2021-12-04 1:28:51 ¶ ● ⬀ ⬈

highway51archive-deactivated202:

> > 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.

> Mark Fisher, Ghosts of My Life: Writings on Depression, Hauntology and Lost Futures