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“I Exist on the Best Terms I Can” Joy Division's Closer and Hauntology

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“I Exist on the Best Terms I Can” Joy Division's Closer and Hauntology “I Exist on the Best Terms I Can” Joy Division's Closer and Hauntology Ian Mathers I haven't really been paying much attention to the various discussions about hauntology, but this chimes with what I like about people like <a href=http://k- punk.abstractdynamics.org/archives/007666.html>Burial</a>; the eeriness that time adds to what would previously have been a trivial part of the everyday background.1 The problem with ghosts is not that they won't shut up, but rather that it took death to get them to speak up in the first place.2 1. “The gaps are enormous, we stare from each side” When we talk about hauntology, the study not of being but of absence and the perception of that absence, the recorded must be of urgent concern to us. It might sound trivial, but there is a very real sense in which Derrida could not have had his insight about the need for a study of ghosts if he lived in a pre-recorded world – if, indeed, such a world has ever been real for us. From cave paintings onwards humankind has always doubled and re-doubled reality, existing as much on the level of our own reflections of reality as the level of that reality itself.3 We deal at least as much in the not-actual as the actual; in a very tangible sense we exist there. Note the persistent rumour that when the Lumière Brothers first showed a film of an oncoming train the audience ran for their lives,4 or the way people tend to accept photos non-critically as “real,” although this is changing in the age of Photoshop. But even our increased awareness of the flexible 1<a href=http://blog.voyou.org/2006/12/09/there-is-nothing-more-inauthentic-than-authenticity/#more- 46>Voyou Desœvré</a>, “There is Nothing More Inauthentic Than Authenticity,” emphasis mine. 2Arthur Magazine Vol. 1 issue 25, the Center for Tactical Magic, “Calling All Ghosts.” 3Although a more in-depth investigation of this area is beyond the scope of this paper, it would be remiss of me not to point out the tantalizing connection between this sort of idea and Nietzsche's conception of language as intrinsically, actually metaphorical in “On Truth and Lying in a Non-Moral Sense.” 4This story, as compelling as it is, has been <a href=http://en.wikipedia.org/wiki/L%27Arriv%C3%A9e_d%27un_train_en_gare_de_la_Ciotat#_note- 0>debunked</a>; still, the fact that it seems so plausible to us is suggestive in and of itself. nature of digital photography is only a prelude to realizing that even the un-retouched, the obsessively “authentic” image, cannot ever be real in the way our minds want it to be. A photograph is a real thing, certainly; but it is not the real thing we take it to stand for. How much more powerful is similar the illusion of the voice? Most or all reading this will have only ever lived in a world where the technology to duplicate, to make doubles or phantoms out of “real” of image and sound exists in fairly robust fashion. What is interesting is that our co-existence with this technology, the processes and products that make hauntology more than an interesting intellectual parlor game, has resulted in differing outcomes for sound and image. Perhaps because we exist primarily as sighted beings (try asking your friends whether they would rather be deaf or blind) we are fairly comfortable in the realm of the image. Ignoring for the moment the various startling techniques employed by horror movies, it is relatively hard to come up with an image that we find genuinely metaphysically disquieting, one that brings forward the uneasy hauntological qualities of the image-ghost. 2. “So This Is Permanent” The voice, on the other hand, continues to easily disturb our sense of the real and the present. The whisper in the ear is, if anything, more intimate and taken as more real than our vision of a face or of a body.5 It is not surprising that many fictional ghosts, spirits of the deceased, lack voices; if they make any noise at all it is inhuman. The paralleling of the comforting image of those we lost with the kind of harrowing moan or scream the departed never made in life turns the vaguely unsettling into the unheimlich; an alien monster making such noise is off-putting, but your dead father making the same 5Our sense of touch is even more misleading in this way, but as no large-scale art form exists on the purely or even partly tactile level it is hard to talk about it operating on a mass scale. sound is truly haunting and terrifying, that-which-is(was) coupled intimately with that- which-is(was)-not. Generally if one were to enter a room and see a double of oneself, any nervousness would be temporary; surely there are mirrors6 involved, or video. Imagine instead entering a room to hear yourself speaking – how much more strange and disturbing that is. Certainly the mechanism producing such an effect is just as mundane (if not more so) as that which would summon up your image, but the effect is nonetheless more unsettling. Voices heard around a corner are always taken as real, until we turn that corner and find no-one there; a distant image may easily be taken for a blur or mirage instead of an actual thing. The voice is both a more and less sure guarantor of presence than the image; if a loved one passes away their pictures may pain us, but how much worse is it to call their number one more time and hear their voice on their answering machine? How much worse to hear that voice on the radio, sounding already gone? Music was originally (among other things) an incredibly robust guarantor of presence; the musicians stood in front of you, often the line between performer and audience was blurred. Going all the way back to the Dionysiac/loss of individuation bacchanals Nietzsche justly lauds in The Birth of Tragedy music is a thing of drunkenness and unity, a communal rite. Even in the more repressed Victorian era, the live and unrepeatable nature of music means that you experienced the actual event, went to a gathering, and heard the music in a relatively immediate way. At some point the conception of the serious follower of music moved from someone who is social and present to the solitary young man (almost invariably a male), hunched in a bedroom, communing not with people and events but with recordings, individual performances 6“Mirrors and copulation are abominable, since they both multiply the numbers of man.” Jorge Luis Borges, “Tlön, Uqbar, Orbis Tertius.” frozen in media, polished and overdubbed until they are the “correct” version, the one true form of the music. The advent of recorded music accomplished much good as well, of course, but for the hauntologist something more interesting and maybe even a little sinister accompanies it. Music and even sound as a whole is divorced from its presence just as the image was with silent film, and even as the account of events was with the novel and more generally the written word. Again we find a way to delay and separate the event from our perception of it; we expand the number who can in some way participate and perceive at the expense of turning music from a living thing into a ghost.7 Mostly the music we divorce from presence in this way ignores this aspect of its existence, if it's even capable of noticing. But the way to make music that reflects and even comments most fruitfully on this metaphysical divide, on the fact of its own absence, is not carefully considered academic work that explicitly takes on hauntology as its project. Instead, we must wait, or have waited, until a group struggling with wholly distinct metaphysical issues would put the struggle between image and reality, the reality we want to attribute to the voice, in the forefront. 3. “Here Are the Young Men, Where Have They Been?” This article is not a potted history of Joy Division, nor a piece of musicology; there are far better sources for that elsewhere.8 But the facts must be rehearsed again, just 7Despite the rather negative normative bent my vocabulary here might suggest, I am not interested in claiming that the recording process somehow dooms or even really diminishes music. In this paper I focus on the disconnect that the recording provokes, and specifically (as we shall see) how this makes something out of Joy Division's music that was not there before; but this is as much a positive as a negative thing. 8Due credit must be given to Mark Fisher at k-punk for his astonishing <a href=http://k- punk.abstractdynamics.org/archives/004725.html>paper</a> “Nihil Rebound: Joy Division,” which was certainly the grounds upon which my <a href=http://thefunkyfunky7.blogspot.com/2006/08/instincts-that-can-still-betray-us.html>own thoughts</a> on the band rest, both initially and here. Mark does not there dwell on the band's relation to hauntology, but his thoughts on, among other things, the band's debt to Schopenhauer and his in case; formed in 1976 as the punkish Warsaw, renamed to avoid conflict with another, forgotten band; released the still-astonishing Unknown Pleasures (its cover "the final flashes of a dying star") in 1979, as singer Ian Curtis began to suffer epileptic fits on stage; May 18th 1980, the day before their first American tour Curtis hangs himself; Closer9 released posthumously in June of that year, the members of the band having previously sworn to end the band should any members leave.
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