Hauntology and imagination in Troye Sivan’s Got Me Started music video

A post by Sheng-Hsiang Lance Peng

Hess (2021) contends that critical reconstructionism and abolitionism prompt us to critically assess and change the conditions influencing our lives, whether through reform, transformation, or abolition. This transformative endeavour involves envisioning alternatives that diverge significantly from the current path shaped by converging crises. Music can deeply contribute to this imaginative process by encouraging us to perceive things differently, overcome limitations in understanding others, and engage in “freedom dreaming” (p. 273), a belief that dreaming is imperative for societal transformation, recognising that having a vision for the future not only informs present actions but also shapes society’s trajectory. Using this reconstructive standpoint prompts us to acknowledge that the evocative influence of music videos surpasses mere entertainment.

Hauntology, rooted in the philosophy of Derrida (2012), emerged as a concept that explores the persistent presence of the past in the present. The term itself is a play on the words “haunting” and “ontology”, reflecting the idea that the past is not a closed chapter but an ever-present spectral force that influences contemporary culture, art, and thought. It suggests that our perceptions of reality are haunted by the unresolved remnants of history. In the context of music videos, hauntology becomes a powerful tool to decipher the layers of cultural, artistic, and historical influences embedded in the visual narrative. “Got Me Started” (referred to as GMS) by Troye Sivan, the second single from his third album “Something to Give Each Other”, released on 20 September 2023, provides a canvas for hauntological exploration. By sampling “Shooting Stars” by Bag Raiders, Sivan intentionally introduces a sonic ghost—a snippet from the past that continues to reverberate within the present composition.

Hauntological viewpoints become a key tool in decoding the symbolic significance of scenes in GMS. The slow-speed recording and subsequent vocal acceleration for the chorus emerge as haunting techniques, echoing the past while offering a fresh auditory experience. Progressing through, imagination will shape the discussion on the interplay between Sivan’s creative intentions and the spectral residues of sampled sounds and visual elements.

In the extended version of the music video, Sivan introduces the song with a voiceover:

After the last couple of years

 I really thought that I like was incapable of feeling anything

 For a long time

 Just even to feel like a little bit of

 Butterflies or, fxxking, just feeling

 I don’t know what you did or how you did it

 You said to me, you were like, um

 “This is one of life’s greatest pleasures”

 And you know what? You were right

This opening monologue, seen through a hauntological lens, gains added depth in light of Sivan’s recent revelations about his breakup (Chan, 2023). Sivan’s struggle to feel, even slightly, resonates with the complexities of untangling from a past emotional state—a lingering remnant of the relationship. The mention of “butterflies” and uncertainty about the catalyst for change align with the post-breakup emotions, creating a sense of rediscovery or awakening. The haunting echoes of the past relationship linger in Sivan’s introspection, contributing to the intricacies of emotional rekindling. In this hauntological context, the monologue becomes a snapshot of a moment in time—a reflection on the journey of inner resurgence after a breakup. The spectres of the past, coupled with recent revelations about sharing songs with an ex, contribute to the richness of the monologue.

Moving on to the song’s standout characteristic, Sivan’s resampling of “Shooting Stars” by Bag Raiders can be conceptualised through Barad’s framework of “troubling time/s, undoing the future” (2014), a notion that dismantles traditional concepts of linear time. The resampling, rather than a pure adaptation, disrupts the expected flow of temporal progression within the musical landscape. The resampled track’s comeback on TikTok adds a tangible layer to this temporal disruption, creating a spectral connection that extends beyond ordinary time spans, embodying Barad’s notion of undoing the future. Sivan’s negotiation with Bag Raiders to secure permission for the sample also reflects a deep entanglement with the past, acknowledging the weight of their iconic track and the multitude of requests received (Mier, 2023). Within the studio, the seamless integration of the resampled track becomes a perceptible act of troubling time, where distinctions between past and present are deliberately blurred, presenting a musical journey that actively challenges and transcends commonplace timeframes.

The music video’s climactic scene, where Sivan defies gravity and sprints through city streets, challenges established realities, reflecting the power of spaces to disrupt temporal and emotive trajectories. The resurfacing synthesiser and a new drum pattern act as transfigurative entities, reinterpreting culturally ingrained emotional narratives within expanding spatial limits. The imaginative construction of digital spaces aligns with boyd’s observations (2010) of the performative nature of online identities. The transformative and surreal elements in the video mirror the creative ways young people engage with digital platforms, expressing themselves and reimagining their identities. “What distinguishes networked publics from other types of publics is their underlying structure. Networked technologies reorganise how information flows and how people interact with information and each other” (p.41). Sivan’s video becomes a cultural artifact influencing contemporary youth culture. It extends and complicates notions of publics, embracing the messiness inherent in online interactions. The architecture of networked publics, as highlighted by boyd, distinguishes them from traditional notions. This underscores the verity that technology substantively metamorphoses the ontological fabric of information propagation and interpersonal transactions within these digital domains.

Looking at it in a different light, in the context of semiotic exploration (Bouissac, 2004), the reappearance of the synthesiser and the unveiling of a progressive drum pattern (the signifier) collectively function as linguistic symbols. These musical elements, operating as ghostly reverberations, disrupt the fixed meanings associated with emotions (the signified). Within semiotic fluidity, the phrases—as articulated by Sivan himself (2023) in an interview—namely “total freedom” and “endless possibilities” (the signified), go above and beyond their conventional confines. This phenomenon resonates with the emphasis placed by Saussure et al. (2011) on the arbitrariness of linguistic signs in this creatively charged moment.

Venturing deeper into philosophical imagination, the imaginative leap, from the seemingly mundane act of answering a phone to the extraordinary defiance of gravity, invites viewers to step into a surreal domain where the demarcation between actuality and imagination smoothly blends. The scene encapsulates aesthetic judgment, urging viewers to grapple with the sublime—a rare and special encounter that challenges them to elevate their perception beyond the ordinary. It prompts a contemplation of the extraordinary within the ordinary, encouraging an engagement with the aesthetic dimensions that defy easy categorisation and elevate the experience, escaping the everyday drudgery. 

Sivan’s response to the old-school phone also serves as a pivotal juncture, not merely within the narrative but also within the arts of noticing—the discernment of subtle nuances and unexpected connections often overlooked in the routine of daily existence (Tsing, 2015). This action becomes a focal point, beckoning the audience to observe the transmogrification taking place within Sivan, emblematic of a transition from the conclusion of a relationship to a newfound sense of liberation. It extends an invitation to appreciate the subtle choreography of emotions intricately knitted into the tapestry of physical spaces. This personal and environmental transformation is the interconnectedness of emotional resonances (spanning from Sivan’s breakup to the renewed camaraderie between Sivan and his fans after a five-year album hiatus), spatial configurations (featuring surreal scenes of Sivan scaling buildings and sprinting through urban landscapes in Bangkok), and culturally encoded representations (prompting diverse interpretations of these experiences by Sivan’s global fanbase). The blending of the end of a relationship with feelings of freedom harks back to Sivan’s initial monologue, illustrating the cyclical nature of inner states and the narratives of life.

Sivan, amid the tale of the GMS music video, is pursued by the ghosts of his former romantic entanglement (although ended, never disappearing). This challenges conventional temporal boundaries and beckons viewers to be aware of the persistent effect of the past on contemporary pop expressions, paralleling Sivan’s sampling of “Shooting Stars” and the revival of his GMS music on the 49th season of Saturday Night Live, triggering another wave of discussion. Embracing ambiguity and uncertainty, this technique catalyses diverse perspectives and heightens imaginative engagement with pop music videos.

“Positionality affects one’s memories and self-understanding, the scope of one’s imagination, as well as the nature and intensity of one’s hopes” (Mihai, 2019, p. 505). GMS serves as a subtle guide for the imaginative minds of Sivan’s audience. Integrating his narrative of relationships into the song—whether perceived as celebrity gossip surrounding a breakup or interpreted with imaginative and meaningful connotations as a demonstrative real-life lesson—the video mentors audiences to look at the enduring effects of past relationships, moulding memories, and shaping imaginative landscapes. GMS discreetly transforms into an educational space, providing experiential learnings about relationships and diversity, actively shaping the collective memories and imaginative scope of Sivan’s fans (or anyone who has crossed paths with his musical works). Simultaneously, through the portrayal of diverse identities in GMS and Sivan’s own figure presentation, Sivan and his music become a beacon of hope, inspiring the listenership and influencing the nature and intensity of their aspirations for a future marked by acceptance and inclusivity.

The stirring effect of music videos emerge as gateways to reconsider our connections, societal frameworks, and individual stories. The imaginative and creatively hauntological perspective, fundamentally provokes us to observe the interaction of ghosts (in both a palpable and metaphorical way) from the past, present, and future. This challenges long-held perspectives and presents a diverse array of possibilities, weaving a multifaceted spectrum of potential storylines. In the lyrical resonance of “we got something to give each other”, a verse resounding through the heart of GMS and the thematic core of Sivan’s third album insinuates an intimate exchange of offerings between kindred souls.

Source this post as:

Peng, S-H. L. (2024, March 6). Hauntology and imagination in Troye Sivan’s Got Me Started music video. The Chiaroscuro. https://chiaroscuroreflections.blogspot.com/2024/03/hauntology-and-imagination-in-troye.html

This piece was first published in The Junkyard.

Bio

Sheng-Hsiang Lance Peng, a PhD candidate at the University of Cambridge’s Education Faculty, navigates and connects the domains of social work and education, exploring cross-disciplinary issues. A proponent of hauntological perspectives, he also pens a hotchpotch of articles discussing their application across various spheres. Visit this link to explore his webfolio.

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