Ghosts of My Life. Writings on Depression, Hauntology and Lost Futures

Burial agrees, ‘wanting an angel to be watching over you, when there’s nowhere to go and all you can do is sit in McDonalds late at night, not answering your phone.’

Jameson’s nostalgia mode is better understood in terms of a formal attachment to the techniques and formulas of the past, a consequence of a retreat from the modernist challenge of innovating cultural forms adequate to contemporary experience.

While 20th-century experimental culture was seized by a recombinatorial delirium, which made it feel as if newness was infinitely available, the 21st century is oppressed by a crushing sense of finitude and exhaustion. It doesn’t feel like the future. Or, alternatively, it doesn’t feel as if the 21st century has started yet. We remain trapped in the 20th century

I’ve got a truant heart, I just want to be gone. I’d be in the kitchens, the corridors at work, and I’d be staring at the panels on the roof, clocking all the maintenance doors, dreaming about getting into the airducts. A portal. As a kid I used to dream about being put in the bins, escaping from things, without my mum knowing she’d put me out in the bins. So I’m in a black plastic bag outside a building and hearing the rain against it, but feeling all right, and just wanting to sleep, and a truck would take me away.

In conditions of digital recall, loss is itself lost.

Take someone like the stupendously successful Adele: although her music is not marketed as retro, there is nothing that marks out her records as belonging to the 21st century either. Like so much contemporary cultural production, Adele’s recordings are saturated with a vague but persistent feeling of the past without recalling any specific historical moment.

If, in a paradigmatically modernist way, Kraftwerk used technology to allow new forms to emerge, the nostalgia mode subordinated technology to the task of refurbishing the old. The effect was to disguise the disappearance of the future as its opposite

Consider the fate of the concept of ‘futuristic’ music. The ‘futuristic’ in music has long since ceased to refer to any future that we expect to be different; it has become an established style, much like a particular typographical font.

Compare the fallow terrain of the current moment with the fecundity of previous periods and you will quickly be accused of ‘nostalgia’. But the reliance of current artists on styles that were established long ago suggests that the current moment is in the grip of a formal nostalgia, of which more shortly.

Suicide was a guarantee of authenticity, the most convincing of signs that you were 4 Real.