Wire_Salon_1_Hauntology_1

Provenance

Self-transcribed from the recording's audio/video with Whisper ASR, then drawn from the frozen curation of the CCRU oral archive. The identifiers below fingerprint the exact source transcript files.

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Adjudicated APPROVED 2026-07-11 (basis: owner ruling 2026-07-11: institutional recordings released except fee-charging course content; lane recent-institutional -> recent-institutional-released). Series: standalone. Source: audio original (.mp3).

Timestamped map

These jump targets come from timestamps preserved in the source transcript, so they work as navigational anchors rather than editorially invented section labels. Timings are approximate — they mark where a passage begins, not exact word timing.

• 00:00:00

  Hello. Hello. I'm sorry there's not enough seats to go around. We didn't know it was going to be this popular. I'm going to put my glasses on now. Anyway, good evening. Welcome to the Wired Salon, which is the first in a new monthly series of events here at Cafe Oto, which will be happening on the first Thursday…

• 00:12:41

  That, you know, I, I, I know more about the difference in music between 1970 and 1990. Yeah. Between 1973 and 1974 than between 2003 and 2004. And I could give you, don't ask me to do it, but I could give you at the top of my head a kind of crazy of what 1974 music was like. But what is the sound of 2004? It's very…

• 00:21:23

  So, yeah, I think it's a broad category. And I would say that most of what most people consider to be hauntology, I would describe as British post-war hauntology. That's Ghost Box, certainly, possibly more than music. And I agree that the burial is hauntological. I mean, you say, I would disagree with…

• 00:30:14

  And it's quite complex. But salvation is found essentially in a spray can. Or I think at some other point during the book, it's found in an ointment. Or it could be anything. It could be any mundane item, any household good. That's kind of how I see what's going on with, not so much, I don't think, the kind…

• 00:39:26

  So that's kind of why we're up here. We don't talk big about these kind of so-called familiar things. And certainly I think in sampling, that is where technology and the uncanny meet. But I think now we've had a few sort of opening, whatever definitions, whatever you want to call about it. Actually, I wanted to sort…

• 00:49:58

  And I think there's a kind of parallel between that, that political narrative, and the kind of flattening out of temporality, in terms of what happened with music. When music was in a forward, accelerating, kind of mutagenic, when it was that engine of culture, it was continually denaturalizing the culture around…

• 00:59:18

  The last words, keep out. Yeah. And then you hear this kid screaming. And then it goes, keep out. You know. It's very traumatic. Yeah. Yeah. But it's interesting, actually. Just thinking about it and thinking about it in relation to kind of underground writers of the 60s and 70s like Philip K. Dick and Robert Anton…

• 01:07:41

  I mean, yeah, there's lots of different kinds of irony. Okay. I think now we've got to the 19th century, that's a good place to finish. It's the best... Actually, it's the best place to finish.