È Morto Mark Fisher, Suicida a 48 Anni

mark fisher.jpg

Scrittore inglese, blogger, teorico della cultura e filosofo che ha scritto sul suo sito k-punk ma anche su The Wire e il Guardian. L’ho conosciuto grazie a Simon Reynolds e quando mi sono ritrovato con lavori precari, senza che nessuno intorno a me riuscisse a immaginare un futuro, ho ripensato a quel Mark Fisher di cui avevo letto molte volte. Due libri fondamentali nella sua carriera: Capitalist Realism: Is There No Alternative? Ghosts of My Life: Writings on Depression, Hauntology and Lost Futures. Consiglio il primo a chi è interessato all’ambito sociale e culturale e il secondo a chi legge di pop-culture e cose simili. Visto che il primo è un libro molto più politico, mi limito qua a riportare alcuni passaggi che mi hanno particolarmente colpito di Ghosts Of My Life, dove si parla molto di musica, cinema e televisione.

“It was trough the mutations of popolar music that many of those of us who grew up in the 1960s, 70s and 80s learned to measure the passage of cultural time. But faced with 21st century music, it is the very sense of future shock which has disappeared” 

“The 21st century is oppressed by a crushing sense of finitude and exhaustion. It doesn’t fell like the future. Or, alternatively, it doesn’t feel as if the 21st century has started yet. We remain trapped in the 20th century”

“Discrepancies in texture – the result of modern studio and recording techniques – mean that they belong neither to the present nor to the past but to some implied timeless era, an eternal 1960s or an eternal 80s.”

“Like […] pornography, retro offers a quick and easy promise of a minimal variation on an already familiar satisfaction”

“At the level of form, music is locked into pastiche and repetition”

“Not only the future is not arrived, it no longer seems possible”

“It’s clear to me that now the period form roughly 2003 to the present will be recognised – not in the far distant future, but very soon – as the worst period for (popular) culture since the 1950s”

“In Jungle there was a libidinisation of anxiety iteself, a transformation of fight and flight impulses into enjoyment”

“Because Joy Divison’s bleakness was without any specific cause, they crossed the line form the blue of sadness into the black of depression, passing into the desert and wastelands where nothing brings either joy or sorrow. Zero affect.”

“This is why Joy Division can be a very dangerous drug for young men. They seem to ben presenting The Truth. Their subject, after all, is depression. Not sadness or frustration, rock’s standard downer states, but depression: depression, whose difference form mere sadness consists in tis claim to have uncovered The Truth about life and desire.”

“Burial sound evokes what the press release calls a near future South London underwater” […] “a city haunted not only by the past but by lost futures” […] “Burial is haunted by what once was, what could have been and – most keeningly – what could still happen”

“With his self-titled debut LP last year, Burial estabilished himself as an extraordinary sonic mytographer, a sound poet capable of articulating malaise of an era and a place using onliny sampled voices, broken breakbeats and musique concrète sound effects. ” […] “Burial craves something he never actually experienced firsthand”

“The problem is not, any more, the longing to get to the past, but the inability to get out of it” […] “The past cannot be forgotten, the present cannot be remembered”

“Now there is no time, once an idea is out of the rabbit’s hat it’s copied ad infinitum until the energy is gone”

“What I have called nomadalgia is the sense of unease that these anonymous environments, more or less the same the world over, provoke; the travel sickness produced by moving through spaces that could be anywhere”

“What is suppressed in postmodern culture is not the Dark but the Light side. We are far more comfortable with demons than angels. Whereas the demonic appears cool and sexy, the angelic is deemed to be embarassing and sentimental” […] b”After all, what could be more shattering, unsassimilable and incomprehensible in our hyper-stressed, constantly disappointing and overstimulated lives, that the sansation of calm joy?”

“This sadness concerns hedonism itself, and it’s no surprise that it is in hip-hop – a genre that has become increasingly aligned with consumerist pleasure over the past 20-odd-years – that this melancholy has registered most deeply”

“Party hauntology might even be the best name for the dominant 21st century form of pop, the transnational club music produced by Guetta, Flo-Rida, Calvin Harris and will.i.am.”


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