplasia cutis, the missing of skin on the scalp.
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A few years ago, esteemed photographer Dan Tobin Smith opened a website calling for Kipple. He asked the public to send him everything forlorn, decomposed, without a purpose. Instead of an apartment floor, he covered his studio with such materials.