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  • 1b. The Cultural Logic of Late Capitalism

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    Christina Agnada
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    This document discusses the emergence of postmodern or late capitalist culture as characterized by a flattening of cultural hierarchies and a prevalence of surface over depth. Some key aspects include the rise of commercial and mass culture incorporating elements previously seen as "low" or "high" brow, a rejection of representations of essence/depth in favor of textual play and multiple surfaces, and the alienation of the subject and unavailability of personal style due to pastiche and fragmentation.

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    This document discusses the emergence of postmodern or late capitalist culture as characterized by a flattening of cultural hierarchies and a prevalence of surface over depth. Some key aspects include the rise of commercial and mass culture incorporating elements previously seen as "low" or "high" brow, a rejection of representations of essence/depth in favor of textual play and multiple surfaces, and the alienation of the subject and unavailability of personal style due to pastiche and fragmentation.

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    10 views1 page

    1b. The Cultural Logic of Late Capitalism

    Uploaded by

    Christina Agnada
    This document discusses the emergence of postmodern or late capitalist culture as characterized by a flattening of cultural hierarchies and a prevalence of surface over depth. Some key aspects include the rise of commercial and mass culture incorporating elements previously seen as "low" or "high" brow, a rejection of representations of essence/depth in favor of textual play and multiple surfaces, and the alienation of the subject and unavailability of personal style due to pastiche and fragmentation.

    Copyright:

    © All Rights Reserved
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    The Cultural Logic of Late Capitalism

    effacement in them of the older (essentially high- Emergence of "degraded" landscape of kitsch, of
    modernist) frontier between high TV series, of advertising and motels, of the late
    culture and so-called mass or commercial culture show and the grade-B Hollywood film, of
    paraliterature, with its airport paperback
    categories of the gothic and the romance, the
    popular biography, the murder mystery, and the
    science fiction or fantasy novel: materials they no
    longer simply "quote," as a Joyce might have done,
    but incorporate into their very substance.

    abstract expressionism in painting Andy Warhol pop art and photorealism


    existentialism in philosophy deconstruction, new aesthetic of textuality or
    écriture
    Rejection of representation Burroughs, Pynchon, or Ishmael Reed
    in the novel
    the films of the great auteurs Godard, post-Godard, and experimental cinema
    and video, but also a whole new type of
    commercial film

    the Beatles and the Stones now the moment, in music, of John Cage, popular"
    standing as the high-modernist moment styles as in Phil
    Glass punk and new wave rock
    Frank Lloyd Wright or the international style (Le virtual sculpture,
    Corbusier, Mies) aesthetic populism, title of Venturi influential
    the destruction of the fabric of the manifesto: Learning from Las Vegas
    traditional city and its older neighborhood culture
    Van Gogh's well-known painting of the peasant shoes Andy Warhol Diamond Dust Shoes
    the photographic negative in contemporary art

    Walker Evans, Floyd Burroughs Shoes, 1938 René Magritte, Le Modèle rouge, 1935
    Edward Andy Warhol, The Marilyn Diptych (1962)
    Munch's painting, The Scream (1893) silkscreen painting by American pop artist depicting
    Marilyn Monroe.
    repudiated depth models What replaces these various depth models is for
    the hermeneutic model of inside and outside which the most part a conception of practices, discourses,
    Munch's painting develops and textual play,
    (1) the dialectical one of essence and appearance Depth is replaced by surface, or by multiple
    (2) the Freudian model of latent and manifest, or of surfaces (what if often called intertextuality is in
    repression that sense no longer a matter of depth):
    (3) the existential model of authenticity and Wells Fargo Court- depthlessness can be
    inauthenticity experienced physically and "literally= great sheet of
    (4) the great semiotic opposition between signifier windows, with its gravity-defying two-
    and signified. dimensionality like the iconic Monolith from
    Stanley Kubrick's 2001: A Space Odyssey
    the alienation of the subject displaced by the latter's fragmentation

    unavailability of the personal style omnipresence of pastiche- the random


    cannibalization of all the styles of the past

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