Confronted with capital’s intense semiotic pollution, its encrustation of the urban environment with idiotic sigils and imbecilic slogans no-one – neither the people who wrote them nor those at whom they are aimed – believes, you often wonder: what if all the effort that went into this flashy trash were devoted to a public good? It was the only time I let something of a personal nature come through and that set me on a path in terms of where I wanted to proceed in going solo. To anybody paying attention over the past decade, and more especially anyone invested in the aesthetic and political afterlife of theory, the writings of Mark Fisher have felt essential if at times frustrating.

Fisher popularised the use of Jacques Derrida's concept of hauntology to describe a pervasive sense in which contemporary culture is haunted by the "lost futures" of modernity, which failed to occur or were cancelled by postmodernity and neoliberalism. I spent many, many happy weekends in that house, friends with all of the family, and felt very welcome…until I wasn’t. In an article posted to the k-punk blog on 29 September 2004, Fisher wrote about having experienced sexual abuse in his early twenties. Or it could be that, in one very important sense, there is no present to grasp and articulate anymore. Instead of the thematic cohesiveness of Capitalist Realism, one really feels that this text was thrown together by cobbling old essays from Mark's blog and trying to link them via the theme of Hauntology.Summarizing Fisher's characterizations, Yohann Koshy stated that "weirdness abounds at the edge between worlds; eeriness radiates from the ruins of lost ones".

Writing in Smash Hits, Tim de Lisle described the single as "arguably the best thing they've ever done – slow, spare and mesmerising".to me it's so beautiful, sad, obscure (maybe even obscene) and the fact that it's so minimalist even puts more effect into the whole thing. In this collection of writings, the author argues that we are haunted by futures that failed to happen. However, by the end I was skimming most of the articles due to the fact I was not familiar with the musicians or shows, etc. All in all, if you are coming to this text because you were impressed with his book Capitalist Realism and were hoping for more of that [social critiques], you may find yourself disappointed with this as it is less a philosophical tome which uses cultural texts to explicate its main points [a la Zizek] as it is a collection of reviews given a light philosophical gloss. He went to the local comprehensive school, but his formative cultural and intellectual influences largely derived from the music press, which was thriving during his teenage years in the early 1980s – magazines such as the now-defunct Melody Maker and the much-changed NME, whose intellectually ambitious critics wrote about politics as well as music and often made heady use of continental philosophy.

It’s not some entirely separate space… we’re not required to imagine a sheer alterity, a pure outside. My Granny grew up in Gola , outside Scotstown, a brave, kind , funny and intelligent lady, who was herself the daughter of a brave, kind and intelligent lady who had , with Granny as a baby in her arms , single handedly faced down a masked mob who had come to burn them out of the family home. Em retrospectiva, Realismo Capitalista é mais entusiasmante pois carrega a cadência humorística de Zizek, o tratamento minucioso de Jameson, a perspicácia de Deleuze e a forma de apresentação do blogger/colunista da Pitchfork/NME. Ghosts of My Life (2014), Fisher’s second book, is a collection of cultural criticism named after a 1981 song by David Sylvian’s Japan and revolving around the concept of “hauntology”. Escaping from the bind expressed in Louise Mensch’s criticism of Occupy protesters means recognising both the luxuries and privations of modern technologies – the convenience and gratifications offered by an iPhone, as well as its encroachments on privacy and time.

k-punk: The Collected and Unpublished Writings of Mark Fisher (2004–2016) | Repeater Books | Repeater Books".