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Mark Fisher was one of the great cultural theorists and thinkers of our time. His K-Punk blog is necessary reading on music, television, and film. His book Capitalist Realism and his essay "Exiting the Vampire Castle," are indispensable and accessible works that every Leftist should work through. 

In this lecture Mark Fisher analyzes the song "U Hurt Me" by Burial along with texts by "Bifo" Beradi to analyze online culture in late capitalism and the closure of the future. To win power we must build a political movement that understands the pathologies of our time. Mark Fisher's voice is critical for building that project. 

-David Griscom 

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Mark Fisher - DOCH Lectures #1

Mark Fisher alias K-Punk has over the last decade established himself as an academic equivalent to Colonel Kurtz (Apocalypse Now) bringing together deep insides of popular music with psychoanalysis, political analysis and speculative fiction creating, what Sukhdev Sandhu names, an extraordinary body of rogue scholarship, a theory-rush with few parallels. In two three hour sessions, Mark Fisher dug deep into the realism of ubiquitous capitalism – “today it is easier to imagine the end of the world rather than an end to capitalism” (Jameson/Zizek) – beyond the corner of grey zombies and into the thematic of his forthcoming book dealing with depression, hauntology and lost futures." Fisher is the author of ‘Capitalist Realism’, the editor of ‘The Resistible Demise of Michael Jackson’ (both Zer0, 2009), and writes regularly for Sight and Sound, Film Quarterly, The Wire and Frieze, as well as maintaining a well-known blog at k-punk.abstractdynamics.org. He teaches at the University of East London, Goldsmiths, University of London, and the City Literary Institute. The seminar was part of the DOCH course Speculative Realism and was open to the public.

Comments

Greg Albrecht

"Exiting the Vampire's Castle" was a good read the second time. And still quite relevant to the "left's" current plight.

Tyler

Jay-X the black album, OutKast, Beyoncé, linkin park, the white stripes, 50-cent, Eminem etc.. off the top of my head. Hip-hip was still very regional in sound at the point. Maybe southern hip-hop, NYC etc.. are not distinctions he can make? Maybe hip hop wasn’t big in the UK at the time (I really don’t know) but I can very much remember the sound and some of the amazing artists who dropped albums during that year. (DMX rip) I appreciate his point.

Tyler

I agree with the overall premise, but the music example falls apart for me..