“When it was applied to music culture – in my own writing, and in that of other critics such as Simon Reynolds and Joseph Stannard – hauntology first of all named a confluence of artists. The word confluence is crucial here. For these artists – William Basinski, the Ghost Box label, The Caretaker, Burial, Mordant Music, Philip Jeck, amongst others – had converged on a certain terrain without actually influencing one another. What they shared was not a sound so much as a sensibility, an existential orientation. The artists that came to be labelled hauntological were suffused with an overwhelming melancholy; and they were preoccupied with the way in which technology materialised memory – hence a fascination with television, vinyl records, audiotape, and with the sounds of these technologies breaking down. This fixation on materialised memory led to what is perhaps the principal sonic signature of hauntology: the use of crackle, the surface noise made by vinyl. Crackle makes us aware that we are listening to a time that is out of joint; it won’t allow us to fall into the illusion of presence. It reverses the normal order of listening according to which, as Ian Penman put it, we are habituated to the ‘re’ of recording being repressed. We aren’t only made aware that the sounds we are hearing are recorded, we are also made conscious of the playback systems we use to access the recordings. And hovering behind much sonic hauntology is the difference between analogue and digital: so many hauntological tracks have been about revisiting the physicality of analogue media in the era of digital ether. MP3 files remain material, of course, but their materiality is occulted from us, by contrast with the tactile materiality of vinyl records and even compact discs.
No doubt a yearning for this older regime of materiality plays a part in the melancholia that saturates hauntological music. As to the deeper causes of this melancholia, we need look no further than the title of Leyland Kirby’s album: Sadly, The Future Is No Longer What It Was. In hauntological music there is an implicit acknowledgement that the hopes created by postwar electronica or by the euphoric dance music of the 1990s have evaporated – not only has the future not arrived, it no longer seems possible. Yet at the same time, the music constitutes a refusal to give up on the desire for the future. This refusal gives the melancholia a political dimension, because it amounts to a failure to accommodate to the closed horizons of capitalist realism.”
-Fisher, Mark. 2014. Ghosts of My Life: Writings on Depression, Hauntology and Lost Futures, Zero Books, s. 47-49.
Eg eri sera hugtikin av hesi bókini fyri tíðina. Mentanarástøðingurin og kritikarin Mark Fisher, sáli, skrivar við klárleika og miklum vandni. Eisini hugtakandi at hann ger hetta við støði í "hauntology"; eitt hugtak sum stavar frá hinum annars so torskilda og mangan misskilta franska heimspekinginum Jacques Derrida. Fisher bloggaði frá 2006 til 2013 á blogginum hjá sær, k-punk. Sí eina greiniliga lýsing av "hauntology" í "Phonograph Blues".
Ein fín video um hauntology er annars her:
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