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马克·费舍

马克·费舍简介

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马克·费舍简介

作者 | 马克·费舍（Mark Fisher，1968—2017)，英国当代著名评论家、政治理论家、文化研究学者，生前主要在伦敦大学金史密斯学院视觉文化系任教。其写作涉及政治、流行文化、当代艺术等领域，齐泽克称他“以日常生活和流行文化举例，同时并不牺牲理论的严谨性，无情刻画了我们的思想苦难”。他运营的文化理论博客k-punk对年轻一代产生了很大影响。代表作《资本主义现实主义》《我生命中的幽灵》《怪异与阴森》。译者 | 卜生，译者、艺术评论人。研究英国左派思潮及工人运动史。长期为当代艺术期刊 frieze 及 ArtReview 供稿。

经典语录

desperately short of time, energy and attention, we demand quick fixes ... retro offers the quick and easy promise of a minimal variation on an already familiar satisfaction.时间、精力和注意力极度匮乏的我们渴求快速的解决方案 …… 复古提供了一种快捷简便的承诺，在我们已经熟悉的满足感基础上稍作变动即可实现。詹明信在我看来，怀旧电影的风格已经入侵和殖民了今天那些以当代为背景的电影，这似乎是一种非常严重的症状，就好像，不知出于何种原因，我们今天已无法专注于自己的当下，就好像我们对于自己当下的经验已无法达成美学的再现。若果真如此，这便是消费资本主义本身的一个非常可怕的衰败迹象，或者至少可以这样说，这是一个已经无法应对时间和历史的社会所展现出的令人警惕的病态症状。 In popular modernism, the elitist project of modernism was retrospectively vindicated. At the same time, popular culture definitively established that it did not have to be populist. 在大众现代主义中，现代主义的精英项目得到了回顾性的平反。与此同时，流行文化明确地证实了它不一定非得是民粹主义的。Particular modernist techniques were not only disseminated but collectively reworked and extended, just as the modernist task of producing forms which were adequate to the present moment was taken up and renewed. -----------The cultural ecology that I referred to above – the music press and the more challenging parts of public service broadcasting – were part of a UK popular modernism, as were postpunk, brutalist architecture, Penguin paperbacks and the BBC Radiophonic Workshop. 我上面提到的文化生态——音乐媒体和公共服务广播中更具挑战性的部分——是英国大众现代主义的一部分，后朋克、野兽派建筑、企鹅平装书和 BB... It has become increasingly clear that 1979-80, the years with which the group will always be identified, was a threshold moment – the time when a whole world (social democratic, Fordist, industrial) became obsolete, and the contours of a new world (neoliberal, consumerist, informatic) began to show themselves. 越来越清楚的是，1979-80年……是一个门槛时刻——在那时，整个旧世界（社会民主主义、福特主义、工业化）变得过时，而新世界（新自由主义、消费主义、信息化）的轮廓开始显现。--------------By the end of 2012, the 70s was returning, no longer as some bittersweet nostalgia trip, but as a trauma. 到2012年底，70年代正在回归，不再是某种苦乐参半的怀旧之旅，而是作为一种创伤。--------------Life On Mars is symptomatic enough to be interesting. Symptomatic of what? ... Life On Mars suggests that one of the chief resources of recent British culture – the past – is reaching the point of exhaustion. 《火星生... The city in question is of course London, and Ford’s Savage Messiah offers a samizdat counter-history of the capital during the period of neoliberal domination.讨论中的城市当然是伦敦，而福特的《Savage Messiah》提供了在新自由主义统治时期首都的一部地下反历史。Savage Messiah’s London is overshadowed by the looming megalith of ‘London 2012’... as the Olympic Delivery Authority transformed whole areas of East London into a temporary photo opportunity for global capitalism.《Savage Messiah》中的伦敦笼罩在“伦敦 2012”这一逼近的巨石阴影之下……因为奥运交付管理局将东伦敦的大片区域转变为全球资本主义的临时拍照机会。‘When I was writing the zines,’ Ford remembers, ‘I was drifting through a London haunted by traces and remnants of rave, anarcho-punk scenes... The idea that I was moving through a spectral city was really strong... “当我写这本杂志时，”福特回忆道，“我正在漂流穿过一个被锐舞、无政府朋克场景的痕迹和残余所纠缠的伦敦……我在穿越一个幽灵城市的想... While 20th-century experimental culture was seized by a recombinatorial delirium, which made it feel as if newness was infinitely available, the 21st century is oppressed by a crushing sense of finitude and exhaustion. 20世纪的实验文化被一种重组的谵妄所占据，让人感觉“新颖性”似乎是无限可得的，而21世纪则被一种毁灭性的有限感和枯竭感所压迫。The 'futuristic' in music has long since ceased to refer to any future that we expect to be different; it has become an established style, much like a particular typographical font. 音乐中的“未来感”早已不再指代任何我们期待会有所不同的未来；它已经变成了一种既定的风格，就像某种特定的排版字体。-----------------Imagine any record released in the past couple of years being beamed back in time to, say, 1995 and played on the radio. It’s hard to think that it will produce any jolt in the listeners. On the contrary, what would be likely to shock our 1995 audience ...

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