Films byTexts by Mark Fisher

Mark Fisher (1968–2017) was a British writer and cultural theorist. Fisher emerged from the Cybernetic Culture Research Unit, a collective that sprang from the philosophy department of Warwick University and was initially founded by Nick Land and Sadie Plant. He completed a PhD at the University of Warwick in 1999. In 2003, Fisher started blog writing under the alias “k-punk”, exploring a more flexible, non-restricted way of writing on popular culture, music, film, politics and critical theory. Fisher worked as a lecturer on Aural and Visual Cultures at Goldsmiths College. He was also one of the principal founders of Zero books and was associated with Interference: A Journal of Audio Culture and The Wire. In 2009, Fisher published his most acclaimed work, Capitalist Realism: Is There No Alternative? (2009), in which he describes how capitalism has successfully presented itself as the only realistic political-economic system and as a lived ideological framework. Four years later, Fisher wrote the controversial essay Exiting the Vampire Castle, a rebuttal on so-called call-out culture, referring to the moralising tendencies of the left which create a toxic public sphere dominated by guilt and self-loathing. His other publications include Ghosts of My Life: Writings on Depression, Hauntology and Lost Futures (2014), in which he popularized Derrida’s concept of hauntology, and Post-Punk Then and Now (2016), co-edited with Kodwo Eshun and Gavin Butt. His last work, The Weird and the Eerie (2017), and a collection of his blog writing entitled k-punk: The Collected and Unpublished Writings of Mark Fisher (2004–2016) (2018) both appeared posthumously.

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Mark Fisher 2009
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Op 14 januari 2017 maakte de Engelse uitgeverij Zer0 Books het overlijden van een van haar stichtende leden bekend, de Engelse filosoof en essayist Mark Fisher. Hij werd 48. Ter nagedachtenis van Fisher heeft Sabzian het eerste hoofdstuk uit zijn in 2009 uitgebrachte debuut Capitalist Realism vertaald. Daarin beschouwt Fisher Alfonso Cuaróns Children of Men (2006) als allegorie voor onze hedendaagse lotsbestemming, waarin het neoliberalisme zich als ultieme politieke horizon heeft weten te presenteren, en de ‘toekomst’ tot een loutere herinnering is verworden.

“De catastrofe in Children of Men wacht ons noch op het einde van de weg, noch heeft zij reeds plaatsgevonden. Zij is integendeel volop aan de gang. Er is geen stipt rampmoment; de wereld eindigt niet met een knal, ze dooft eerder stilletjes uit, ontrafelt, valt langzaam uiteen.”