我生命中的幽灵

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• 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 ... (查看原文)

  Le Flaneur 3赞 2025-12-29 22:46:25

• 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... (查看原文)

  Le Flaneur 3赞 2026-01-02 20:39:09

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