'As Lyotard’s epochal definition puts it, we have grown suspicious of the metanarrative, and in its wake historical teleology and even grand-scaled meaning-making have collapsed into an impossible to summarise plurality of fractured, partially overlapping micro-events. There is of course some truth to these claims, yet as we argue, Lyotard moves too quickly to dismiss the mass belief in ‘the future’ and the big picture trajectory. What has disappeared is faith in the future in the more depressing sense of a better future, while looming dystopian perspectives, of a future of hyper-neoliberalisation, rising surplus populations, and environmental catastrophe have become all-too ubiquitous. Key political signifiers such as ‘modernisation’, for example, have become almost entirely subsumed within a neoliberal framework. The modernisation of an industry, workplace, or pursuit, today indicates privatisation, contracting out, rising precarity and declining wages.' - Alex Williams & Nick Srnicek
'According to Derrida, tele-technologies are a good place to explore the disturbances in time and space offered by the ghost and other absent presences. Derrida himself primarily engaged with TV, film and the telephone when discussing hauntology and technology since, as hauntologist Mark Fisher puts it, he did not “live to see the full effects – no doubt I should say the full effects so far – of the ‘tele-technology’ that has most radically contracted time and space, the Internet …” (2012: 19). Fisher himself engages with hauntology in the context of the internet,4 yet primarily through the lens of digital music. In this text, I shall move hauntology and the digital in a different and so far unexplored direction by taking as my guides some of the monsters, ghosts and ghouls that have been created by internet story-telling in recent years. I argue that such guides may help one to think and imagine both the world and ethics differently by exploring the agency of the virtual and the creatures that trouble traditional understandings of what can be said to exist and what cannot. In other words, by following these guides I will map out a hauntological ethics using primarily playful and performative writing to do so. As noted, I will go into more detail with this writing-style in Chapter One, but first: why is a hauntological ethics necessary? Why think with and through monsters and ghosts? And why now?' - Line Henriksen
'This paper addresses the need for a conceptualization of subjectivity capable of releasing subjective experience from its temporal moorings. Emerging theories of ghosts and haunting are discussed as significant developments towards such conceptualization. Two ways of thinking about ghosts and haunting are examined: one that recognizes haunting as a foundational process at the root of human selfhood, and another that recognizes in haunting a pathology and silent suffering in need of healing.' - Sadeq Rahimi
From 2015 - 'The rise of the retro-analog synth soundtrack in recent horror and science fiction films--both in and out of the mainstream--has brought us into a weird wondrous future alternate reality where perhaps, ideally, orchestral scores will stop. Maybe it's a question of age -- if you were an impressionable American child in 70s then the Carpenter carpets and Goblin pulsing, the sounds of yesterday's vision for the horror future, are now like the mystery of death and eternity tied into some deeper-than-nostalgic tugging, like a rope you're following through the Thing whiteout Arctic storm. But the rope itself is just white noise.' - Erich Kuersten
'Haunting can let go of the old questions about resistance, rejection or celebration of the past because haunting is in itself a form of knowledge. The Haunting, and the haunted, allows the past to trouble the present. For anyone looking back on their lives, let alone on a history of activism and subcultural utopianism, we need to work out what we do with our failures and losses (and our lost dreams). Haunting shows us that they can still work for us now, even from the past, even from our defeats.' - Lucy Robinson
'The Apple Tree is the first LP from Hintermass following their Study Series single for Ghost Box in 2011. The duo comprises Jon Brooks (The Advisory Circle) and Tim Felton (formerly of Broadcast and Seeland).'
Originally released as part of Folklore Tapes' Lancashire Folklore Tapes IV - Memories of Hurstwood. 30x Hard Back Cassette Books & 60x Envelope Edition. Each edition comes with a fragment of wall from Extwistle Hall and D/L. Presented here in the form of an alternative mix and master. Recorded, edited and arranged in 2015. Analog master, transferred to 24 bit Wav by Optimum Mastering, 2016.
'History erupts in sometimes disturbing ways in the palimpsest that is present-day Berlin. You can’t just focus on one time period when you visit the city. Today’s Berlin opens up within a hall of mirrors that reflects and refracts all those other Berlins. To speak about the Berlin of the past 26 years requires the vocabulary of the Cold War. You find that this discourse still operates within the semiotics of the murderous Third Reich, utilising the grammar of the First World War as inflected in the vernacular of Expressionism. Prussian imperialism provides the city’s basic syntax. One nonetheless must be fluent in history, then, before attempting to read Berlin.' - Frank Garrett
From 2008 -Paper presented at Uncanny Media, Utrecht, Netherlands.
'David Bowie's now-defunct rock-opera trilogy's first instalment 1. Outside is filled with uncanny mediations of rock music's chameleon. The inner sleeve booklet is titled The Diary of Nathan Adler, or the Ritual Art-Murder of Baby Grace Blue: A non-linear Gothic Drama Hyper-Cycle. Behind this long-winded title, is the story of a murder, narrated by several characters through both text, music and images.
Bowie, however, is the narrator of all these different voices, using technology to distort his voice into these different characters as separate entities. His voice and presence haunts the entire album in uncanny forms, just as all images in the booklet are distorted images of Bowie himself, made into uncanny doubles. The story begins with the murder of Baby Grace Blue, who is enacted by Bowie himself. Symbolically, Bowie is murdered by himself, while Baby Grace haunts the entire album's Gothic and labyrinthine structure.' - Steen Christiansen
In The Pogles, Mr and Mrs Pogle were a homely couple living quietly in a tree root until the day Mr Pogle found a magic bean which, when planted, became a huge talking plant fond of bilberry wine. When the baby son of the Fairy King appeared in the branches of the plant it was up to the Pogles to protect him from a beak-nosed old witch.
"The first Pogles was a single one I made intending to do a series, but, quite rightly, the BBC said it was too frightening cos the witch was a proper witch, and they said witches are alright in fairyland and places like that, but not in the back garden" — Oliver Postgate
'But the future has always been several: how could it be otherwise, when it hasn’t happened yet? The millennial or apocalyptic future, the future that abolishes time itself, is not the same as the prophetic future of a possible or desired outcome, which is not the same as speculative future of science fiction, which is not the same as the future envisaged by a calendar or a to-do list, which is not the same as the future of the high-yield bond, which is not the same as the future which will involve you reading the next sentence, or deciding not to. But what all these have in common with the phenomenological future – the one involved in the direct sensation of time passing, the thing that draws further out of reach the closer you get to it – is their slipperiness. Futures can never be touched or experienced, only imagined; this is why they’re as diverse as the human psyche, and why they tend to be so dreamlike: at turns ludic, libidinal, or monstrous.' - Sam Kriss
From 2013 - 'What comprises a spectral, music-related genre such as hauntology? The list presented below is an attempt to pinpoint the most essential ingredients of this nebulous phenomenon, to catalogue its most significant representatives and indicate its affinities with other genres – both in music and in other creative fields.' - Olga Drenda
From 2013 - 'Literature, this paper argues, is a privileged language that can give form to those specters of existence that resist the traditional ontological boundaries of being and non-being, alive and dead. This I describe as the “hauntology” of literature. Literature, unlike our everyday, referential language, is not obliged to refer to a determinable reality, or to sustain meaning. It can therefore be viewed as a negation of the world of things and sensible phenomena. Yet it gives us access to vivid and sensory rich worlds. The status of this literary world, then, is strangely in-between; its ontology is not present and fixed, but rather quivering or ghostlike. The “I” that speaks in a literary text never coincides with the “I” of the writing subject, rather they haunt each other. This theoretical understanding is based on texts by Jacques Derrida and Maurice Blanchot. The paper also draws an analogy between this spectral dynamic of literature and an understanding of religious faith or belief. Belief relates to that which cannot be ontologically fixed or verified, be it God, angels, or spirits. Literature, because it releases and sustains this ontological quivering, can transmit the ineffable, the repressed and transcendent. With this starting point, I turn to Toni Morrison’s book Beloved (1987) and to Beloved’s strange, spectral monologue. By giving literary voice to the dead, Morrison releases literature’s hauntology to express the horror that history books cannot convey, and that our memory struggles to contain.' - Elisabeth M. Loevlie
'The BBC Science-Fiction anthology series, Out Of The Unknown (1965-1970), was famous for producing a wide range of intellectual sci-fi drama, exploring ideas and concepts more than spectacle and scale. With adaptations from a range of writers, including John Wyndham and J.G. Ballard, the surviving episodes of the series are both stimulating and useful in terms of 21st century aesthetic philosophy. The feeling that the episodes are discussing a number of, still relevant, issues is one that haunts, especially as the series is coming close to fifty years old (as well as the original stories themselves being even older). On watching an episode from its first series recently, The Dead Past (1965), whilst at the same time reading ideas surrounding the theory of hauntology by the writer, Mark Fisher, (Specifically Ghosts Of My Life, 2014, Zero Books) the two works seemed to connect and were clearly discussing ideas along the same lines.' - Adam Scovell
'The term most often applied to Scarfolk is hauntology, which I hadn’t heard of before I started Scarfolk. Hauntology plays in part with the idea developed by Jacques Derrida (via Karl Marx) of the specter of communism haunting Europe after its demise, but it has become something a bit different in popular culture. It recycles aesthetic forms and reflects the clash between the dreams we had of the future in the 1960s through the 1980s versus where we actually are now. But it also looks back, as did 1970s culture, to earlier periods, like pre-Christian paganism and Victoriana, for example.' - Richard Littler
'Drawing on the figure of the ghost in Japanese, South Korean, Chinese, Hong Kong and Taiwanese cinema and the work of Derrida on hauntology, this lecture will explore how spectral haunting pushes the limits of Western understanding about East Asia while at the same time allows us insights into how [official] history manipulates and erases identities in the process of modern nation making. This nation building is on one hand an act of commodification in relation to the West whose nostalgic desire for a ‘traditional’ East, the East is more than happy to provide, while on the other hand provides a mechanism through which to disavow past atrocities, committed by both East and West. It is through speaking with ghosts that we can acknowledge our own complicity with such nostalgic and touristic representations of the ‘East’'.
In Time Machine [Roger Doyle] brings us his most personal record to date. The album centers on a series of answering machine messages of Doyle’s family, close friends, colleagues and lovers, all of them recorded in and preserved from the late 1980’s.
This haunting spectral and deeply emotional meditation on the passing and creating of life is both nostalgic and powerfully of the moment. Faithful companions and family members have tragically died, children have grown to adults and new life has been born. Time Machine intermingles sadness, melancholy, joy and triumph in a manner that makes this one of the most poignant releases of 2015. - Heresy Records
Later incidents are chaotic. As I stared at the uncannily lighted door and windows, I became subject to the most extravagant visions - visions so extravagant that I cannot even relate them. I fancied that I discerned objects in the temple; objects both stationary and moving; and seemed to hear again the unreal chant that had floated to me when first I awaked. And over all rose thoughts and fears which centered in the youth from the sea and the ivory image whose carving was duplicated on the frieze and columns of the temple before me."
"Newcastle’s hauntological master of drones" - The Quietus
HP Lovecraft inspired Post-Rave Hauntology Rituals and Radiophonic Occult Synth Horror Soundtracks, from Newcastle-upon-Tyne, England.
All digital noise intended.
Thank you for listening.
Produced & Mastered September 2015, North East Weird Noises.
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