Hauntology

Hauntology (a portmanteau of haunting and ontology, also spectral studies, spectralities, or the spectral turn) is a range of ideas referring to the return or persistence of elements from the social or cultural past, as in the manner of a ghost. The term is a neologism first introduced by French philosopher Jacques Derrida in his 1993 book Spectres of Marx. It has since been invoked in fields such as visual arts, philosophy, electronic music, anthropology, criminology,^[1] politics, fiction, and literary criticism.^[2]

While Christine Brooke-Rose had previously punned "dehauntological" (on "deontological") in Amalgamemnon (1984),^[3] Derrida initially used "hauntology" for his idea of the atemporal nature of Marxism and its tendency to "haunt Western society from beyond the grave".^[4] It describes a situation of temporal and ontological disjunction in which presence, especially socially and culturally, is replaced by a deferred non-origin.^[2] The concept is derived from deconstruction, in which any attempt to locate the origin of identity or history must inevitably find itself dependent on an always-already existing set of linguistic conditions.^[5] Despite being the central focus of Spectres of Marx, the word hauntology appears only three times in the book, and there is little consistency in how other writers define the term.^[6]

In the 2000s, the term was applied to musicians by theorists Simon Reynolds and Mark Fisher, who were said to explore ideas related to temporal disjunction, retrofuturism, cultural memory, and the persistence of the past. Hauntology has been used as a critical lens in various forms of media and theory, including music, aesthetics, political theory, architecture, Africanfuturism, Afrofuturism, Neo-futurism, Metamodernism, anthropology, and psychoanalysis.^{[2][failed verification][7][page needed]} Due to the difficulty in understanding the concept, there is little consistency in how other writers define the term.^[6]