Mankowski, Guy (11 January 2018). "Remembering a Time Before the Great Culture War". Zer0 Books Youtube Channel . Retrieved 8 March 2021.

THIS BOOK WAS PUBLISHED in the United Kingdom on December 15, 2016; Mark Fisher died on the January 13, 2017. I have written some of my personal reflections on his death here, and there has been a significant outpouring of reaction to the news across the internet around the world. Although this event inevitably turns The Weird and the Eerie into one of Fisher’s last statements, I want to read the book on its own considerable merits rather than falling into the trap of regarding it as some kind of tragic sign-post pointing forward. It's the power and familiarity of the source material that gives the book some of its immediacy. [To former or current readers of British comic book institution, 2000AD: Fisher is like Hammerstein from ABC Warriors and Ro-Busters, swinging his giant titanium lump hammer fist at opponents, smashing them to scrap metal. "Here we have Hex Enduction Hour by The Fall... SHKRRRK! And here we have 'Don't Look Now' by Daphne Du Maurier... CRUNCH! And here we have Inland Empire by David Lynch... ZZZSSST!"] He has located a sweet spot... a rich seam of cultural production that is undeniably part of the mainstream but easily retains its weirdness and eeriness, undimmed by repetitive viewing, reading or listening. Sin embargo, ni el ímpetu que opaca la exposición interpretativa, ni la exposición que camufla el misterio de las ficciones interpretadas, logran estandarizar el interés del autor (y por lo tanto, ubicar las ficciones abordadas en un mismo nivel de relevancia temática), o difuminar las tentativas de identificar a la fuerza lo raro y lo espeluznante en algunas de ellas. Izaakson, Jen. (12 August 2017) 'Kill All Normies' skewers online identity politics Feminist Current. Retrieved 23 November 2018. Hay ensayos brillantes que deshilvanan los nudos de un cuento breve o las conexiones invisibles, casi tácitas, entre dos o más productos culturales; y ensayos disfrazados de lucidez que terminan siendo una trampa hipnótica de retórica antojadiza, efectista o arbitraria.Fisher, Mark. Ghosts of My Life: Writings on Depression, Hauntology and Lost Futures. Zero Books, 30 May 2014. ISBN 978-1-78099-226-6 But what do these creatures want? We can only conclude that they are beings which must feed on human misery. This would make them appear “evil” from a certain point of view —but this is essentially the perspective of Nietzsche’s lambs. After all, most human beings are hardly in a position to judge other entities on the basis of what they feed on.

Fisher discusses that Lovecraft should replace Borges as the ultimate practitioner of the meta-narrative since people actually ended up believing in the existence of The Necronomicon from his work. What comes to mind for me here is that in a digital age where the validity of news and information has to be questioned, where the intent and driving force behind information may be out to harm or spread dissent. We’ve created a Borgesian snare out of our own information, which at first stood out as both weird and eerie, but now has somehow entered into the collective consciousness and become another everyday occurrence that we have to deal with. I find that to be something truly eerie. As Fisher himself says: “The feeling of the eerie is very different from that of the weird. The simplest way to get to this difference is by thinking about the (highly metaphysically freighted) opposition — perhaps it is the most fundamental opposition of all — between presence and absence. As we have seen, the weird is constituted by a presence — the presence of that which does not belong. In some cases of the weird (those with which Lovecraft was obsessed) the weird is marked by an exorbitant presence, a teeming which exceeds our capacity to represent it. The eerie, by contrast, is constituted by a failure of absence or by a failure of presence. The sensation of the eerie occurs either when there is something present where there should be nothing, or is there is nothing present when there should be something.” As a case study, consider the opening passage from H.P. Lovecraft’s well-known short story “The Call of Cthulhu”: Il meno conosciuto Eerie invece, l'inquietante, consiste nella presenza di qualcosa dove non dovrebbe esserci niente, o nell'assenza di qualcosa che dovrebbe esserci. Flatline Constructs: Gothic Materialism and Cybernetic Theory-Fiction (foreword by exmilitary). New York: Exmilitary Press, 2018. ISBN 978-0-692-06605-8Sergei Tret’iakov | Art in the Revolution and the Revolution in Art (Aesthetic Consumption andProduction) In cultural terms these modes have evolved in a dynamic way over the years and it's easy to trace this development via The Weird And The Eerie. The weird as a mode often occurs when everyday life (the inside) is contrasted directly with a more metaphysical realm (the outside). Hence a hallmark of weird fiction and films is often the threshold, as symbolised by doors, windows, holes and hallways. One of the earliest examples of the weird Fisher provides is HG Wells' short story from 1911 'The Door In The Wall', in which a politician becomes obsessed with a door in a wall, which may or may not lead into a mysterious and magical realm and may or may not even exist. He ends the first half of the book looking at David Lynch's masterful Inland Empire (2006) from nearly a century later which is a nightmarish rabbit warren-like network of nothing but thresholds, with all rational narrative and characterisation absent, and only an overwhelming sense of weirdness left. Léanlo con una copa de gin puro y helado 🥃 y escuchando entre ensayo y ensayo «String Quartet No. 1 "Métamorphoses nocturnes» de György Ligeti, en la interpretación de Quatuor Béla (Béla Quartet) 🎶 Amelia Brand’s declaration about love is far from disinterested. She makes it when the crew is about to decide whether to travel to Mann’s planet or Edmunds’ planet. Brand wants to go to Edmunds’ planet, but her choice is driven by the fact that Edmunds was her lover. Hence her motive for believing that love is a mysterious force, with its own occult powers and capacities. Yet it turns out, in the end, that she is correct, at least about Edmunds’ planet. It is the only viable environment: as we have seen, Miller’s planet is a desolate ocean, while Mann’s is an icy wasteland. Sin duda, las emociones producidas por aquello que tomamos como raro o espeluznante —como pueden ser el miedo, el vacío o la melancolía— pueden llegar a ser crípticas y complicadas de rastrear hasta su origen. Es relativamente fácil encontrar estos rasgos definitorios (lo raro y lo espeluznante) en las obras que los contienen y, en cambio, es muy complicado hallar el detonante que los origina. Se ve con facilidad que algo resulta extraño, pero no se sabe muy bien por qué.