an excess of history, beneath which we struggle to move forward.

• +..drone rock
• +..
• +..electro

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One way in which the repetitions and discontinuities of history are manifested is through the emergence of new technologies which allow us to record and replay the past. This is a process whose uncanny effects began to be felt in the nineteenth century as new forms of media such as telegraphy, photography and later cinema allowed us to capture and control time, bringing the past back to life and allowing us to revisit it at our leisure. As we shall see, it was innovations in Victorian stagecraft which first allowed the ghost to take on a seemingly corporeal form, enabling audiences to visualise what contemporary expressions of supernatural belief such as Spiritualism could only hint at. The evolution of such ghostly media is one which forms a backdrop to many of the precursors of hauntology, from the role of television and early computer technology in the residual haunting of TC Lethbridge and Nigel Kneale, to the haunting obsolescence of Space Age technology depicted in the work of JG Ballard. In recent years, an increasing preoccupation with analogue technology has become a staple element of hauntology, as we contrast the imperfections of earlier recording techniques with the timeless anonymity of the digital. Of course, this strand of what Fisher has labelled the ‘technological uncanny’ reached its zenith with the emergence of internet technology.
Coverley, Merlin.