The Condition of Postmodernity 13 - autonomous learning

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54The passage from modernity to postmodernityabout the pursuit of better futures, even if perpetual frustration ofthat aim was conducive to paranoia. But postmodernism typicallystrips away that possibility by concentrating upon the schizophreniccircumstances induced by fragmentation and all those instabilities(including those of language) that prevent us even picturing coherently,let alone devising strategies to produce, some radically differentfuture. Modernism, of course, was not without its schizoid moments- particularly when it sought to combine myth with heroic modernity- and there has been a sufficient history of the 'deformationof reason' and of 'reactionary modernisms' to suggest that the schizophreniccircumstance, though for the most part dominated, wasalways latent within the modernist movement. Nevertheless, there isgood reason to believe that 'alienation of the subject is displaced byfragmentation of the subject' in postmodern aesthetics a ameson,1984a, 63). If, as Marx insisted, it takes the alienated individual topursue the Enlightenment project with a tenacity and coherencesufficient to bring us to some better future, then loss of the alienatedsubject would seen to preclude the conscious construction of alternativesocial futures.The reduction of experience to 'a series of pure and unrelatedpresents' further implies that the 'experience of the present becomespowerfully, overwhelmingly vivid and "material": the world comesbefore the schizophrenic with heightened intensity, bearing themysterious and oppressive charge of affect, glowing with hallucinatoryenergy' (Jameson, 1984b, 120). The image, the appearance, thespectacle can all be experienced with an intensity (joy or terror)made possible only by their appreciation as pure and unrelated presentsin time. So what does it matter 'if the world thereby momentarilyloses its depth and threatens to become a glossy skin, a stereoscopicillusion, a rush of filmic images without density?' (Jameson, 1984b).The immediacy of events, the sensationalism of the spectacle (political,scientific, military, as well as those of entertainment), become thestuff of which consciousness is forged.Such a breakdown of the temporal order of things also gives riseto a peculiar treatment of the past. Eschewing the idea of progress,postmodernism abandons all sense of historical continuity and memory,while simultaneously developing an incredible ability toplunder history and absorb whatever it finds there as some aspect ofthe present. Postmodernist architecture, for example, takes bits andpieces from the past quite eclectically and mixes them together atwill (see chapter 4). Another example, taken from painting, is givenby Crimp (1983, 44-5). Manet's Olympia, one of the seminal paintingsof the early modernist movement, was modelled on Titian'sPostmodernismPlate 1.7 The Venus d'Urbino by Titian provided the inspiration forManet's Olympia of 1863.Venus (plates 1.7; 1.8). But the manner of its modelling signalled aself-conscious break between modernity and tradition, and the activeintervention of the artist in that transition (Clark, 1985). Rauschenberg,one of the pioneers of the postmodernist movement, deployedimages of Velazquez's Rokeby Venus and Rubens's Venus at hertoilet in a series of paintings in the 1960s (plate 1.9). But he usesthese images in a very different way, simply silk-screening a photographicoriginal onto a surface that contains all kinds of other features(trucks, helicopters, car keys). Rauschenberg simply reproduces,whereas Manet produces, and it is this move, says Crimp, 'thatrequires us to think of Rauschenberg as a post-modernist.' Themodernist 'aura' of the artist as producer is dispensed with. 'Thefiction of the creating subject gives way to frank confiscation, quotation,excerption, accumulation and repetition of already existingimages.'This sort of shift carries over into all other fields with powerfulimplications. Given the evaporation of any sense of historical continuityand memory, and the rejection of meta-narratives, the onlyrole left for the historian, for example, is to become, as Foucault55
56 The passage from modernity to postmodernityPostmodernism 57Plate 1.8 Manet's pioneering modernist work Olympia re-works the ideas ofTitian.insisted, an archaeologist of the past, digging up its remnants asBorges does in his fiction, and assembling them, side by side, in themuseum of modern knowledge. Rorty (1979, 371), in attacking theidea that philosophy can ever hope to define some permanent epistemologicalframework for enquiry, likewise ends up insisting thatthe only role of the philosopher, in the midst of the cacophony ofcross-cutting conversations that comprise a culture, is to 'decry thenotion of having a view while avoiding having a view about havingviews.' 'The essential trope of fiction,' we are told by the postmodernistwriters of it, is a 'technique that requires suspension ofbelief as well as of disbelief' (McHale, 1987, 27-33). There is, inpostmodernism, little overt attempt to sustain continuity of values,beliefs, or even disbeliefs.This loss of historical continuity in values and beliefs, taken togetherwith the reduction of the work of art to a text stressingdiscontinuity and allegory, poses all kinds of problems for aestheticand critical judgement. Refusing (and actively 'deconstructing') allauthoritative or supposedly immutable standards of aesthetic judgement,postmodernism can judge the spectacle only in terms of howPlate 1.9 Rauschenberg's pioneering postmodernist work Persimmon (1964),collages many themes including direct reproduction of Rubens's Venus at hertoilet.spectacular it is. Barthes proposes a particularly sophisticated versionof that strategy. He distinguishes between pleasure and Jouissance'(perhaps best translated as 'sublime physical and mental bliss') andsuggests we strive to realize the second, more orgasmic effect (note
Page 1: The Conditionof PostmodernityAn Enq
Page 4: PrefaceI cannot remember exactly wh
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12IntroductionMarshall Berman (1982
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204 The experience of space and tim
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Table 3.1 A 'grid' of spatial pract
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TypeEnduringtimeDeceptivetimeErrati
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I228 The experience of space and ti
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15The time and space of theEnlighte
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Time and space of the Enlightenment
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The rise of modernism as a cultural
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17Time-space compresson and thepost
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18Time and space In the postmodernC
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Part IVThe condition of postmoderni
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328 The condition of postmodernityw
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332 The condition of postmodernityC
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21Postmodernism as the mIrror ofmIr
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Table 4.1 Fordist modernity versus
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344 The condition of postmodernityN
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348 The condition of postmodernityc
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352 The condition 0/ postmodernityf
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27Cracks in the mIrrors, fusions at
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ReferencesAglietta, M. (1979): A th
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364 ReferencesJacobs, J. (1961): Th
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Index 369Adorno, T. 13Aglietta, M.
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372IndexSoja, E. 284Sorel, G. 34Spe
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376IndexIndex 377jouissance 57-8, 9
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