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Los Fantasmas De Mi Vida: Escritos Sobre Depresión, Hauntología Y Futuros Perdidos / Prólogo De Pablo Schanton - La Ed

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Los Fantasmas De Mi Vida: Escritos Sobre Depresión, Hauntología Y Futuros Perdidos / Prólogo De Pablo Schanton - La Ed Fisher, Mark Los fantasmas de mi vida: escritos sobre depresión, hauntología y futuros perdidos / Prólogo de Pablo Schanton - la ed. - Ciudad Autónoma de Buenos Aires: Caja Negra, 2018. 288 p.; 20 x 13 cm - (Futuros próximos; 15) Traducción de Fernando Bruno ISBN 978-987-1622-61-0 1. Ensayo Sociológico 2. Ensayo Político 3. Análisis Cultural I. Schanton, Pablo, prólogo II. Bruno, Fernando, trad. III. Titulo. CDD 3 0 1 Título original: Ghosts of my Ufe. Wrítings on depression, hauntoiogy and tostfutures (Zero Books) ® Mark Fisher, 2013 Publicado originalmente en UK por John Hunt Publishing Ltd. Laurel House, Station Approach, N e w Alresford, Hampshire. Publicado en 2 0 1 4 bajo licencia de Jo h n Hunt Publishing Ltd. ® Pablo Schanton, por el prólogo ® Caja Negra, 20 1 8 Caja Negra Editora Buenos Aires / Argentina [email protected] www.cajanegraeditora.com.ar Dirección Editorial: Diego Esteras / Ezequiel Fanego Producción: Malena Rey Diseño de Colección: Consuelo Parga Maquetación: Julián Fernández Mouján Corrección: Sofía Stel MARK FISHER LOS FANTASMAS DE MI VIDA Escritos sobre depresión, hauntología y futuros perdidos Traducción / Fernando Bruno Prólogo / Pablo Schanton C A J ^ Q NEGRM FUMJ R OS PROXIMOS ÍNDICE Nota a la edición 11 Prólogo: Melancolía por los futuros perdidos Por Pablo Schanton 21 Agradecimientos PARTE 00: FUTUROS PERDIDOS 25 "La lenta cancelación del futuro" 59 Los fantasmas de mi vida: Goldie, Japan, Tricky PARTE 01: EL RETORNO DE LOS SETENTA 83 El pasado es un planeta extraño: el primer y el último episodio de Life on Mars 87 No más placeres: Joy Division 105 Salir del underground: The Jam entre el populismo y el modernismo popular 121 Las tendencias militantes alimentan la música 129 No hay romance sin finanzas PARTE 02: HAUNTOLOGÍA 145 Londres después de la rave: Burial 149 Notas a Theoretically Pure Anterograde Amnesia de The Caretaker 153 El hogar es donde está el espectro: la hautología de El resplandor 163 Another Grey World: Darkstar, James Blake, Kanye West, Drake y la "hauntología festiva" 177 Nostalgia del modernismo: The Focus Group y Belbury Poly 185 Memorias de otro: Asher, Philip Jeck, Black To Comm, g . e . s ., Position Normal, Mordant Music PARTE 03: LA COLORACIÓN DE LOS LUGARES 199 Rayos solares barrocos 209 "Siempre anhelando el tiempo que nos elude": Introducción a Savage Messiah de Laura Oldfield Ford 221 Nomadalgia: So This is Goodbye de The Junior Boys 229 El inconsciente perdido: Inception de Christopher Nolan 245 "No vas a poder detenerte. Incluso quizá lo disfrutes": eXistenZ y el trabajo no-cognitivo PARTE 04: DEPRESIÓN Y RESENTIMIENTO DE CLASE 257 Autonomía en el Reino Unido: reflexiones sobre música y política 265 Políticas de la des-identidad 273 ¡Viva el resentimiento! 279 Bueno para nada 284 Procedencia de los textos NOTA A LA EDICIÓN Los artículos que componen este libro fueron escritos por Mark Fisher a lo largo de más de diez años, y publica­ dos originalmente en revistas, o bien como entradas de su blog k-punk. Debido al modo en que Fisher vinculaba lo personal con lo político y con la cultura pop, funcionan como una especie de biografía o diario personal en el que sus gustos, obsesiones y etapas vitales se ven proyectados. De ahí que cualquier modificación en el índice merezca ser especialmente justificada. Comenzamos esa tarea de adaptación -que reali­ zamos junto con Pablo Schanton- con su aprobación. Lamentablemente su muerte puso un fin a ese intercam­ bio, o al menos lo espectralizó. Por su generosidad y por cómo recibió nuestras sugerencias en la edición que hi­ cimos de Realismo capitalista, no tenemos dudas de que habríamos contado con su consentimiento. Respecto de la edición original, hemos decidido extraer una serie de artículos que nos parecían algo redundantes o que trabajaban sobre referentes no muy difundidos fuera M A R K del contexto británico. En su lugar incluimos otros que f consideramos fundamentales a la hora de entender la im- 1 portancia que Mark Fisher le otorgaba a la cultura popular s de cara al desafío de construir una política de izquierda H eficaz dentro del campo libidinal abierto por el capitalis- RE mo posfordista. Los textos incorporados en la parte 01 ("Salir del underground. The Jam entre el populismo y el modernis­ mo popular", "Las tendencias militantes alimentan la mú­ sica" y "No hay romance sin finanzas") y uno de los de la parte 03 ("Rayos solares barrocos") hacen un aporte en este sentido. Sumamos además en esta última sección el excelente diagnóstico sobre los espacios y el trabajo con­ temporáneos: "'No vas a poder detenerte. Incluso quizá lo disfrutes': eXistenZ y el trabajo no-cognitivo". Por último, hemos decidido añadir una cuarta sección , que no existía en la edición original, a la que titulamos depresión y resentimiento de clase. Si, como dijimos más arriba, Los fantasmas de mi vida funciona en diálogo con la tra­ yectoria vital de Mark Fisher, se hacía ineludible reflejar el abrupto final que decidió darle. Los textos que conforman esta parte 04 sostienen la necesidad de una politización de los afectos, volver visibles las estructuras de clase, raza y género que producen nuestro malestar, al punto de transformar lo más personal -incluido el suicidio- en un problema colectivo. PRÓLOGO: MELANCOLÍA POR LOS FUTUROS PERDIDOS Por Pablo Schanton ■ "Existence, well, what does it matter?/1 exist on the best terms I can/ The ppast is now part of myfuture/ The present is well out of hand. " [La existencia, bueno, qué importa/ Existo en los mejores términos que puedo/ El pasado es ahora parte de mi futuro/ El presente está fuera de mi alcance.] Joy Division, "Heart and Soul", 1980 "Alguien, usted o yo, se adelanta y dice: quisiera aprender a vivir por fin." Jacques Derrida, "Exordio", en Espectros de Marx, 1995 Este libro sí es una nota suicida. Empecemos por invertir el no de la advertencia con que el filósofo inglés Simon Critchley abre su Apuntes sobre el suiddio, de 2015. Ahora demos las explicaciones del caso. He leído muchos de los ensayos de Los fantasmas de mi vida siguiendo el ritmo con que Mark Fisher los iba publi­ cando como entradas en su blog k-punk, durante la primera década de este siglo. Luego, corroboré su trascendencia re­ F flexiva cuando se convirtieron en libro allá por 2014. i Ahora bien, pasaron cuatro años y el autor de aquellos s raptos de lucidez desesperada está muerto. Se suicidó el H 13 de enero de 2017, a los 48 años. Un acto extremo como R el suicidio -justamente el "pasaje al acto"- impone otra lectura, más aún tratándose de estas páginas en prime­ ra persona. Por eso, cuando Caja Negra decidió traducir Ghosts o f my Life, nos planteamos completar la edición con artículos que originalmente no incluía, y extraer los que habían quedado demasiado datados, ya que retrospec­ tivamente el libro había cobrado otro sentido. Quizá quienes conozcan a Fisher como el autor de Rea­ lismo capitalista. ¿No hay alternativa?1 se sorprendan aho­ ra, no solo porque ha decidido ofrecer su propia versión de la crítica cultural que lo acerca al Simon Reynolds de , Retromanía,2 sino también por no habernos ofrecido la "co- . h e r e n t e alternativa" al capitalismo que esperábamos llegara en un programa. A fin de satisfacer esa expectativa, bas­ taría con descargar gratuitamente de Internet el panfleto Reclaim Modernity: Beyond Markets Beyond Machines, que escribió junto con Jeremy Gilbert en 2014; conseguir In­ ventar el futuro: postcapitalismo y un mundo sin trabajo (2015) de Nick Srnicek y Alex Williams (un libro que él auspició como "clara y apremiante visión de una sociedad postcapitalista"), además de esperar la publicación póstu- ma de su manifiesto inédito, el cual estaría relacionado con una formación social que había bautizado enigmáticamente "comunismo ácido". Por ahora, aclaremos que, comparado con su libro previo, en Los fantasmas de mi vida prefirió 1. Mark Fisher, Realismo capitalista. ¿No hay alternativa?, Buenos Aires, Caja Negra, 2016. 2. Simon Reynolds Retromaníd. La adicción del pop a su propio pasado, Buenos Aires, Caja Negra, 2012. PRÓLOGO: MELANCOLÍA POR LOS FUTUROS PERDIDOS ser inductivo antes que deductivo. Digamos que mientras el anterior mapeaba el diagnóstico sobre el realismo capitalis­ ta apoyándose en libros, películas y músicas que funcionan como ejemplos o ilustraciones sintomáticas (acomodándose entre el Zizek que lee a Lacan desde Hitchcock y el Jameson que lee geopolíticamente el cine), esta vez son sus fetiches culturales los que delinean el rumbo de la interpretación política. La diferencia es notoria: en esta oportunidad pa­ rece homenajear el formato de crítica musical y cinemato­ gráfica que tanto lo influyó en su adolescencia a comienzos de los años ochenta, cuando leía artículos y reseñas en el semanario New Musical Express, firmadas por Ian Penman o Mark Sinker, periodistas ingleses que lo instaron a inves­ tigar a Derrida o Barthes, simplemente porque los citaban en sus notas sobre bandas de rock. Será por eso que a la hora del análisis cultural, aquí se emparenta más con Greil Marcus que con Stuart Hall, aunque no faltan la argumenta­ ción y la elocuencia contundentes que convirtieron a Rea­ lismo capitalista en un nuevo clásico viral del neomarxismo. // Es imposible no pensar un suicidio como un “acting out": un sacrificio personal que señala una demanda a los demás. Tras su muerte, y tras cada obituario que insinuó un causal psicológico (que él habría odiado) mediante la línea "luego de una larga lucha contra la depresión", ¿cuál de sus lecto­ res y seguidores
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