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https://www.theguardian.com/books/2022/jul/25/ghosts-of-my-life-by-mark-fisher-ferociously-intelligent-cultural-insights

卫报这篇文章介绍了马克·费舍尔(Mark Fisher)犀利的文化批评视角。在《我生命中的幽灵》里,费舍尔认为21世纪的早期流行文化陷入了怀旧的流沙中,以及我们的“未来”正变得更渺远,甚至消失。

这是一种明显的感受,我们一直在重复和循环过去,21世纪不过是 4K 的20世纪。一些流行文化,比如朋克系,赛博朋克、生化和纳米朋克,都设定在不远的过去和近未来;蒸汽波、lofi 以及复古音乐,Glitch、拼贴和 remake 艺术都是一种重复和回归,就像回荡的20世纪幽灵。

马克·费舍尔正是借用德里达的幽灵学(Hauntology)来进行这些文化分析。之前我就分享过一个关于“艾尔登环游戏设定背景和叙事”的 video essay ,视频就引用了费舍尔的幽灵学分析,一种时髦的分析理论。

我们正处于一种审美稳定,文化和艺术停滞的时代,不然也不会出现这么多“解构”和“缝合”艺术家,这些在费舍尔代表作《资本主义现实主义》中有更多分析。费舍尔作为 Nick Land 的信徒,其文化分析自然犀利且尖锐,更多可见他的博客 K-PUNK,链接

#culture #art
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https://www.theguardian.com/books/2022/jul/25/ghosts-of-my-life-by-mark-fisher-ferociously-intelligent-cultural-insights

卫报这篇文章介绍了马克·费舍尔(Mark Fisher)犀利的文化批评视角。在《我生命中的幽灵》里,费舍尔认为21世纪的早期流行文化陷入了怀旧的流沙中,以及我们的“未来”正变得更渺远,甚至消失。

这是一种明显的感受,我们一直在重复和循环过去,21世纪不过是 4K 的20世纪。一些流行文化,比如朋克系,赛博朋克、生化和纳米朋克,都设定在不远的过去和近未来;蒸汽波、lofi 以及复古音乐,Glitch、拼贴和 remake 艺术都是一种重复和回归,就像回荡的20世纪幽灵。

马克·费舍尔正是借用德里达的幽灵学(Hauntology)来进行这些文化分析。之前我就分享过一个关于“艾尔登环游戏设定背景和叙事”的 video essay ,视频就引用了费舍尔的幽灵学分析,一种时髦的分析理论。

我们正处于一种审美稳定,文化和艺术停滞的时代,不然也不会出现这么多“解构”和“缝合”艺术家,这些在费舍尔代表作《资本主义现实主义》中有更多分析。费舍尔作为 Nick Land 的信徒,其文化分析自然犀利且尖锐,更多可见他的博客 K-PUNK,链接

#culture #art

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