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Hauntology
All things hauntological, atemporal and future past nostalgic in music, media, art and ideas
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The Quietus | Tome On The Range | Wrote Through Ghosts To Get Here: Ghosts Of My Life & Cultural Paralysis - Paul Wolinski

The Quietus | Tome On The Range | Wrote Through Ghosts To Get Here: Ghosts Of My Life & Cultural Paralysis - Paul Wolinski | Hauntology | Scoop.it

'Exploring - and taking as a yardstick - Mark Fisher's Ghosts of My Life, Paul Wolinski considers the apparent paralysis of contemporary culture and the slow cancellation of the future through the lens of the success and failures of advances in electronic music production'

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Filmmaker and Massive Attack collaborator Adam Curtis on why “music may be dying” – and why we need a new radicalism

Filmmaker and Massive Attack collaborator Adam Curtis on why “music may be dying” – and why we need a new radicalism | Hauntology | Scoop.it

'Adam Curtis believes in stories.

 

They feed the human imagination and they can transform both people and the world for the better. He thinks that for the past 20 years we have been in a political and cultural ditch because we have, unlike in the past, opted to manage the world rather than try to change it. According to Curtis, this malaise is the unintended consequence of several processes: the rise of individualism and its atomization of society; the now entrenched belief that humans are rigid and unchangeable; and the use of the language of economics to think about the world. The managed world we live in is a static world, haunted by the ghosts of its past.' - Arron Merrat

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Metamodernist // Manifesto

Metamodernist // Manifesto | Hauntology | Scoop.it

'We propose a pragmatic romanticism unhindered by ideological anchorage. Thus, metamodernism shall be defined as the mercurial condition that lies between, beyond and in pursuit of a plurality of disparate and fragmentary horizons. We must go forth and oscillate!'

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Simon Reynolds, Retromania and the Atemporality of Contemporary 'Pop' by James Parker

Simon Reynolds, Retromania and the Atemporality of Contemporary 'Pop' by James Parker | Hauntology | Scoop.it

Review of Simon Reynolds' Retromania: Pop Cultures Addiction to its Own Past' by James Parker 

 

'This review begins by positioning the book relative to Reynolds' previous work, a close reading of which, it is argued, reveals a specifically 'modernist' vision of pop and the function of music to which Reynolds has remained committed for virtually the entire duration of his career. The arguments in the book itself are then submitted to a critical analysis, with particular attention paid to Reynolds' claims about technology and recent developments in the musical underground. Finally, it is suggested that Reynolds' book is basically persuasive, and that it is best understood as a provocation. Ultimately, what Retromania does is to force us — musicians, critics, listeners — to think more carefully about what is at stake in retro, to think twice before we endorse or applaud it, to remember that sometimes, in some contexts, retro is simply not good enough, that we can and sometimes should do better.'

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TranshumanTech: Bruce Sterling: atemporality and social networks.

TranshumanTech: Bruce Sterling: atemporality and social networks. | Hauntology | Scoop.it

'There were certainly episodes in the Industrial Revolution when people were agitated about time and space - for instance, anxiety about the disorienting speed of rail travel. However, they had firm ideas about historical development, especially compared to us. A network of the kinds we have today doesn't behave with the comprehensive mechanical timing of a railroad. We have to face new atemporal anxieties, such as the spasms and crashes of microsecond stock-trading, where it's literally impossible to determine what electronic event had strict temporal priority.' - Bruce Sterling

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Books in Ruins: Ebooks, temporality, and tension » Cyborgology

Books in Ruins: Ebooks, temporality, and tension » Cyborgology | Hauntology | Scoop.it

'The implicit point there is that for us, physical spaces in all states of maintenance are by necessity temporal spaces; we orient ourselves within them and understand our relationship to them by virtue of at least a recognition that time is present and important, even if we don’t know a space’s exact age or history. Time is a background-level context that we assume is there. It makes sense to assume this, and indeed, a world where that couldn’t be assumed – where a physical space had no time – would be unintelligible to us. It would be too far removed from our experience of the world to make sense. We can – with a stretch – imagine an atemporal world: a world where past, present, and future are in a state of constant implosion. Indeed, it could be argued that this is exactly the world in which we live now. But we can’t imagine a world where there is no time at all. Trying to do so is uncomfortable, to put it lightly.' - Sarah Wanenchak

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Authorship of the Now - Chris Baraniuk

Authorship of the Now - Chris Baraniuk | Hauntology | Scoop.it

'It is easy to see that we have "all" become poets and scribes, but we share with institutional media the ability to "time-travel", as Wanenchak puts it. That is, in our ability to atemporalise what we insistently refer to as the present.' Chris Baraniuk

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William Gibson: on Atemporality

William Gibson: on Atemporality | Hauntology | Scoop.it

'The legendary author (Neuromancer; Pattern Recognition) discusses his childhood, his craft and his hope for a future he has never truly predicted, even within the pages of his recent collection of articles and essays, Distrust That Particular Flavor.'

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Flickr: The Looking Into the Past Pool

Flickr: The Looking Into the Past Pool | Hauntology | Scoop.it

'This [Flickr] group is for images you make where some part of a modern day scene is overlapped by an old photograph. For example, you hold up an old photo so that you can see its place in the modern context.'

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Welcome to the Interdome: Multi-tracking Eno with Cyber-time: an Atemporal Metaphor

Welcome to the Interdome: Multi-tracking Eno with Cyber-time: an Atemporal Metaphor | Hauntology | Scoop.it

From 2009

 

'In this speech about the studio as composition tool, Eno directs our attention at a shift in our conception of music in relation to recording, which I believe is a perfect metaphor for what I view as the concept of "atemporality". (A guy responsible for The Long Now Foundation should have some idea, right?)'

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Speculative Fiction, Atemporality, and Augmented Reality » Cyborgology - Sunny Moraine

Speculative Fiction, Atemporality, and Augmented Reality » Cyborgology - Sunny Moraine | Hauntology | Scoop.it

From 2011

 

'The divided categories of time have no intrinsic meaning aside from that which we give them through our perceptions of them–through our stories about them. We understand the past, the present, and the future each in reference to each other. How we remember the past changes based on our perception of the present and our imagining of the future. How we imagine the future changes based on our perception of the present and our memory of the past . How we perceive the present is colored by our memory of what’s gone before and our imagination of what might be still to come. All three are then functions of each other, changing in response to each other. All three are constantly imploding into each other, moving as time itself seems to move, shifting as our situated perceptions shift, meanings changing as our processes of meaning-making change. And the divisions between the three are not hard or clear. Indeed, they may essentially be illusory.'

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Lend Me Your Ears: Mistress of Atemporality - Laurel Halo

Lend Me Your Ears: Mistress of Atemporality - Laurel Halo | Hauntology | Scoop.it

From 2011

 

'Now your LMYE scribe here comes not to praise Reynolds nor to bury him, but to hang Laurel Halo’s music on this handy conceptual hook [atemporality] with accompanying agent-provocation: if this 'ere atemporality malarkey results in music this ramped up with energy and ideas, then frankly, my dear, do we give a damn about originality*? (*a dubious construct anyway - see Benjamin and Barthes, if you can be academically arsed).'

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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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The Future After the End of the Economy | e-flux - Franco Berardi Bifo

The Future After the End of the Economy | e-flux - Franco Berardi Bifo | Hauntology | Scoop.it

'Only if we are able to disentangle the future (the perception of the future, the concept of the future, and the very production of the future) from the traps of growth and investment will we find a way out of the vicious subjugation of life, wealth, and pleasure to the financial abstraction of semiocapital. The key to this disentanglement can be found in a new form of wisdom: harmonizing with exhaustion.

 

Exhaustion is a cursed word in the frame of modern culture, which is based on the cult of energy and the cult of male aggressiveness. But energy is fading in the postmodern world for many reasons that are easy to detect. Demographic trends reveal that, as life expectancy increases and birth rate decreases, mankind as a whole is growing old. This process of general aging produces a sense of exhaustion, and what was once considered a blessing—increased life expectancy—may become a misfortune if the myth of energy is not restrained and replaced with a myth of solidarity and compassion.

 

Energy is fading also because basic physical resources such as oil are doomed to extinction or dramatic depletion. And energy is fading because competition is stupid in the age of the general intellect. The general intellect is not based on juvenile impulse and male aggressiveness, on fighting, winning, and appropriation. It is based on cooperation and sharing.

 

This is why the future is over. We are living in a space that is beyond the future. If we come to terms with this post-futuristic condition, we can renounce accumulation and growth and be happy sharing the wealth that comes from past industrial labor and present collective intelligence.

 

If we cannot do this, we are doomed to live in a century of violence, misery, and war.' - Franco Berardi Bifo

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Decline and Fall of the History Men | Standpoint

Decline and Fall of the History Men | Standpoint | Hauntology | Scoop.it

'Are we living through the end of history? Not in the Hegelian sense that Francis Fukuyama used the phrase in the immediate aftermath of the Cold War, meaning that with the triumph of liberal democracy, world history had reached its ultimate goal. As subsequent events have shown, this was a case of wishful thinking by a political scientist, not a historian. 

 

No, I mean the end of history as the central pillar of high culture and national identity. History in this sense is not the same as historiography or historical scholarship, of which there is more than ever before. Nor is it the same as the popularisation of history, history as pure entertainment, which is also flourishing. What has become problematic is the assumption that general historical knowledge, an informed consciousness of our past, is the essential framework for Western civilisation. It is the decline of history in this sense that lies behind the heated debates about the teaching of history at school and university. The loss of such a temporal dimension has brought about a profound change in the outlook of the West: a loss of organic connection, not only with those who came before us, but with our place in the world. Clive James memorably described this phenomenon as "cultural amnesia", and Eric Voegelin adopted the theological concept of "anamnesis" to describe our attempts to preserve transcendent memories. Yet such remembrances of time past, whether they express rage against the dying of the light of history as a force in intellectual life, or acquiescence in its oblivion, are at best rearguard actions.' - Daniel Johnson

 

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Sight & Sound interview - His and her ghosts: reworking La Jetée

Sight & Sound interview - His and her ghosts: reworking La Jetée | Hauntology | Scoop.it

'Kode9, Ms Haptic and MFO were still developing their live audio-visual rework of Chris Marker's 1962 film essay La Jetée when Marker passed away last July. His absence intensifies the themes of their collaborative performance piece. Just as the ghostliness of the film’s female character is their structural focus, so Marker now haunts what they call Her Ghost.

 

The mysterious, hypnotic influence of La Jetée’s woman on the male protagonist is a crucial part of what drives his story. Obliged to travel through time after an (atomic) Third World War in order to save the human race from its own past, he encounters and repeatedly returns to her. The title of the rework comes from a line in Marker’s original script: “She calls him her ghost.” Typical to the way La Jetée plays against linear temporal logic, naming him her ghost confounds the subjective order of the film, the time-traveller becoming apparition.' - Melissa Bradshaw

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The Afronauts by Cristina De Middel

'In 1964, still living the dream of their recently gained independence, Zambia started a space program that would put the first African on the moon ...'

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Apocalypse, Wow: Behind Prince Rama's Concept Album - SPIN

Apocalypse, Wow: Behind Prince Rama's Concept Album - SPIN | Hauntology | Scoop.it

'The record is all about possession: The present being possessed by the past, the past being haunted by the future, the future being eclipsed by present nostalgia. The way I see it, the world ritually ends itself time and time again, on both microcosmic and macrocosmic levels, leaving us with a landscape littered by ghosts. On a macrocosmic level, I think we've reached an end of history and pop culture is doomed to be possessed and re-possessed by past ghosts. The serpent eats its tail until there is no tail left. This is the dawn of the ghost modern era.' Taraka Larson

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Old is the New New - Lovelace and Somerville

Old is the New New - Lovelace and Somerville | Hauntology | Scoop.it

From 2010

 

'We need “a conception of history that registers the untimely,” Clayton writes. “Ways of responding to lost threads of the past, to forkings in history that seemed to have vanished with little trace, are crucial to the historical enterprise.” Off-centered, “untimely” figures like Somerville and Lovelace and Babbage, he says, hold the promise of prompting us “to think again about how the past and present interact. It is … a promise that Mary Somerville’s story redeems.”' Rob MacDougall

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Skeuomorphic Design: What it is, Who uses it, and Why You Need to Know | MediaLoot

Skeuomorphic Design: What it is, Who uses it, and Why You Need to Know | MediaLoot | Hauntology | Scoop.it

'A derivative object that retains ornamental design cues to a structure that was necessary in the original, even when not functionally necessary.


In terms of user interface, this means applications that are designed to have elements of them that look or behave like their real-world counter-parts. For example turning a digital page to resemble the experience of reading a physical book.'

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Atemporality and Abandoned Digital Space » Cyborgology

Atemporality and Abandoned Digital Space » Cyborgology | Hauntology | Scoop.it

'A quick refresher: atemporality most simply refers to the idea that our experience of time is not necessarily as linear as we like to present it; that we don’t just move in a straight line from A to B in time but that we often experience aspects of the past, the present, and the future simultaneously, simply by virtue of our nature as remembering, imagining creatures — as I wrote in my last piece on this topic, we remember the future, imagine the present, and experience the past. Moreover, this phenomenon is intensified by technology and especially by technologies of documentation and sharing. Abandoned physical space, because of the way it encourages us to imagine our own ruined futures at the same time as we imagine an unruined past, is uniquely atemporal.'

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The Quietus | Metal Confection & Computer Love: An Interview With Laurel Halo

The Quietus | Metal Confection & Computer Love: An Interview With Laurel Halo | Hauntology | Scoop.it

From 2011

 

'It's funny, because I feel I get tagged with the category 'retrofuturistic' a lot, but I don't see anything that I do as being that way. If anything I'm really obsessed with the asymptote of now.'

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The Atemporality of “Ruin Porn”: The Carcass & the Ghost » Cyborgology

The Atemporality of “Ruin Porn”: The Carcass & the Ghost » Cyborgology | Hauntology | Scoop.it

'If the term “ruin porn” has any utility, it may lie in the reminder it presents that what we see is only what we see, and what we see is often the construction of a gaze separate from our own. Just as pornography is a mediated creation based on sex without being an actual, unmediated representation of the act itself, we should understand images of anything in the same terms without mistaking them for the “real thing” - if for no other reason than because the “real thing” may prove impossible to pin down, both in terms of time and in terms of space. Images of ruined spaces are like temporal ghost stories: it is difficult to be sure if what we see is truly a fragment of an objective past, an echo of our own future, or simply a shifting chiaroscuro–a play of digital shadow and light.'

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Atemporality: A closer, more holistic look - Josh W.

Atemporality: A closer, more holistic look - Josh W. | Hauntology | Scoop.it

'So, to clarify, here’s some more info on just what we talk about when we talk about atemporality.' 

 

“There is no such thing as un-cool. You just haven’t found the other people who think it is awesome yet.”

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The Songs of Now Sound a Lot Like Then - Simon Reynolds

The Songs of Now Sound a Lot Like Then - Simon Reynolds | Hauntology | Scoop.it

From 2011

 

'Pop music finds itself at a time when its signature sound often feels like a spinoff from another age.'

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