The Weird and the Eerie

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Per parlare di questi due concetti fa riferimento a un buon numero di libri, musiche e film\serie televisive che finiscono di diritto nella lista di cose da recuperare. The immediate temptation here is to dismiss this as nothing more than kitsch sentimentality. Part of the power of Interstellar, however, comes from its readiness to risk appearing naive, as well as emotionally and conceptually excessive. And what the film opens up here is the possibility of an eerie love. Love moves from being on the side of the seemingly (over)familiar to the side of the unknown. On Brand’s account, love is unknown but something that can be investigated and quantified: it becomes an eerie agent. Accelerationism: How a fringe philosophy predicted the future we live in". TheGuardian.com. 11 May 2017. Seaton, Lola (20 January 2021). "The ghosts of Mark Fisher". New Statesman . Retrieved 22 January 2021.

Fisher προσπαθεί να εξηγήσει τι είναι αυτό που μας φαίνεται αλλόκοτο και απόκοσμο, την έλξη που μας προκαλούν και τα δύο και το μεσοδιάστημα που βρίσκεται ανάμεσα στον ελκόμενο και στο αλλόκοτο/απόκοσμο. Γιατί μας αρέσουν οι ταινίες τρόμου; Γιατί μας ελκύουν τα εγκατα��ελειμμένα μέρη; Πως βρίσκουμε κάποιου είδους απόλαυση στις ταινίες του David Lynch; Όλα αυτά είναι ερωτήματα στα οποία ο Fisher δίνει απαντήσεις με μεγάλη δεξιότητα και ταλέντο. Προσωπικά, θα ήθελα την πολιτική διάσταση λίγο πιο εμφανή, αλλά αναγνωρίζω το ύφος του βιβλίου και τι ήθελε να πει ο Fisher. Authors such as Lovecraft were well aware of this shift in their approach to the horror genre. An oft-cited passage from one of Lovecraft’s letters reads: “…all my tales are based on the fundamental premise that common human laws and interests and emotions have no validity or significance in the vast cosmos-at-large.” To write the truly weird tale, Lovecraft notes, “one must forget that such things as organic life, good and evil, love and hate, and all such local attributes of a negligible and temporary race called mankind, have any existence at all.” So much for humanism, then. But Fisher is also right to note that Lovecraft’s tales are not simply horror tales. As Lovecraft himself repeatedly noted, the affects of fear, terror, and horror are merely consequences of human being confronting an impersonal and indifferent non-human world – what Lovecraft once called “indifferentism” (which, as he jibes, wonders “whether the cosmos gives a damn one way or the other”). There is an allure to the unhuman that is, at the same time, opaque and obscure. As Fisher writes, “it is not horror but fascination – albeit a fascination usually mixed with a certain trepidation – that is integral to Lovecraft’s rendition of the weird…the weird cannot only repel, it must also compel our attention.”Mark Fisher είναι πάντα ελκυστική. Αυτό σημαίνει πως ότι και να διαβάσω απο τον συγκεκριμένο συγγραφέα (στοχαστή; θεωρητικό; φιλόσοφο;) είναι σχεδόν βέβαιο ότι θα μου αρέσει. This theme – the limits of what can be known, the limits of what can be felt, the limits of what can be done – is central to Fisher’s The Weird and the Eerie. This is markedly different from other approaches to horror, which, however critical they may seem, often regard the horror genre as having an essentially therapeutic function, enabling us to purge, cope with, or work through our collective fears and anxieties. This therapeutic view of horror often becomes polarized between reactionary readings (a horror story that promotes the establishing or re-establishing of norms) or progressive readings (a horror story that promotes otherness, difference, and transgression of norms). And yet, in the final analysis, it is also hard to escape the sense that there is a certain kind of solipsism to the horror genre, that it is we human beings that remain at the center of it all, who have either constructed boundaries and bunkers and have once again staved off another threat to our collective identity, or who have devised clever ways of creating hybrids, fusions, and monstrous couplings with the other, thereby extending humanity’s long dreamed-of share of immortality.

At the time of his death, Fisher was said to be planning a new book titled Acid Communism, [2] excerpts of which were published as part of a Mark Fisher anthology, k-punk: The Collected and Unpublished Writings of Mark Fisher (2004–2016), by Repeater Books in November 2018. [36] [37] Acid Communism would have attempted to reclaim elements of the 1960s counterculture and psychedelia in the interest of imagining new political possibilities for the Left. [2] On Vanishing Land [ edit ] Interessante saggio di Mark Fisher (e ultimo libro dell'autore prima del suo suicidio) sui concetti di weird ed eeire, su cosa siano e su cosa le distingua. A weird object or entity is so strange that it makes us think that it should not exist. But by the very fact that it does exist means that it is us who are wrong, and that all of the personal rules we have previously used to make sense of the world are mistaken. Mark Fisher’s essay on the weird and the eerie touches on many topics from fiction, film, music, and politics. For instance, he describes capital as inherently eerie, where the economic structure and balance of the world is built around something intangible and immaterial that still has such tremendous power to influence humanity in drastic ways. The Economic disasters of the last few years are examples of how this invisible force can destabilize society when manipulated correctly.

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Renowned writer and K-Punk blogger Mark Fisher from Felixstowe took own life after battle with depression", Ipswich Star, 18 July 2017 In the late 2000s, Fisher re-purposed the term " capitalist realism" to describe "the widespread sense that not only is capitalism the only viable political and economic system, but also that it is now impossible even to imagine a coherent alternative to it". [21] As a case study, consider the opening passage from H.P. Lovecraft’s well-known short story “The Call of Cthulhu”:

What's fundamentally weird about The Fall –what doesn't belong about them –isn't just the form and content of their music, but their very existence: according to "official bourgeois culture and its categories, a group like The Fall – working class and experimental, popular and modernist – could not and should not exist". Here, weirdness is an act of existential defiance against the idea that sophisticated art is only for elites. k-punk: The Collected and Unpublished Writings of Mark Fisher (2004–2016) (edited by Darren Ambrose, foreword by Simon Reynolds). London: Repeater Books, 2018. ISBN 978-1-912248-29-2

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podcast discussion with Mark Fisher– discussing issues relative to the recession, insurrection, and Really Existing Capitalism Many books on the horror genre are concerned with providing answers, using varieties of taxonomy and psychology to provide a therapeutic application to “our” lives, helping us to cathartically purge collective anxieties and fears. For Fisher, the emphasis is more on questions, questions that target the vanity and presumptuousness of human culture, questions regarding human consciousness elevating itself above all else, questions concerning the presumed sovereignty of the species at whatever cost – perhaps questions it’s better not to pose, at the risk of undermining the entire endeavor to begin with. Retracing Mark Fisher and Justin Barton's Eerie Pilgrimage | Frieze". Frieze. 23 July 2019. Archived from the original on 5 March 2021 . Retrieved 8 October 2020. Sin duda, las emociones producidas por aquello que tomamos como raro o espeluznante —como pueden ser el miedo, el vacío o la melancolía— pueden llegar a ser crípticas y complicadas de rastrear hasta su origen. Es relativamente fácil encontrar estos rasgos definitorios (lo raro y lo espeluznante) en las obras que los contienen y, en cambio, es muy complicado hallar el detonante que los origina. Se ve con facilidad que algo resulta extraño, pero no se sabe muy bien por qué. But what do these creatures want? We can only conclude that they are beings which must feed on human misery. This would make them appear “evil” from a certain point of view —but this is essentially the perspective of Nietzsche’s lambs. After all, most human beings are hardly in a position to judge other entities on the basis of what they feed on.

For example, Mark Fisher; Jeremy Gilbert (Winter 2013). "Capitalist Realism and Neoliberal Hegemony: A Dialogue". New Formations (80–81): 89–101. doi: 10.3898/neWF.80/81.05.2013. and Alison Shonkwiler and Leigh Claire La Berge, ed. (2014). Reading Capitalist Realism. Iowa City: University of Iowa Press. . Amelia Brand’s declaration about love is far from disinterested. She makes it when the crew is about to decide whether to travel to Mann’s planet or Edmunds’ planet. Brand wants to go to Edmunds’ planet, but her choice is driven by the fact that Edmunds was her lover. Hence her motive for believing that love is a mysterious force, with its own occult powers and capacities. Yet it turns out, in the end, that she is correct, at least about Edmunds’ planet. It is the only viable environment: as we have seen, Miller’s planet is a desolate ocean, while Mann’s is an icy wasteland.The scenes involving the sentient computer Hal, which maintains the systems on the Discovery One spacecraft, pose questions about agency on a smaller scale. Hal does not have a body, even if it has an organ — a red light-sensor — and a voice that is preternaturally calm. It certainly has agency, however, and the nature and scope of that agency — what drives Hal to rebel against the Discovery’s crew —becomes the crucial mystery in this section of the film. In the scenes where we see Bowman slowly, remorselessly dismantle Hal, and we hear Hal begin to audibly mentally deteriorate, we are con- fronted with the eerie disjunction between consciousness and the material hardware that makes consciousness possible.) Albiez, Sean (2017). Bloomsbury Encyclopedia of Popular Music of the World, Volume 11. Bloomsbury. pp.347–349. ISBN 978-1-5013-2610-3 . Retrieved 10 January 2020.