٠ Capitalism and art: the lost sense of space and time ٠

excerpts from Frederic Jameson‘s Postmodernism and Consumer Society, essay produced after a lecture at the Whitney Museum, in 1982.

“It seems to the exceedingly symptomatic to find the very style of nostalgia films invading and colonizing even those movies today which have contemporary settings: as though, for some reason, we were unable today to focus our own present, as though we have become incapable of achieving aesthetic representations of our own current experience. But if that is so, then it is a terrible indictment of consumer capitalism itself – or at the very least, an alarming and pathological symptom of a society that has become incapable of dealing with time and history.
[…]

porcelain-paper© Joshua Suda, Untitled (painting)

Cultural production has been driven back inside the mind, within the monadic subject: it can no longer look directly out of its eyes at the real world for thereferent but must, as in Plato’s cave, trace its mental images of the world on its confining walls. If there is any realism left here, it is a “realism” which springs from the shock of grasping that confinement and of realizing that, for whatever peculiar reasons, we seem condemned to seek the historical past through our own pop images and stereotypes about that past, which itself remains forever out of reach.
[…]

It is because language has a past and a future, because the sentence moves in time, that we can have what seems to us a concrete or lived experience of time. […] In other words, schizophrenic experience is an experience of isolated, disconnected, discontinuous material signifiers which fail to link up into a coherent sequence. The schizophrenic thus does not know personal identity in our sense, since our feeling of identity depends on our sense of the persistence of the “I” and the “me” over time.
[…]

untitled-1© Joshua Suda, Untitled (painting)

For one thing, commodity production and in particular our clothing, furniture, buildings and other artifacts are now intimately tied in with styling changes which derive from artistic experimentation; our advertising, for example, is fed by postmodernism in all the arts and inconceivable without it. For another, the classics of high modernism are now part of the so-called canon and are taught in schools and universities – which at once empties them of any of their older subversive power. Indeed, one way of marking the break between the periods and of dating the emergence of postmodernism is precisely to be found there: in the moment (the early 1960s, one would think) in which the position of high modernism and its dominant aesthetics become established in the academy and are henceforth felt to be academic by a whole new generation of poets, painters and musicians.

But one can also come at the break from the other side, and describe it in terms of periods of recent social life. As I have suggested, non-Marxists and Marxists alike have come around to the general feeling that at some point following World War 11 a new kind of society began to emerge (variously described as postindustrial society, multinational capitalism, consumer society, media society and so forth). New types of consumption planned obsolescence: an ever more rapid rhythm of fashion and sty styling changes the penetration of advertising, television and the media generally to a hitherto unparalleled degree throughout society; the replacement of the old tension between city and country, center and province, by the suburb and by universal standardization; the growth of the great networks of superhighways and the arrival of automobile culture – these are some of the features which would seem to mark a radical break with that older prewar society in which high-modernism was still an underground force.
[…]

Vapor Trail© Joshua Suda, Untitled (painting)

There is some agreement that the older modernism functioned against its society in ways which are variously described as critical, negative, contestatory, subversive, oppositional and the like. Can anything of the sort be affirmed about postmodernism and its social moment? We have seen that there is a way in which postmodernism replicates or reproduces – reinforces – the logic of consumer capitalism; the more significant question is whether there is also a way in which it resists that logic. But that is a question we must leave open.

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