Photography’s capture of lost moments has an inherently hauntological dimension

Evidence

Foxx’s music has always had an intimate relationship with film. Like sound recording, photography – with its capturing of lost moments, its presentation of absences – has an inherently hauntological dimension. It wouldn’t be an exaggeration to say that Foxx’s entire musical career has been about relating the hauntology of the visual with the hauntology of sound, transposing the eerie calmness and stillness of photography and painting onto the passional agitation of rock. — Mark Fisher, Ghosts of My Life, 349

Categorization

• DEFINE: Defines why photography/sound recording count as hauntological media — through capturing absences and lost moments.
• XREF: Builds on the hauntology concept established in earlier chapters of the same book on Fisher. — connects to: Hauntology’s appeal arises from a sensed cultural death — Mark Fisher (edited by Darren Ambrose), K-Punk: The Collected and Unpublished…, 1082; Hauntology studies things that repeat without ever being present. — Mark Fisher (edited by Darren Ambrose), K-Punk: The Collected and Unpublished…, 513; Hauntology marks media palimpsests spooked by themselves out of sync — Mark Fisher (edited by Darren Ambrose), K-Punk: The Collected and Unpublished…, 1107 (+1 more)

Broader Connections

• Hauntology studies things that repeat without ever being present. #expands (0.90) — Mark Fisher (edited by Darren Ambrose), K-Punk, 513
• Hauntology’s appeal arises from a sensed cultural death #expands (0.85) — Mark Fisher (edited by Darren Ambrose), K-Punk, 1082
• Hauntology marks media palimpsests spooked by themselves out of sync #qualifies (0.80) — Mark Fisher (edited by Darren Ambrose), K-Punk, 1107
• Photographs function as proof of history even when fabricated #corroborates (0.75) — David Harvey, The Condition of Postmodernity, 1975