Hauntology
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Hauntology
All things hauntological, atemporal and future past nostalgic in music, media, art and ideas
Curated by Sean Albiez
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To Nostalgize: Mixing Memory with Affect and Desire | Sedikides, Constantine, Wildschut, Tim, Routledge, Clay, Arndt, Jamie, Hepper, Erica G. and Zhou, Xinyue

From 2015 - 'Nostalgia is a self-conscious, bittersweet but predominantly positive and fundamentally social emotion. It arises from fond memories mixed with yearning about one's childhood, close relationships, or atypically positive events, and it entails a redemption trajectory. It is triggered by a variety of external stimuli or internal states, is prevalent, is universal, and is experienced across ages. Nostalgia serves a self-oriented function (by raising self-positivity and facilitating perceptions of a positive future), an existential function (by increasing perceptions of life as meaningful), and a sociality function (by increasing social connectedness, reinforcing socially oriented action tendencies, and promoting prosocial behavior). These functions are independent of the positive affect that nostalgia may incite. Also, nostalgia-elicited sociality often mediates the self-positivity and existential functions. In addition, nostalgia maintains psychological and physiological homeostasis along the following regulatory cycle: (i) Noxious stimuli, as general as avoidance motivation and as specific as self-threat (negative performance feedback), existential threat (meaninglessness, mortality awareness), social threat (loneliness, social exclusion), well-being threat (stress, boredom), or, perhaps surprisingly, physical coldness intensify felt nostalgia; (ii) in turn, nostalgia (measured or manipulated) alleviates the impact of threat by curtailing the influence of avoidance motivation on approach motivation, buttressing the self from threat, limiting defensive responding to meaninglessness, assuaging existential anxiety, repairing interpersonal isolation, diminishing the blow of stress, relieving boredom through meaning reestablishment, or producing the sensation of physical warmth. Nostalgia has a checkered history, but is now rehabilitated as an adaptive psychological resource.'
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Digital Photography never looked so Analogue: Retro Camera Apps, Nostalgia and the Hauntological Photograph | Stephen Bull

Digital Photography never looked so Analogue: Retro Camera Apps, Nostalgia and the Hauntological Photograph | Stephen Bull | Hauntology | Scoop.it
From 2012 - 'Nostalgia in its contemporary form results from a perceived loss. Photography as a medium always contains some element of loss, because the moment photographed is lost to time. Reynolds, whose book focuses on a mania for retro in relation to popular music, makes a parallel between the ideas of Thomas Edison, who originally intended sound recordings to preserve the voices of loved ones before they died, and Roland Barthes’ ideas about photography in Camera Lucida. In both cases, sound or vision uncannily record the past and preserve a version of it. As such, sound recordings and photographs can be seen as ‘hauntological’ – a term coined by Jacques Derrida to describe how an apparently utopian past persists uncannily into the present.' - Stephen Bull
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Imagine Finding Me | Chino Otsuka Superimposes Her Adult Self Into Childhood Photos | Spoon & Tamago

Imagine Finding Me | Chino Otsuka Superimposes Her Adult Self Into Childhood Photos | Spoon & Tamago | Hauntology | Scoop.it
Imagine Finding Me | Chino Otsuka Superimposes Her Adult Self Into Childhood Photos
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Pogo’s “Alice” is the Internet’s nostalgia fixation at its most enchanting - Erik Adams

Pogo’s “Alice” is the Internet’s nostalgia fixation at its most enchanting - Erik Adams | Hauntology | Scoop.it

'These bits of clamshell hauntology are to the shuttered video-store industry what albums like DJ Shadow’s Endtroducing….. or J Dilla’s Donuts are to the corner record store. They’re reclamations, ways of paying tribute to influential works while re-imagining them in the artist’s own image. However, the Pogo approach differs in two key areas: First, the majority of Bertke’s output is, like “Alice,” sampled from a single source. Secondly, the crate-digger’s compulsion for obscurity has largely passed the artist by. Bertke’s preferred source material plays on big stages, whether it’s movies fondly remembered by the online masses or the customs of communities from around the globe. “Alice” is a singular work tooled for mass consumption, as its 11 million-plus plays attest.' - Erik Adams

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The Ethics of Nostalgia | Notes on Metamodernism

The Ethics of Nostalgia | Notes on Metamodernism | Hauntology | Scoop.it

'We will always return to the past, and perhaps less energy needs to be spent thinking about whether this is a ‘new’ phenomenon, and more on how we choose to see, represent and interpret the past as producers, consumers and viewers, moving towards a more balanced love of aesthetics coupled with an increasingly conscious understanding of history and the present.' - Hila Shachar

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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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Nostalgia: Past, Present, and Future | Constantine Sedikides, Tim Wildschut, Jamie Arndt, and Clay Routledge

From 2008 - 'Traditionally, nostalgia has been conceptualized as a medical disease and a psychiatric disorder. Instead, we argue that nostalgia is a predominantly positive, self-relevant, and social emotion serving key psychological functions. Nostalgic narratives reflect more positive than negative affect, feature the self as the protagonist, and are embedded in social context. Nostalgia is triggered by dysphoric states, such as negative mood and loneliness. Finally, nostalgia generates positive affect, increases self-esteem, fosters social connectedness, and alleviates existential threat.'
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The Forty-Year Itch - The New Yorker - Adam Gopnik

The Forty-Year Itch - The New Yorker - Adam Gopnik | Hauntology | Scoop.it
From 2012 - 'Though pop culture is most often performed by the young, the directors and programmers and gatekeepers—the suits who control and create its conditions, who make the calls and choose the players—are, and always have been, largely forty-somethings, and the four-decade interval brings us to a period just before the forty-something was born. Forty years past is the potently fascinating time just as we arrived, when our parents were youthful and in love, the Edenic period preceding the fallen state recorded in our actual memories. Although the stars of “Meet Me in St. Louis” were young, and its audience old and young both, Vincente Minnelli, its director, was born in 1903, just a year before the World’s Fair he made into a paradise. Matthew Weiner, born in 1965, is the baby in his own series. (The key variable behind the Beatles’ fondness for the twenties was the man they were pleasing and teasing: their great producer and arranger, George Martin, born in 1926.)' - Adam Gopnik
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Utopia Loops, Ghost Legacies | Alluvium

Utopia Loops, Ghost Legacies | Alluvium | Hauntology | Scoop.it

'Clearly, what hauntology (dis)embodies is not a restorative nostalgia. Nor is it reducible to facile retro-futurism; in music and visual forms we are not seeing the straightforward reproduction of old styles, but rather their discomposition which is a reflexive symptom of the collective failure of the social imagination. In this, hauntology in its pop culture aspects functions as a negative dialectic struggling with this legacy of Margaret Thatcher, reminding us of the failure to imagine an alternative and in doing so stressing the necessity of attempting to do so. This is the legacy that we are left with. The question is, is there anything beyond spectral politics?' - Tony Venezia

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Nostalgia - it's not like it used to be - Will Self

Nostalgia - it's not like it used to be - Will Self | Hauntology | Scoop.it
Thanks to Julian Bond for suggesting this article.

'The ease with which we can document our lives and times means younger people are too nostalgic about loves, losses and travels, says Will Self.'
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Has Nostalgia Become a Toxic Force in Design?

Has Nostalgia Become a Toxic Force in Design? | Hauntology | Scoop.it
Angela Riechers on our current cultural obsession with nostalgic design, and how all these borrowed and repurposed visuals may impede real progress.
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Flak Magazine | Nostalgia Now: Hauntology's Specter

Flak Magazine | Nostalgia Now: Hauntology's Specter | Hauntology | Scoop.it

12.10.07

 

'The longing of nostalgia has turned to a lulling. This is so much the case in music that the idea of retro, which still seemed clever ten years ago, is now second nature. Enter into this dreamless sleep an unlikely buzzword — "hauntology" — and the musical contrarians it describes.'

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