Hauntology
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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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How the fanzine refused to die - Simon Reynolds [2009]

How the fanzine refused to die - Simon Reynolds [2009] | Hauntology | Scoop.it

From 2009 - 'What's going on here is what academics describe as "slippage of the auratic". Walter Benjamin theorised about the "aura" possessed by the singular artwork, the painting or sculpture, in the age of mechanical reproduction. Yet as digital culture takes over, "aura" is being conferred on things that not long ago would once have been considered mass produced and characterless. In the age of the webzine and MP3, it is solid-form cultural artifacts – vinyl records, vintage DJ mixtapes, yellowing magazines – that become attractive in the face of the infinite dissemination and seeming ephemerality of web culture. In this respect, fanzines have a significant edge over even a golden-era copy of NME or Rolling Stone, in so far as they're limited-run and thus closer to being a one-off. Fanzines are dripping with "aura". They're special too because they're typically the singular expression of an individual, who often appears to be deranged with enthusiasm or frustration. And in addition to evoking the fanatical intensity of particular moments in music history, they tend to contain amateur photography of bands or gigs: images that haven't been widely disseminated or officially approved. So it makes total sense that collectors are hunting rare zines down.' - Simon Reynolds

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Welcome to the Interdome: Multi-tracking Eno with Cyber-time: an Atemporal Metaphor

Welcome to the Interdome: Multi-tracking Eno with Cyber-time: an Atemporal Metaphor | Hauntology | Scoop.it

From 2009

 

'In this speech about the studio as composition tool, Eno directs our attention at a shift in our conception of music in relation to recording, which I believe is a perfect metaphor for what I view as the concept of "atemporality". (A guy responsible for The Long Now Foundation should have some idea, right?)'

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The Music Was Dying - The Brooklyn Rail

The Music Was Dying - The Brooklyn Rail | Hauntology | Scoop.it

From 2009

 

'Invoking Freud, the English critic Mark Fisher coined the term “the technological uncanny” to describe the surplus effects that the material inscription of music gives birth to. This surplus is a haunt born in the space between content and context, between the fantasy of song and the material inscription of sound. It is a haunt that is always already there.'

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Rouge's Foam: Hauntology: The Past Inside The Present

Rouge's Foam: Hauntology: The Past Inside The Present | Hauntology | Scoop.it

From 2009

 

'My main aim here is to discuss the famously hauntological in more detail and expand the hauntology aesthetic to cover more music and particularly art, and secondly to provide an introduction for anyone interested in one. I hope that’s constructive, but in the end it’s just that I’m very interested in the parameters and problems of hauntology as a way of looking at art, I’m keen to pass on some observations and I’m really into writing about it.'

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The Quietus | Features | A John Foxx Interview - Impossible DNA

The Quietus | Features | A John Foxx Interview - Impossible DNA | Hauntology | Scoop.it

From 2009

 

'I don’t think we really understand what media is yet. We’ve had modern media, movies and photography, for a hundred and fifty years altogether; but we don’t know what it is yet. And so if I begin to talk about ghosts, people will think that I’m talking about something supernatural, but I’m not, I’m trying to find a way to describe what that kind of media does.' - John Foxx

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Rouge's Foam: The Premature Burial: Burial the Pallbearer vs Burial the Innovator

Rouge's Foam: The Premature Burial: Burial the Pallbearer vs Burial the Innovator | Hauntology | Scoop.it

From 2009

 

'What is Burial’s music ‘about’? What does it ‘do’? Come to think of it, what is his music? What does it mean? Of course, all of this is up to the listener’s imagination, but for a while now there’s been a certain degree of consensus on the answers to these questions: Burial ‘mourns the death of rave’, his music is (to paraphrase a handful of commentators) a ‘plaintive echo from a bygone era of collective energy’, ‘a melancholy, ghostly memory of the faded promise of rave, drenched in weathering and mired in urban decay’.'

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blissblog - hipstergogic pop - Simon Reynolds

From 2009

 

'Interesting article by David Keenan, in the latest issue of The Wire, on what he's calling "hypnagogic pop".

 

Basically it's some American ltd-edition cassette/CD-R noiseniks who've realized that noise is a bit of a dead end (better late than never eh?) and have been making this oneiric no-fi wooze, through which flicker memory-mangled traces of Eighties music: overbrite and clinically-tight mainstream pop and rock (Don Henley's "The Boys of Summer" gets a special mention); sequencer-chattering and digi-synthy themes from movies and TV; New Age, and so forth. All of which apparently seeped into the consciousness of these young twentysomething musicians when they were toddlers.'

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