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Hauntology
All things hauntological, atemporal and future past nostalgic in music, media and ideas
Curated by Sean Albiez
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k-punk: London after the rave

From 2006

 

'Burial is the kind of album I've dreamt of for years; literally. It is oneiric dance music, a collection of the 'dreamed songs' Ian Penman imagined in his epochal piece on Tricky's Maxinquaye. Maxinquaye would be a reference point here, as would Pole - like both these artists, Burial conjures audio-spectres out of crackle, foregrounding rather than repressing sound's accidental materialities. Tricky and Pole's 'cracklology' was a further development of dub's materialist sorcery in which 'the seam of its recording was turned inside out for us to hear and exult in; when we had been used to the "re" of recording being repressed, recessed, as though it really were just a re-presentation of something that already existed in its own right' (Penman). But rather than the hydroponic heat of Tricky's Bristol or the dank caverns of Pole's Berlin, Burial's sound evokes what the press release calls a 'near future South London underwater. You can never tell if the crackle is the burning static off pirate radio, or the tropical downpour of the submerged city out of the window.'

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k-punk: Fragments of a conversation with Julian House

k-punk: Fragments of a conversation with Julian House | Hauntology | Scoop.it

From 2006

 

'Julian and I agreed that one of the biggest problems with something like BBC1's Life on Mars is that has exactly the opposite emphasis: it is all foreground and no background. Life on Mars forces its 70s props into our face because behind then there is a fundamental emptiness. This is partly why, in Life on Mars nothing feels lived in.

 

British TV's problem, we agreed, is that is too in thrall to film. The classic serials of the seventies produced a world you felt a part of, a sense of inclusion to which 'wobbly sets' somehow contributed. The professionalism and glossiness of current TV, by contrast, locks you out, subordinates you to Spectacle.'

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k-punk: Hauntology Now

k-punk: Hauntology Now | Hauntology | Scoop.it

From 2006

 

'Why hauntology now? Well, has there ever been a time when finding gaps in the seamless surfaces of 'reality' has ever felt more pressing? Excessive presence leaves no traces. Hauntology's absent present, meanwhile, is nothing but traces....'

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k-punk: 'old sunlight from other times and other lives': John Foxx's Tiny Colour Movies

k-punk: 'old sunlight from other times and other lives': John Foxx's Tiny Colour Movies | Hauntology | Scoop.it

From 2006

 

'Foxx's music has always had an intimate relationship with film. Like sound recording, photography - with its capturing of lost moments, its presentation of absences - has an inherently hauntological dimension. It wouldn't be an exaggeration to say that Foxx's entire musical career has been about relating the hauntology of the visual with the hauntology of sound, transposing the eerie calmness and stillness of photography and painting onto the passional agitation of rock.'

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blissblog -haunted audio - Simon Reynolds

From 2006

 

dubversion deleted scenes/rematerialized tangents/bloopers/offcuts

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k-punk: Is Pop Undead?

k-punk: Is Pop Undead? | Hauntology | Scoop.it

From 2006

 

'The question we need to ask, then, is not so much 'will pop die?' but has pop already reached the point of undeath? Has it seduced us into an entropy tango, clasping us with zombie fingers as it slowly winds down towards permanent irrelevance? Questions worth raising, if only because as soon as they are no longer raised we can be sure that Pop really has reached its terminal phase.'

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$: Hauntology's Space Between The Two Deaths: Machine In The Ghost Revisited

$: Hauntology's Space Between The Two Deaths: Machine In The Ghost Revisited | Hauntology | Scoop.it

From 2006

 

'Jacques Derrida's Spectres of Marx suggests that the ghost or specter haunts because it has come undone from time: it haunts from the past and the future. However if Derrida's version of the ghost is that of a paradoxically-embodied voice "out of joint" in time and space, Zizek's model is that of the Lacanian "barred subject" - a subject structurally "out of joint." The Lacanian model supposes a subject structured around an irrepresentable-impossible kernel, the Real, to which it cannot have access, instead anamorphically accessing "reality" through the work of "fantasy" - not a sustained illusion, but the way through which we structure reality ["truth has the structure of fiction"]. Zizek's claim, like Derrida's, is that now more than ever we find ourselves in a world of increasing virtualization, as it has always been. For Zizek, we are surrounded by a "plague of fantasies" - pseudo-concrete images which cover over the mounting abstractions at work in our lives.'

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k-punk: Can it be that it was all so simple then?

k-punk: Can it be that it was all so simple then? | Hauntology | Scoop.it

From 2006

 

"Theoretically pure anterograde amnesia is not about a craving for the past but inability to get out of the past. It might seem strange to suggest that our condition is amnesiac, but anterograde amnesia is the incapacity to produce new memories. Beneath the superficial bonomie of the endless television rundowns (100 bests, I Love 1971-2-3-4......), Theoretically pure anterograde amnesia finds a dementia. The young have become like the very old, living in a past that they confuse with the present. More horrible than being trapped in one's own reminiscences, this is about being condemned to forever wander someone else's memory lanes (a fate which cannot but remind us of Rachel's situation in Blade Runner). The present looms emptily, an unsymbolizable abstraction, an abandoned echo chamber, forbidding in its abstraction; the only landmarks are the fragments of the past which flare intermittently in the murk. The genius of Theoretically pure anterograde amnesia is that it reinforces the very condition it describes; the seventy odd tracks, each one Beckett-sparse, are impossible to remember - each time you hear them, it is as if for the first time (even though the first time was already an instance of deja entendu)."

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k-punk: Phonograph blues - Mark Fisher

k-punk: Phonograph blues - Mark Fisher | Hauntology | Scoop.it

From 2006

 

'I repeat, I re-cite: hauntology is the closest thing we have to a movement, a zeitgeist, at the moment (and one of the uncanniest aspects of it is the fact that there seem to be very few lines of explicit influence among the artists involved).'

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k-punk: Hauntology in Dublin

k-punk: Hauntology in Dublin | Hauntology | Scoop.it

From 2006

 

For the citizens of industrialized societies, there is a certain universality of the Zone. Most of us will have been captivated at some time by spaces dominated by derelict factories, burned-out vehicles and military/industrial technology wreathed in resurgent greenery. Such spaces strike a deeply resonant chord with the industrialized unconscious; indeed, they might be an image of that unconscious itself.

In any case, Brian's presentation made me reflect that there is a room for a kind of hauntological travel writing; or that the best kind of travel writing is already hauntological, already a study of the power of place as a recording system (cf Lethbridge, or Kneale's The Stone Tape). It also made me think, again, about the relationship of hauntology to place (one of the meanings of 'haunt' being 'a place', of course); and fantasise, again, about hauntological events which would take place in derelict or semi-derelict spaces.

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