Contemporary culture still relies on an old, inherited image of the future

Evidence

MF: I think that the concept of “nostalgia of the future” partly illustrates one of the paradoxes that I’m trying to get across through the book; for example, hauntological music is often accused of being nostalgic. To a certain extent this is true, but the point is: “nostalgic compared to what?” I mean, the whole twenty-first-century music scene could be described as nostalgic: where is the sense of the future now? Today, if you ask people what is “futuristic music”, they would reply electronic music from the Nineties, or even Kraftwerk, and stuff like that. In a way, we still rely on an old future. — Mark Fisher (edited by Darren Ambrose), K-Punk, 2292

Categorization

  • DEFINE: Defines hauntological music’s ‘nostalgia of the future’ — nostalgia for an interrupted future rather than for a past era.
  • XREF: connects to: Present cultural forms carry disengageable seeds of the future — Fredric Jameson, Postmodernism, or, The Cultural Logic…, 190; Contemporary culture has naturalised retro-anachronism as its standard form — Mark Fisher (edited by Darren Ambrose), K-Punk: The Collected and Unpublished…, 2308; Higher culture’s remembered images point to a future that dissolves the present order. — Herbert Marcuse, One-Dimensional Man: Studies in the…, 290 (+7 more)

Broader Connections