The Metaphysics of Crackle: Afrofuturism and Hauntology
The Metaphysics of Crackle: Afrofuturism and Hauntology
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裂纹的形而上学：非洲未来主义和鬼魂学
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发表时间：
2013
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通讯作者：
M. Fisher
中科院分区：
文献类型：
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作者：
M. Fisher
录制的音乐始终存在本质上的“鬼魂学”维度。但德里达的鬼魂学概念在21世纪获得了新的流行，当时音乐已经失去了未来主义的感觉，并屈服于后现代的模仿和复古时代。 21世纪声音鬼魂学的出现标志着“白人”文化再也无法逃脱时间上的分离，自从非洲人第一次被奴隶贩子绑架并从他们自己的生活世界投射到资本的抽象时空以来，时间上的分离就一直是非洲散居经历的组成部分。对于奴隶来说，时间总是已经不连贯了，非洲未来主义和鬼魂学现在可以被视为同一状况的两个版本。
There has always been an intrinsically “hauntological” dimension to recorded music. But Derrida’s concept of hauntology has gained a new currency in the 21 st century, when music has lost its sense of futurism, and succumbed to the pastiche- and retro-time of postmodernity. The emergence of a 21 st century sonic hauntology is a sign that “white” culture can no longer escape the temporal disjunctions that have been constitutive of the Afrodiasporic experience since Africans were first abducted by slavers and projected from their own lifeworld into the abstract space-time of Capital. Time was always-already out of joint for the slave, and Afrofuturism and hauntology can now be heard as two versions of the same condition.