Hauntology
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Barnbrook Blog - Bowie and 'The Next Day' cover art

Barnbrook Blog - Bowie and 'The Next Day' cover art | Hauntology | Scoop.it

' ...  we all know that ... no matter how much we try, we cannot break free from the past. When you are creative, it manifests itself in every way – it seeps out in every new mark you make (particularly in the case of an artist like Bowie).' - Jonathan Barnbrook

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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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Folk horror, a history: from The Wicker Man to The League of Gentlemen | New Statesman

Folk horror, a history: from The Wicker Man to The League of Gentlemen | New Statesman | Hauntology | Scoop.it
'Scovell, who writes essays for the British Film Institute and has collaborated on films with the landscape writer Robert Macfarlane, is a keen-eyed and enthusiastic curator, his tone perfectly pitched between that of the articulate academic and the box-set binger. He knows that folk horror provides succour as well as visceral thrills and draws clear links between topography, rurality and emerging “hauntology” theory. He spawns new terms, too, such as “eso-erotic” for sexual subtexts, or “occultivation” for those dark works concerned with the violence that arises when old agricultural ways are challenged by “progress”. 

Consideration is rightly afforded to such films as David Gladwell’s moving Requiem for a Village (1975), in which a Suffolk village is consumed by suburbia, and whose dead literally rise in defiance, as well as the many BBC adaptations of M R James’s ghost stories and the man-as-meddler dramas of Nigel Kneale. Foreign directors see Britain with fresh eyes: Jerzy Skolimowski’s The Shout (1978) and Roman Polanski’s Northumberland-set Cul-de-Sac (1966) are two psycho-landscape masterworks. 

What emerges is the notion of a body of work concerned with conflict – between past and present, religious and atheist, physical and spiritual. Folk horror represents a fear of being governed by outside forces while exploring identity confusion.' - Ben Myers
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Music Review: Klein - Tommy | Tiny Mix Tapes

Music Review: Klein - Tommy | Tiny Mix Tapes | Hauntology | Scoop.it
'Klein’s overall production treatment has a special sound, somehow smooth but always on the verge of clipping — or not clipping, but “clipped.” You can hear digital snips and cuts pockmarked like scars on the audio material. A spectrum of glistening rainbow CD hues smeared onto asphalt grain, Tommy is introspective, chill, and tense, with a relentless buzz that recalls DJ Escrow’s wily digital noise, chilled by the concrète field recording timbre of the Macintosh microphone. The spectral, thinned-out, wraith-like sounds render her soulful voice taut, without the grime MC’s live fidelity, a layering move that abandons Mark Fischer’s assessment of Afro-futurism and Hauntology in favor of pure entanglement, the haunting of the now, the demonology of our intricacy. The result is a diffuse masterclass into the psyche of a liberated musician’s workflow that is actually experimental in its affects, its tactics, its textures.' - Nick James Scavo
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Alessandro Cortini - AVANTI | Boomkat

Alessandro Cortini - AVANTI | Boomkat | Hauntology | Scoop.it
'Avanti is Alessandro Cortini’s sixth album and his hauntological magnum opus; a masterful embodiment of his nostalgia for analog synth recordings wrapped up in a pall of decaying futurism. After numerous Forse volumes, a pair of LPs for Hospital Productions, a live recording tape and a collaboration with Merzbow, we’d wager that Avanti is the most substantial Cortini album to date. In a Leyland Kirby/The Caretaker-esque gesture, Avanti investigates notions of memory surrounding music. Taking a time-capsule of old home movies made by his grandfather as a “perfect fossil of his childhood”, the NIN synthesist turns those cues into signature, billowing structures generated from the EMS Synthi AKS, resulting a record that is sore with a certain ‘hiraeth’, ‘saudade’ or ‘sehnsucht’ for a past which he comes to terms with in viscerally romantic style.' - Boomkat
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Ghosts of Saracen by rorypeace

Ghosts of Saracen by rorypeace | Hauntology | Scoop.it
'There are ghosts all around us: from the past, bleeding into the present and worrying our future. In this dissertation we explore Derrida’s theory of hauntology and its applications in archaeology. Drawing upon various case-studies, we discover that ghosts can be identified through mixed approaches – excavation, memory, material traces and walking. We then propose to merge these enactments into a radical methodology of hauntology, choosing the Saracen Foundry as our site of inquiry. This game represents phenomenology, audio, walking and non-linearity are practiced and then transcribed into an audio-visual environment in Twine, a creative-narrative engine. The final result is a fully-realized phenomenological user-interface, wherein persons can navigate between related Saracen Foundry sites, and conjure up revenants for their own speculation.' - Rory Peace
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Interview: Grant Gee + James Leyland Kirby (The Caretaker) on W.G. Sebald + Hauntology  | Celluloid Wicker Man

Interview: Grant Gee + James Leyland Kirby (The Caretaker) on W.G. Sebald + Hauntology  | Celluloid Wicker Man | Hauntology | Scoop.it
'For a recent symposium on Hauntology, I gave a paper on the links between the philosophy of hauntological ideas with the work and W.G. Sebald. The subject had been interesting me for a while, not least because the jump between the style of the former and the thematic ideas of the latter are the amalgamation that I’m currently aiming for in my own fiction writing. To make this connection in the presentation, I used the example of the musical score in Grant Gee’s documentary, Patience (After Sebald) (2012) as a pivot for the analysis as well as overt reference to Hauntology’s key writer (in its guise within the arts), Mark Fisher. To aid the research, I tracked down both Gee and the film’s composer, The Caretaker (James Leyland Kirby).' - Adam Scovell
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Dispatches: London | Frieze | Juliet Jacques

Dispatches: London | Frieze | Juliet Jacques | Hauntology | Scoop.it
'One week after the election result was announced, I went to a gathering that Laura Oldfield Ford had organized. I hadn’t seen Laura since the memorial event for Mark Fisher in February, when we had agreed that those of us who had coalesced through the blogging circle around k-punk, or Zero/Repeater Books should meet more often. With so many emotions flying around, and so many variables at play, it was impossible to guess what Mark would have made of the preceding seven days, in which the end of capitalist realism began to feel not just possible but almost inevitable. In truth, I have no idea which way things are going to fall, but being part of a more confident alliance of politicians, activists, artists and writers, I feel for the first time in my life that it might be possible to push this city – and this country – back towards the left.' - Juliet Jacques
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Ether Signposts #27/52a: Further Signals From A Julian House Archive | A Year In The Country

Ether Signposts #27/52a: Further Signals From A Julian House Archive | A Year In The Country | Hauntology | Scoop.it
'I’ve briefly mentioned the The House Of Julian Flikr group that collects Julian House’s artwork and design work before… Though I don’t visit it all that often (it’s not actually updated all that often, which I quite like as you’re not running to catch up with it) but it’s always a treat to do so when I do… …and I thought it would be good to revisit around these parts… I think it’s probably the best display/collection of his work that I have come across and includes his work for the Ghost Box Records label he co-founded with Jim Jupp, interconnected work with/for Broadcast, his design work for clients via Intro (book covers, records etc) and some exhibition work and photographs.' - A Year in the Country
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Dungeons Deep, Forests Dark - A beginner's guide to Dungeon Synth | Dirge Magazine

Dungeons Deep, Forests Dark - A beginner's guide to Dungeon Synth | Dirge Magazine | Hauntology | Scoop.it
'... Dungeon Synth is wrapped in multiple layers of the past, pulling a hauntological cloak about itself and gaining a glamour which appeals very strongly to a certain kind of person (myself included). The thematic obsession of Dungeon Synth is almost always that of ancient times, even if they are sometimes an ancient future, that aligns with reality but dips very heavily into fantasy.' - Daniel Pietersen
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Faded Ghost - Lunatic Romance

'A leading light of Shanghai’s musical underground for years, RBMA alumni ChaCha presents ‘Moon Mad’, her first album as Faded Ghost. Not only in name does Faded Ghost immediately call up associations with hauntology – the album revels in the kind of nostalgia for lost futures pioneered musically by Burial in the early 2000s.'
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Folk Horror Curios | Adam Covell

Folk Horror Curios | Adam Covell | Hauntology | Scoop.it

'As typical when finishing a book that attempts to build a canon, as I have tried to do with Folk Horror, the signalling of its publishing means a whole host of new potential examples surface and come to light. Though there were things in the Folk Horror book that I simply left out by sheer chance – Edgar Wright’s Hot Fuzz (2007) being a key example – others have only been viewed or pointed out to me since publication. With this in mind, I wanted to highlight a few of the best which, undoubtedly, would have been in the book if viewed earlier.' - Adam Covell

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The Quietus | Review | Radiophonic Workshop 'Burials in Several Earths'

The Quietus | Review | Radiophonic Workshop 'Burials in Several Earths' | Hauntology | Scoop.it
'The lovingly rendered packaging for Burials in Several Earths very much plays up to the Workshop's influence as indirect progenitors of hauntological tendencies within strands of musical and cultural thinking throughout the 21st century thus far. Houses crumble under swirls of murky vortices and analogue synthesisers wash up as flotsam amongst wrecked ships on rocky shores. Yet, for all the imagery of one era's decay superimposed upon another, the music chimes with clarity and freshness reminiscent of Cluster at their most benevolently aqueous and formless.' - Euan Andrews
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A Year In The Country | ‘The Restless Field’ reviewed

A Year In The Country | ‘The Restless Field’ reviewed | Hauntology | Scoop.it
'The strain of fact, fiction, and myth that we know as Folk Horror has a powerful sense of place. The stories of M.R. James, the myths and folklore of Romance-era England, Nigel Kneale’s nerve-shredding The Stone Tape or more recent efforts like the BBC’s The Living And The Dead don’t just share an atmosphere of bucolic dread. They’re based around specific places, around the idea that the land remembers events that happen in and around it, or if you like, Hauntology.

The Restless Field, a beautifully curated and packaged collection of tracks inspired by various English fields and events that took place in them throughout history, might as well be called The Grass Tape. It’s the first of this year’s releases from the A Year In The Country project, and it’s a bewitching soup of ancient-sounding folk, eerie reels, drones, found sounds, and electronica assembled by various artists.' - Martin Ruddock
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White Tears | Hari Kunzru | Book Review | The Guardian

White Tears | Hari Kunzru | Book Review | The Guardian | Hauntology | Scoop.it
'Twitter-deft at pithy compression (Seth laments his “disabling caucasity”), Kunzru is especially good at evoking the psychological interzone between pre- and post-internet life, at one stage channelling the “hauntological” work of cultural theorist Mark Fisher by having Seth ruminate: “When did I lose touch with the future? I remember how imminent it used to feel, how exciting. The old world was dissolving, all the grime of the past sluicing away in digital rain.” 

White Tears also brings to mind the sociologist Avery Gordon who, in Ghostly Matters (1997), describes haunting as “putting life back in where only a vague memory or a bare trace was visible … It is sometimes about writing ghost stories, stories that not only repair representational mistakes, but also strive to understand the conditions under which a memory was produced in the first place”.' - Sukhdev Sandhu
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Pye Corner Audio Fills The Space Between Dance Music and Horror Soundtracks | Bandcamp

Pye Corner Audio Fills The Space Between Dance Music and Horror Soundtracks | Bandcamp | Hauntology | Scoop.it
'The U.K.-based electronic musician has, over a number of years, constructed a mysterious world around a series of different monikers and limited releases on various labels, with Pye Corner Audio being the most prolific. Beginning in 2010 with the self-released three volumes of the Black Mill Tapes, he has since recorded full-length albums on U.K. label Ghost Box—which tagged him as “hauntology”—and the Vancouver-based More Than Human, along with a smattering of EPs and 7-inches.' - Bandcamp
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Amplification//Annihilation (recorded live at Cafe Oto August 20th, 2017)

Amplification//Annihilation (recorded live at Cafe Oto August 20th, 2017) | Hauntology | Scoop.it
'Sonic representation of ecological crisis is not reducible to changing ideas of the natural, though crisis is nonetheless discernible in growing suspicion of ideals of authenticity. At the same time, the contemporary prominence of field recording as musical accessory or as a genre in itself, implies further permutations. Equally, existential experience of ecological and economic collapse is discernible in British Industrial or Detroit techno’s confrontation with deindustrialisation and thus globalisation, New Orleans MCs; tales of negotiating FEMA flood relief, metal’s black forests, or all those musical expressions of loss and forfeiture usefully called ‘hauntological’. At the very least, these betray a changing experience of what is natural and the assorted ways that experience is lived.' - Paul Rekret
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Music industry should work together to protect new and niche artists | Sally-Ann Gross | M Magazine

Music industry should work together to protect new and niche artists | Sally-Ann Gross | M Magazine | Hauntology | Scoop.it
'To recognise something, we need to see, know or sense what we are hearing. The discovery playlists and streaming platforms that provide endless seamless music in a theme do so in the same way as the exhibition Time is Out of Joint. They are not necessarily a new exciting place of discovery but a place where the difference of histories has been removed, stripped away and reduced. The elements become dislocated signifiers floating like digital detritus, which need resituating to breathe new life into them, to be recycled for future use. 

That’s what hip-hop did so well, but as Simon Reynolds pointed out in his book Retromania, this dislocation has caused the music industry to go into reconnection overdrive as it increasingly recycles previous music styles and vies for consumer’s attention.' - Sally-Ann Gross
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Metamodernism-Historicity-Affect-and-Depth-after-Postmodernism | Rowan and Littlefield

Metamodernism-Historicity-Affect-and-Depth-after-Postmodernism | Rowan and Littlefield | Hauntology | Scoop.it
'Metamodernism: Historicity, Affect, Depth brings together many of the most influential voices in the scholarly and critical debate about post-postmodernism and twenty-first century aesthetics, arts and culture. By relating cutting-edge analyses of contemporary literature, the visual arts and film and television to recent social, technological and economic developments, the volume provides both a map and an itinerary of today’s metamodern cultural landscape. As its organising principle, the book takes Fredric Jameson’s canonical arguments about the waning of historicity, affect and depth in the postmodern culture of western capitalist societies in the twentieth century, and re-evaluates and reconceptualises these notions in a twenty-first century context. In doing so, it shows that the contemporary moment should be regarded as a transitional period from the postmodern and into the metamodern cultural moment.' - Rowan and Littlefield
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Haunting History: For a Deconstructive Approach to the Past | Ethan Kleinberg | Stanford University Press

Haunting History: For a Deconstructive Approach to the Past | Ethan Kleinberg | Stanford University Press | Hauntology | Scoop.it

'This book argues for a deconstructive approach to the practice and writing of history at a moment when available forms for writing and publishing history are undergoing radical transformation. To do so, it explores the legacy and impact of deconstruction on American historical work; the current fetishization of lived experience, materialism, and the real; new trends in philosophy of history; and the persistence of ontological realism as the dominant mode of thought for conventional historians. 


Arguing that this ontological realist mode of thinking is reinforced by current analog publishing practices, Ethan Kleinberg advocates for a hauntological approach to history that follows the work of Jacques Derrida and embraces a past that is at once present and absent, available and restricted, rather than a fixed and static snapshot of a moment in time. This polysemic understanding of the past as multiple and conflicting, he maintains, is what makes the deconstructive approach to the past particularly well suited to new digital forms of historical writing and presentation.'

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Robin Hardy, The Wicker Man and Folk Horror | James Gent / We Are Cult

Robin Hardy, The Wicker Man and Folk Horror | James Gent / We Are Cult | Hauntology | Scoop.it

'Everything you see in the film is absolutely authentic. The whole series of ceremonies and details that we show have happened at different times and places in Britain and western Europe. What we did was to bring them all together in one particular time and place. The wicker man itself is quite real. The Druids used the structure to burn their sacrificial victims. What we hoped would fascinate people is not that they would think these things are still going on in Europe, but that they would recognise an awful lot of these things as sort of little echoes from either out of childhood stories and nursery rhymes or things they do at various times of the year. There are so many Christian holidays that are celebrated where there was previously a pagan feast. Easter is one of them, originally it was a hare feast. At Christmas, you set up a Christmas tree because that was what the goddess Hera worshipped. Mistletoe is purely Druidic – it relates to the Golden Bough. My God, when you decorate your home for Christmas you are using nearly every pagan symbol there is!' - Robin Hardy

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The Unquiet Meadow | Asheville FM

The Unquiet Meadow | Asheville FM | Hauntology | Scoop.it

'Experimental/Atmospheric/Acid/Spook/Baroque-Folk/Psychedelia… Join Cyprian & Pryscilla as they guide you through psych-tinged landscapes of mutated folk & haunted electronica.'

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Firewarps | Ceylan Göksel

'This piece is composed with my field recordings, digitally altered, reversed and transposed sounds, the introduction part of Alice Coltrane's "The Sun", with influences of Air's "Le Soleil Est Près De Moi" and Jean-Michel Jarre's "Oxygène Pt. 1".'
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Modern Kosmology, by Jane Weaver


Modern Kosmology by Jane Weaver, released 19 May 2017

1. H>A>K
2. Did You See Butterflies?
3. Modern Kosmology
4. Slow Motion
5. Loops In The Secret Society
6. The Architect
7. The Lightning Back
8. Valley
9. Ravenspoint
10. I Wish

"Epic kraut-pop opera teeming with motorik rhythms and analogue synths.” NPR

“A mind-expanding delight, devoid of retro posturing.” Guardian

“Sparkling strangeness from one-woman genre-buster..superb.” Uncut

“Intoxicating space-rock.” MOJO


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Accelerationism: how a fringe philosophy predicted the future we live in | Andy Beckett | The Guardian

Accelerationism: how a fringe philosophy predicted the future we live in | Andy Beckett | The Guardian | Hauntology | Scoop.it
'Accelerationists argue that technology, particularly computer technology, and capitalism, particularly the most aggressive, global variety, should be massively sped up and intensified – either because this is the best way forward for humanity, or because there is no alternative. Accelerationists favour automation. They favour the further merging of the digital and the human. They often favour the deregulation of business, and drastically scaled-back government. They believe that people should stop deluding themselves that economic and technological progress can be controlled. They often believe that social and political upheaval has a value in itself.' - Andy Beckett
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Ghost Box | Fortean Times

Ghost Box | Fortean Times | Hauntology | Scoop.it
The new edition of Fortean Times (FT354 June) with feature article by Bob Fischer, "The Haunted Generation": Weird 70s TV & its influence on Ghost Box, Clay Pipe Music, Trunk, Moon Wiring Club & Scarfolk
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Folk horror as speculative sociology | Modern Mythology | John Ohno

Folk horror as speculative sociology | Modern Mythology | John Ohno | Hauntology | Scoop.it

'Folk horror is having a Renaissance, as the novelty cycle revisits the seventies at two iterations’ remove & the SF community starts again to seriously analyze the dialogue between the weird and the hauntological. The spring season, with Easter, Walpurgisnacht, and May Day, is a good time to revisit this, and, as expected, various publications have — not just the usual suspects like Scarfolk, but also The Guardian, which published a piece whose analysis I’d like to pick apart a bit.


Newton’s analysis suggests a rural versus urban dimension (and, by extension, a modernity versus tradition dimension), and while this exists in the text, I consider it shallow. I’d like instead to argue that, rather than being in the tradition of gothic and romantic horror, folk horror has more in common with the point at which weird fiction intersects with science fiction.' - John Ohno

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