'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
'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
"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)."
'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
'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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