"In hindsight, “memoradelia” – an alternative name proposed by Patrick McNally – might have been a better way to go, avoiding the Derridean cargo carried by the term hauntology."
Because many of the texts that
postmodernists plunder are works that were widely disseminated in the past and hence
meaningful to many people, postmodernism creates feelings of nostalgia for the past.
As English writes, "Bestsellers halt their retreat from the present in the early 1980s, pausing for a few years and then rising rapidly back to the earlier ratio and beyond, to the point where 80%-90% of them are set in the present day, a level that has held steady now for two decades. In contrast, shortlisted novels accelerate their abandonment of the present from the late 1970s onward. By the mid-1980s fully half of them are set in the past or the future, and by the late 1990s contemporary settings have clearly become—in the precincts of high critical esteem—a minority taste."
Derrida's concept of 'hauntology' was appropriated by writers Simon Price and Mark Fisher to describe music employing an array of aural tics to convey a nostalgic vision that's siren-like in its seductiveness and every bit as untrustworthy. Central in all this is a sense of decay - conveyed in Pink's music through pointedly lo-fi production and tape hiss, fragmented sequencing and warped time signatures - that nudges the listener towards an acknowledgement that none of this is real, while still allowing you to enjoy the music at 'face value'.
The art needed to be submerged in the acid bath of the hidden personality and then reconstituted, which is what William Gass does without parallel.
Long after the bulk of free-and-direct discourse retreated from the spooky public sphere into Mark'n'Jack's ClickLike Clubhouse
You can find yourself wondering, “Well, wouldn’t I get the same effect if I just read the block of text at the entrance to the exhibition room, or the catalog essay, or an interview with the artist—rather than looking at the pictures / installation / video art?” What is the surplus that the aesthetic “casing” of the statement / polemic / enquiry actually provides?
[Joker] violates the taboo which guards the moral incoherence of all American stories about supervillains: the correlate of the villain’s motiveless malignancy is the fundamental innocence of society, its right to continue as it is. Only an evil originating outside of that society can possibly explain the desire to harm it. But this fantasy of innocence is bound to collide with the gothic underpinnings of Batman’s moral universe: Gotham is a city of endemic corruption and decay, and its villains are endogenous, home-grown, expressions of a universal sickness.
"I think the Instagram girl is already part of art history; she’s submerged in it. The selfie is slightly different because it is mediated by tech and the internet rather than a man with a paintbrush, but it still serves a similar function. I’m really interested in how porn, painting, and technology have blended together to create a whole generation of girls who endlessly repeat their own image."
"The Young-Girl is fascinating in the manner of all things that exhibit a closing-in-on-themselves, a mechanical self-sufficiency or an indifference to the observer, like the insect, the infant, the automaton, or Foucault's pendulum."
"The beautiful boy is cruel in his indifference, remoteness, and serene self-containment... Narcissistic beauty in a postadolescent (like Hitchcok's Marnie) may mean malice and ruthlessness, a psychopathic amorality. There is danger in beauty... The beautiful boy, the object of all eyes, looks downward or away or keeps his eyes in soft focus because he does not recognize the reality of other persons or things. By making the glamourous Alcibiades burst drunk into the Symposium, ending the intellectual debate, Plato is commenting in retrospect on the political damage done to Athens by its fascination with beauty."