'Hacker Farm have managed to create something that feels genuinely different and odd and exciting for anyone who likes a bit of mystery' - Ian Maleney gets all hauntological on us.
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All things hauntological, atemporal and future past nostalgic in music and ideas
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Sean Albiez
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Scooped by Sean Albiez onto Hauntology |
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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.' Delete the scoop?
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From 2011
'So the music of Boards of Canada evoked a particular era in a highly coded manner -- sans lyrical content, through the mere choice of musical instrumentation, production, and style. Plus there are also the supplemental references evoked by track titles, sleeve art, accompanying visuals, and non-musical samples. These often involved allusions to both outmoded notions of technological progress, and to bygone counter-cultural aspirations (complete with many of its "Age of Aquarius" trimmings). Add to this repeated impressionist connotations of a Whole Earth Catalog-styled naturalism and excerpts from nature documentaries that filtered through the interludes, all signifying the idyllic, neo-Arcadian dreams of yesterday. But for each of these ideals there's an antithesis -- for each of these cultural quotes or signifiers would eventually offset by allusions to the withering or the demise of these ideals. References to hippie communal life and "alternative spirituality" of the 1960s inevitably canceled out by an oblique cross-reference to the Manson Family, the occult, or the Branch Davidians. The invocation of untarnished bucolic tranquility contrasted with the specter of encroaching industry, environmental degradation, technological alienation, etcetera.' Delete the scoop?
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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).' Delete the scoop?
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From 2011
'The Advisory Circle's Jon Brooks presents the [fictitious] composer D.D. Denham and his peculiar 1970s musical workshop for kids.'
Also available here to stream http://dddenham.bandcamp.com/ Delete the scoop?
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From 2011
'Simon Reynolds' latest (and last) guest blog over at Bruce Sterling's Beyond the Beyond on the atemporality of the omnivorous listening generation's music (an omnivorousness that is a product of not only the increased access/availability of more music on the internet, but the consequent decrease in any sense of limitation/closed horizons to a musician's output) is a good one. One of Reynold's big points--via a piece by Justin Davidson in NY Mag--is that "with the musical past's archives splayed open, there is a constant temptation to regress;" he goes on to note that the music of a band like Battles comes across as closer in spirit (and in sound) to jazz-fusion or 70s prog rock than any kind of futuristic, forward-thinking, new millennium music, or, as he puts it: "both their aesthetics and their ethos echoed progressive rock and jazz fusion."' Delete the scoop?
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From 2011
Hauntology in Music Podcast Delete the scoop?
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From 2011
'There are lots of plausible and interrelated explanations for why the pop-culture future can no longer occur.' Delete the scoop?
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From 2011
What are grey vampires and how do they retard the insurrectionary potential of digital discourse? How does Derrida’s notion of hauntology contribute to an understanding of dubstep artist Burial? Is ‘Basic Instinct 2’, routinely derided as a cine-atrocity, a Lacanian reworking of Ballard, Baudrillard and Bataille in service of the creation of a ‘phantasmatic, cybergothic London’? What is interpassivity and in what ways has it come to define the corporatized incarceration of modern academia? Delete the scoop?
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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) ... Delete the scoop?
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From 2011
Stop Press: Hauntology Not Dead! Delete the scoop?
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From 2011
'Demdike Stare's music is concerned with opposing forces: decay and resurrection, loss and discovery, past and future, beauty and ugliness. It's almost inevitable, given that it's informed by the duo's previous work in two ostensibly opposite musical fields. Miles Whittaker has spent years making grainy and often abrasive techno as MLZ and one half of Pendle Coven, and more recently has been responsible for a series of hybrid dancefloor tracks that unite dubstep's sprawling sense of the urbane with dub-techno's rickety intensity; Sean Canty works for the Finders Keepers label, unearthing ancient and lost recordings and giving them a new lease of life. So while one half of the duo appears defiantly futurist, tapping into a lineage that began with Detroit techno's obsession with dystopian future worlds, the other's work is concerned with tunneling backwards into the past. Their records teem with the sounds of that apparent contraction, but reconcile its two halves into a form that's strikingly coherent.'
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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.' Delete the scoop?
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From 2011
'Pop music finds itself at a time when its signature sound often feels like a spinoff from another age.' Delete the scoop?
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From 2011
Moon Wiring Club's FACT MIX 310 Delete the scoop?
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From 2011
Hauntology in one sense is a term for a certain strand of music, characterised by the sampling or emulation of old times and old effects: childrens’ TV themes and the BBC radiophonic workshop, Oliver Postgate and 90s rave. That glib recitation is another waymark on the road to recuperation, but. ... Delete the scoop?
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From 2011
'Jacques Derrida introduced the term in 1993 in 'Spectres of Marx'. According to him the present does not exist 'on its own' but that it necessarily contains in it the remainers (using 'remainder...' Delete the scoop?
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From 2011
Hauntology... No, not an idea of Derrida's within philosophy of history, but more of a state of mind induced by this music, deserving its own special name. More than an eerie feeling evoked by the ... Delete the scoop?
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From 2011
'Rhizome is dedicated to the creation, presentation, preservation, and critique of emerging artistic practices that engage technology.' Delete the scoop?
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From 2011
Andrew Gallix: The new vogue in literary theory is shot through with earlier ideas... Delete the scoop?
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From 2011
'James Bridle has recently argued that “the opposite of hauntology ... [is] to demand the radically new”, but hauntology in fact operates as a kind of thwarted preservation of such demands in conditions where - for the moment at least - they cannot be met.' Delete the scoop?
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