Hauntology
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Brannten Schnüre and German Hauntology. | No Fear Of Pop

Brannten Schnüre and German Hauntology. | No Fear Of Pop | Hauntology | Scoop.it

From 2011

 

Although the tendency to fall for trite, romanticist pastiche is always only a step away in Germany, I’ve felt that hauntology as an artistic concept has never really gained a foothold in the local experimental underground (as opposed to fine art, a point convincingly made by Adam Harper in reference to Neo Rauch) ...

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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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THE FISHER-FUNCTION | VISUAL CULTURES PUBLIC PROGRAMME GOLDSMITHS, UNIVERSITY OF LONDON

THE FISHER-FUNCTION | VISUAL CULTURES PUBLIC PROGRAMME  GOLDSMITHS, UNIVERSITY OF LONDON | Hauntology | Scoop.it

'The Fisher-Function is a seven week series focused solely on the work of Mark Fisher. Instead of taking the traditional lecture format, The F-F will take the form of collective reading and listening sessions, all open to anyone interested - inside and outside of Goldsmiths, whether you know Mark's work or not.'

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Vanishing Point: How the Light Grid Defined 1980s Futurism | Richard McKenna

Vanishing Point: How the Light Grid Defined 1980s Futurism | Richard McKenna | Hauntology | Scoop.it
'Of all the visual shorthand for a particular type of outmoded futurism, one of the most immediately recognizable—like the chrome lettering with which it is often paired—must be the light grid. Usually depicted as a network of glowing straight lines receding in perspective against a black background, occasionally with the outlines of mountains or the blush of dawn visible on the horizon, the light grid (or laser grid, or neon grid) today is in widespread use as the appropriated expression of a perceived aesthetic, a tongue-in-cheek signifier of the naïve dreams of Generation X. It is hard to believe that it once communicated such a potent sense of transformation and possibility, but it did just that. As rocket-fin styling symbolizes the sleek and innocent aspirations of the 1950s, the grid is now the symbol par excellence of “The Eighties,” a now-mythological time when a cocktail of affluence, Cold War tensions, and the encroaching power of computing combined to confer upon the dreamers of the West a form as memorable as it was ephemeral.' - Richard McKenna
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Igloo Magazine :: Snufmumriko :: At First Light (Shimmering Moods) | Igloo Magazine

Igloo Magazine :: Snufmumriko :: At First Light (Shimmering Moods) | Igloo Magazine | Hauntology | Scoop.it
'At First Light is a subtle invitation to navigate through cloudy, frosty, fragile, subjective and impressionistic soundscapes with a fancy for turntablism and hauntology (due to the presence of fractured ghostly loops, reverbed sounding memories and sampled field recordings). Beautiful electronic treatments oscillate with soothing, flowing, grainy concrete sounds and timbral acoustic motifs. Nothing intrusive but delicately relaxing, introspective and evocative.' - Philippe Blache
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Vaporwave: The Musical Wallpaper of Lost Futures | CCCB LAB

Vaporwave: The Musical Wallpaper of Lost Futures | CCCB LAB | Hauntology | Scoop.it

Half a decade after it first appeared, we take stock of this internet-based music genre and explore its critique of consumer culture.' - Arnau Horta

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National Life Stories Annual Lecture 2017 - Uncovering the unspoken: memory and post-war Britain

'David Kynaston delivered the National Life Stories Annual Lecture on 13 March 2017 at the British Library. The lecture focused on memory and its place in the historical analysis of post-war British society. David Kynaston has been a professional historian since 1973 and has written 18 books, including The City of London, a widely acclaimed four-volume history which drew on National Life Stories’ ‘City Lives’ oral history interviews. He is also the author of Austerity Britain, Family Britain, and Modernity Britain, the first three titles in a series of books covering the history of post-war Britain (1945-1979) under the collective title Tales of a New Jerusalem. Austerity Britain was named ‘Book of the Decade’ by The Sunday Times. He is an honorary professor at Kingston University.'
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‘Scarred For Life Volume One: The 70s’ | Daniel Marner

‘Scarred For Life Volume One: The 70s’ | Daniel Marner | Hauntology | Scoop.it
'Nostalgia seems to define and dictate our present culture, perhaps as it never has before, in ways undreamt-of as recently as a decade ago. Ever since our ability to record, edit and re-share the visual and sonic textures of our common (and sometimes uncommon) cultural experience became a viable option to those outside the entertainment industry, people (largely, it has to be said, bespectacled introverts with testicles and optional BO) have been doing so.' - Daniel Marner
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What Is Metamodern? blog

What Is Metamodern? blog | Hauntology | Scoop.it
'The generation born into postmodern disaffection/irony and now ready to move on from that seems to scream,“OK, there may be no ‘there’ there, but yet…I’m here!” This is where one might locate the ground of Metamodernism, which, as we see it, seeks to resolve and/or engage the conflicts between Tradition, Modernism and Postmodernism by emphasizing felt experience.' - Greg Dember and Linda Ceriello
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My Friend Mark | Jeremy Gilbert on Mark Fisher

My Friend Mark | Jeremy Gilbert on Mark Fisher | Hauntology | Scoop.it
'Here are two versions of basically the same tribute to my departed friend Mark Fisher, who took his own life in January. There are two versions, a very long and a quite long one. The first is my own very very long tribute. It is as much as anything about me and my thoughts, obviously – as it is basically a kind of intellectual history of Marks’ own conceptual journey and my personal and political relationship to it. If you have been dying to find out exactly what I thought of the CCRU in the early 2000s, then this is for you. If not then maybe don’t bother. To be fair if you are interested in a very detailed account of Mark’s intellectual and political development then I think , I hope, you will find this genuinely useful.' - Jeremy Gilbert
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A Hauntology of Precarity | WELCOME TO THE ENTREPRECARIAT | Silvio Lorusso

A Hauntology of Precarity | WELCOME TO THE ENTREPRECARIAT | Silvio Lorusso | Hauntology | Scoop.it
'Looking at precarity from the hauntological lens allows us to contemplate a perceived absence and the anxiety it provokes even on subjects with a relatively stable job. In this perspective, precarity becomes the agency of impending failure and poverty. It functions as a malicious prophecy that threaten to become reality. And even if it doesn’t, it is nonetheless able to manipulate people, pushing them to work uninterruptedly, because "who knows what will happen in one year". The hauntological dimension of precarity works also in the opposite direction: the idealized image of baby boomers’ stable, fulfilling life and career renders the contemporary lifestyle bleak, empty, depressing. Both in the future and the past virtuality of precarity, work and life are inseparable.' - Silvio Lorusso
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Nicole Lizée: Techno-Hauntologist - my/maSCENA | Kiersten Van Vliet

Nicole Lizée: Techno-Hauntologist - my/maSCENA | Kiersten Van Vliet | Hauntology | Scoop.it
'Many of the sources she works with are not considered art, not only due to the commerciality of their production, but also their short-lived and often disposable nature. “There’s something about things that were so important to so many people at one point in time and then were quickly forgotten or replaced or put in a landfill.” 

“They’re ghosts. They’re things that once existed. They meant so much to everybody and then they disappeared. And then what? What happens when you find a ghost and you bring it into a work of music?” 

It’s this intersection of the ethereal and the substantial that is the premise of many of Lizée’s compositions. These technological ghosts are imperfect and self-contained spectres flung out of time and space, drawing your attention to both the materiality and singularity of this other world. The re-contextualization of these technologies leads to what Lizée calls “musical hauntology.” Hauntology – a portmanteau of haunting and ontology – is a term coined by French philosopher Jacques Derrida to describe the disjunction caused by the materialization of a spectre from the past in the present moment. In a late-capitalist society, obsolete technology is the perfect phantasmal conduit.' - Kiersten Van Vliet
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Mark his words | Simon Reynolds on Mark Fisher

'Like many of you I'm sure, I have been dipping into the online Markhive - rereading favorite pieces and posts. Below are just a handful - well, a couple of handfuls - really an armful - of Fisher classics. Along with the fully-realised long-form work, there's a few more fragmentary things too - in some ways even more enjoyable and characteristic. Mark was in his element when pitching into the fray - arguing, agreeing (but always building on his interlocutor's point, pushing it further along). Some of his best insights and lines emerged out of the back-and-forth of these fractious spaces - Dissensus threads, the K-punk comments box. Jewels, exuberant with the sheer sport of thought, that are hard to disentangle from the discursive thicket of their moment. But in a way it was in these innumerable brief exchanges and interactions that Mark's mind flexed itself most fruitfully - and merrily.' - Simon Reynolds
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Accelerationism: a timely provocation for the critical sociology of education | Sam Sellar and David R Cole

'Accelerationism is a theoretical movement that seeks to mobilise reason and technological development as a strategy for moving beyond capitalism. The first wave of accelerationism took the effects of capitalism at their most pernicious and suggested that they have not gone far enough. More recent work has complicated this project and explored political, epistemic and aesthetic accelerations. The central push to accelerate, and therefore to manifestly alter time, has consequences in terms of how one understands temporality in education. This article outlines the development of accelerationism and examines whether this theoretical movement can aid critical analysis of the growing presence in education of commercial technology providers, new modes of data analytics, and the application of machine learning algorithms to analyse data. These developments provide a useful example in relation to which a critical question can be asked: is it possible to accelerate technological development in education separate from its capitalist development?' - Sam Sellar and David R Cole
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New Book - Folk Horror: Hours Dreadful and Things Strange | Adam Scovell

New Book - Folk Horror: Hours Dreadful and Things Strange | Adam Scovell | Hauntology | Scoop.it
'I wanted to get some words down about the book now just before it becomes available; it is, after all, the first book to fully attempt to understand what this strange genre of film and television actually is. In October 2015, I was lucky enough to be approached by Auteur Publishing with the offer of a book deal involving an analysis of the genre. The result is 'Folk Horror: Hours Dreadful and Things Strange,' named from a line of Macbeth which I feel surmises the genre beautifully (because of both its oddness and its essential link to various temporal slips and notions of the past). The book is heavily about landscape but also touches upon history, sociology and various other issues besides culture.' - Adam Scovell
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REQUIEM FOR THE SIMULATION GENERATION | Harrison Fannon

REQUIEM FOR THE SIMULATION GENERATION | Harrison Fannon | Hauntology | Scoop.it
'We seem to pine for a realness that exists in the materiality of the past. Indeed, it can be seen in modern popular culture, which appears to be locked in a state of retrospection, heavily relying on the reproduction of styles and forms of previous times. Music critic Simon Reynolds in his book Retromania, points to the success of the nostalgia industry with its revivals, reunions and remakes to claim that there has never been a culture so obsessed with its own immediate past. It’s as if a feeling of displacement in the digital age has triggered a nostalgic yearning for our analogue history. A history in which authenticity was concealed within the granulated haze of a film photograph, or the quintessential crackle of the needle falling on a record. A past that challenged the sleek, logical and mass-produced modernist aesthetic with a sense of character that is idiosyncratic and perceivably vulnerable to the processes of nature. An ideal of beauty more attuned to the imperfection and impermanence of our own human condition.' - Harrison Fannon
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The Truth is Scary: Mary Shelley’s Frankenstein, Jacques Derrida’s Hauntology, and Museum Theory in the Battle between “Real” and “Fake” | Graphite Publications

The Truth is Scary: Mary Shelley’s Frankenstein, Jacques Derrida’s Hauntology, and Museum Theory in the Battle between “Real” and “Fake” | Graphite Publications | Hauntology | Scoop.it
'UQAM professor Josette Feral ... argues that the modern museum is a “dead space” in which the “real” narratives of history can be found lurking in and around its exhibitions like ghosts. In other words, she implies that ghosts come in the form of false narratives, and that they can surely be found haunting the halls of our favorite museums. However, through the use of Jacques Derrida’s philosophy, we can see that this space is not merely “dead,” but “undead;” coming to fruition through the ghosts that meld their way into the cleavage between fiction and non-fiction – truth and not truth – in museums in terms of linear time and historical narrative.' - Olivia Maccioni
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Jon Brooks - Autres Directions | Review

Jon Brooks - Autres Directions | Review | Hauntology | Scoop.it
'The use of field recordings that capture distant voices inside a revolving 5 note synth wash on the title track manages the very difficult trick of being both very simple whilst entrancing the listener into a kaleidoscopic reverie of flashbacks entirely sourced from one's own memory banks - hauntology par excellence.It's final cluster of hazy, unintelligible voices close out the first side of the record in a strong and strangely cinematic fashion.' - Shaun C. Rogan
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all hold hands and off we go, by Keith Seatman

'all hold hands and off we go is the 5th album of strange Electronics, Psych, Radiophonics, Drone and quirky Folk by Keith Seatman.
As on his previous release (A Rest Before the Walk) Keith re-unites
with North Devon Singer/Songwriter Douglas E Powell for two tracks
mr metronome and boxes with rhythms in. 


CD and Digital download from Bandcamp'

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Uncanny Others: Hauntology, Ethnography, Media | Carrie Clanton

'This thesis presents my study of “ghosthunting”—the practice of attempting to capture ghosts, primarily using cameras and audio recorders—as a metaphorical device for the use of audio-visual media within anthropology. I conducted fieldwork with ghosthunters, paying particular attention to their attendant audio-visual media practices and outputs, in order to redress the reluctance of anthropology to a) evaluate audio and visual media as mechanisms for producing anthropological critique—although some anthropologists have taken pains to do that with writing—and b) to understand the particular "haunted" history of audio-visual media as being related to critical anthropological concerns such as representation, time, and the other. 


The history of the use of audio-visual media within ghosthunting follows a similar trajectory to that of anthropology, and the resultant methodologies and outputs of both disciplines function in ways that are less inclined towards discursive “speaking with others” than they are towards attempting to produce demystified representations of others. Neither practice has, in contemporary times, acknowledged the historical connection of audio-visual media to the supernatural, nor its capacity to deal with the uncanny as a critical provocation. 


My study of ghosthunters shows that despite attempts to reify ghosts via photography, audio, and film, those media are themselves devices that maintain the uncanny as an ethical injunction towards the other—whether as ghosts or as the cultural “other” of anthropological critique. An acknowledgement of the “haunted” origins and capacities of media allows for ethical engagements with anthropological others, ultimately suggesting critical media methodologies for anthropology that, while informed by anthropology’s “crisis of representation,” radically differ from written ethnography. Viewing the relationship of media and anthropology through the lens of Derrida’s hauntology is a useful framework for thinking about media methodologies that can stand as critique.' - Carrie Clanton

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Hauntology Parish Newsletter - Spring 2017 | Simon Reynolds

Hauntology Parish Newsletter - Spring 2017 | Simon Reynolds | Hauntology | Scoop.it
Lots of activity in the parish this spring! There's a new release from Patterned Air Recordings ; the latest album from Keith Seatman
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Past Futures: Nostalgia in the Age of Escapism

'An online collection of old home movies begs the question: can you be nostalgic for other people's memories? This video explores that question, among others'

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Keith Seatman | all hold hands and off we go (album excerpts)

Released April 2017  - CD and Digital download via Bandcamp | https://keithseatman.bandcamp.com/
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Is There No Alternative?: The Life and Work of Mark Fisher | Michael Grasso

Is There No Alternative?: The Life and Work of Mark Fisher | Michael Grasso | Hauntology | Scoop.it
'The passion Fisher exhibited in every sentence of his prose, the care and concern for his students, who deserved a better deal than they’d gotten, and his own desire to get his own life out from under the weight of neoliberal expectation—these emotions are all familiar to me. As someone who left behind a lucrative career in for-profit corporate education for a materially poorer life in museums (and in freelance internet writing), the price (in dollars, pounds, euros) of opting out of the “natural order” is high. But the cost that many of us pay in mental health by staying enmeshed in the system—well, it can be much, much higher.' - Michael Grasso
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Undead Places. Diasporas & the empty spaces of capitalism | Arquitectura Entrelineas

Undead Places. Diasporas & the empty spaces of capitalism | Arquitectura Entrelineas | Hauntology | Scoop.it

From 2014 - 'The identity of these decadent spaces is thus subjected to the ghostly remembrance of a past that tends to be idealized, leading us to Jacques Derrida and his concept of Hauntology, presented in his book Specters of Marx, where he acutely proposed the Specter as a key concept to tackle many of the political, economical and cultural dilemmas that remain unsolved after the culmination of the neoliberal globalization. The paradoxical status of the specter, which is neither being nor non-being, portrays an ontological interzone beyond the abilities of the Imaginary and the Symbolic to describe the Real, and thus requires its own logic, a distinctive methodology for its deciphering. Haunthology emerges thereby as the science that deals with the particularities of the Specter, namely, the entity that cannot be fully present and therefore ontologised in customary ways: it has no being in itself but marks a relation to what is no longer and not yet. Open to all sort of metaphorical interpretations, the specter vaguely resonates with the uncanny and phantasmatic figures that inhabit Freud’s notion of the unconscious: its haunting non-presence may tacitly illustrate both silent traumatic events (banned from memory and its representational regime) and the possibility of latent, potentially emancipatory developments. The ghost is essentially problematic, for it exists in an ontological limbo where the trauma is non-living, but resists death and disappearance.' - Arquitectura Entrelineas

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001 Witches, by Daniel John Williams

The first of six single track EPs that take a Hauntological journey through the recorded ephemera of American culture. 
 
With age these cultural artefacts are robbed of context and successive generations are left with only Signifers. 

Meanings are haunted by things half seen and never fully understood.
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