Anyway then I asked my friend Penny to proof-read bits of the report for this project and she comes back with the word "hauntology". This sounded as peculiar as 'witch house'. [Especially given how much I've recently been referencing the Ghostly label.]
Yet hauntology exists as an idea. And it has been associated with the kind of musical output produced by Boards of Canada and Burial. In ways, it does indeed relate to some of the things I'm looking at with some of the discussion suggesting implications for technological development.
Some info:
Spending time on Padraig’s Subject-barred brought the concept of hauntology to my attention via this piece titled The Gramophone’s Technological Uncanny which furthers Mark K-Punk’s investigation of sonic hauntology. In its origins hauntology is Jacques Derrida‘s neologism which is, in French, a pun on ontology and refers to, in the words of the Halflives website: “the paradoxical state of the specter, which is neither being nor non-being.”
Besides by K-Punk (here in a piece on Kubrick), hauntology is also used by Simon Reynolds here and by Woebot here.
No doubt the term goes back 1848 when Marx and Engels stated “A spectre is haunting Europe, the spectre of Communism.” Haunting is about ghost, and one of the first people to use the word in a musical context was David Toop’s Haunted Weather : Music, Silence, and Memory (2004). (oops, I am wrong here, it was Ian Penman in ‘[the Phantoms of] TRICKNOLOGY [versus a Politics of Authenticity]‘ in The Wire from 1995)
About four weeks ago, The Existence Machine also wondered just what is hauntology.
K-Punk thinks this is a good summary of the concept.
Someone wrote an Wikipedia entry on hauntology in October of 2006 but it was deleted by consensus. It finally passed Wikipedia stringent notability criteria in August 2007.
