Past and Present in "Strange Simultaneity": Mark Fisher Explains Hauntology at NYU
Still from Chris Petit "Content"
If I might extrapolate from what Simon calls these 'comments on half-erased or never-quite-attained songform': perhaps Ariel Pink's appeal is that his sound musters the sonic equivalent of the 'corner of the retina' effect that the best ghost stories have famously achieved. To understand what this entails, we need to reverse, or at least nuance, the commonplace which has it that the ghost is at its most scary only when it can't fully be seen. To say this implies that the ghost could be made the positive object of apprehension. Yet spectres are unsettling because they are that which can not, by their very nature (or lack of nature), ever be fully seen; gaps in Being, they can only dwell at the periphery of the sensible, in glimmers, shimmers, suggestions. It is not accidental that the word 'haunting' often refers to that which inhabits* us but which we cannot ever grasp; we find 'haunting' precisely those Things which lurk at the back of our mind, on the tip of our tongue, just out of reach. 'Haunting refrains' we are compelled to simulate-reiterate are sonic objets a around which drives circulate.
To return to Mike's point, we can now begin to see why it is important to think of the 'negative' aspects of Ariel Pink's sound not as the covering over of porcelain-perfect pop in fuzz and scuzz, but positively, as the means by which an anamorphic sonic object is produced. The anamorph, remember, can only be seen when looking askance, out of the corner of the eye.
In this respect, Ariel Pink has much in common with Jessica Rylan, who should be added to the hauntology canon forthwith. After seeing Rylan live last year, I referred to 'the beguiling illusion of a sonic object that would be perfect if only you could hear it more clearly. Yet the 'perfection' is an effect (a special effect, you might say) of the blurring and distorting techniques themselves.' I made similar observations after seeing Ariel Pink live, writing of 'a deliberate fogging of the digitally hyper-clean, with the result that what you are hearing is as much doubt and speculation as anything else.'
Why hauntology now? Well, has there ever been a time when finding gaps in the seamless surfaces of 'reality' has ever felt more pressing? Excessive presence leaves no traces. Hauntology's absent present, meanwhile, is nothing but traces....
- K-PUNK, HAUNTOLOGY NOW, JANUARY 17, 2006