Mark Fisher, the cultural theorist who saw the future, has left an indelible mark on our understanding of capitalism and its impact on society. His book, “Capitalist Realism: Is There No Alternative?”, initially met with silence, but has since become a powerful testament to his insights. Fisher’s ability to capture the public mood and his honest, brutal writing style have made him a revered figure.
One of Fisher’s key contributions is his popularization of the phrase, “it’s easier to imagine the end of the world than the end of capitalism.” This notion, attributed to Fredric Jameson, encapsulates the hopelessness and resignation many feel towards our profit-driven economic system. Fisher’s work challenges this status quo and encourages us to reflect on the endemic feelings of despair that persist, even in the aftermath of the 2008 financial crisis.
Konrad Kay, co-creator of the acclaimed finance drama series “Industry,” praises Fisher for his unique ability to document the subconscious drives that underpin capitalism’s immortality. Kay believes Fisher’s work offers a critical lens through which we can understand the digital panopticon we have created for ourselves.
Tariq Goddard, Fisher’s friend and co-founder of Zer0 Books, attributes Fisher’s empathy and insight to his innate gifts, shaped by his social experiences. Fisher’s life, marked by depression and a sense of being an outsider, adds a layer of complexity to his work. His journey from freelance writer to lecturer at Goldsmiths, University of London, reflects his determination and the challenges he faced in the media industry.
“We Are Making a Film About Mark Fisher”, an experimental documentary, aims to further disseminate Fisher’s ideas. The film explores the concept of “hauntology,” a term popularized by Fisher to describe how modern society is haunted by futures that never came to be. The repetitive street footage, showing Britons protesting against various injustices, creates a sense of melancholia for the lost possibilities of a better world.
Fisher’s philosophy was deeply influenced by his belief in the potential of artists to bring forth the new. His blog, “k-punk,” covered a wide range of topics, from niche experimental art to mainstream culture. Fisher employed criticism as a tool for political consciousness-raising, fostering public conversation and challenging the market-driven obsession with past aesthetics. He championed artists and works that pushed boundaries, from Burial’s electronic music to the writings of Franz Kafka and Margaret Atwood.
In his later years, Fisher shifted his mindset, moving away from advocating for technological development and embracing a freer, artistic vision of the future. He argued for a reclamation of the internet by the people, recognizing the potential for digital technology to be co-opted by neoliberalism. Journalist Andy Beckett explains Fisher’s repositioning, highlighting his realization that some aspects of the past were worth preserving.
Fisher’s ideas continue to resonate today. His unfinished project, “Acid Communism,” has inspired artists like Miki Aurora, who creates interactive installations offering a vision of a better future. The concept of “hauntology”, popularized by Fisher, is a powerful reminder that modernity is plagued by what could have been. Adam Curtis’ series, “All Watched Over By Machines of Loving Grace,” highlights the failure of technology to democratize society, a theme that resonates strongly in our current era.
Encouragingly, “We Are Making a Film About Mark Fisher” points to a collective endeavor to undermine capitalism. The film’s screenings, organized through Instagram, demonstrate a grassroots movement to challenge the status quo. As the film concludes, “We are making a film about Mark Fisher, and now that you are watching, so are you.”
Mark Fisher’s legacy is a call to action, a reminder that we have the power to imagine and create a different future, one that is not haunted by the failures of the past.
