"For Fredric Jameson, for instance, while modernism "thought compulsively about the New and tries to watch its coming into being", postmodernism "looks for breaks, for events rather than new worlds". The latter definition, encapsulating the cultural logic of late capitalism, is all the more intriguing in the context of music culture, since it has found so many breaks to play around with."
"Most famously, Simon Reynolds and Mark Fisher borrowed the term hauntology from Jacques Derrida to name the lingering presence of revolt that persists after a break's recuperation, which they translate from a consideration of post-Soviet politics to post-rave aesthetics. However, despite now being closely associated with the so-called death of rave, we must remember that hauntology also sought to preserve rave's already hauntological essence, as a spectral subculture enjoying a quasi-existence on the other side of pop culture."
Critics debate a dwindling capacity to produce or recognise the New and often overlook the tension between modernism and postmodernism. Modernism obsessively anticipates the New, while postmodernism seeks breaks and events rather than new worlds, a stance that resonates within music culture where many ruptures are available to be played with. Questions arise when ruptures become foundations, are recuperated as pop norms, or fail to yield new worlds. In the mid-2000s music bloggers responded, and Simon Reynolds and Mark Fisher borrowed Derrida's hauntology to describe lingering revolt after recuperation and to preserve rave's spectral, quasi-existent subcultural essence, drawing on Deleuze and Guattari.
Read at The Wire Magazine - Adventures In Modern Music
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