Furthermore, any move against representational thinking impinges upon the identity of the subject. Where Kant founds the representational unity of space and time upon the formal unity of consciousness Kant , , difference re-distributes intuitions of past, present, and future, fracturing consciousness into multiple states not predicable of a single subject.
Intensive qualities are individuating by themselves, says Deleuze, and individuality is not characteristic of a self or an ego, but of a differential forever dividing itself and changing its configuration Deleuze [], , , This leads Deleuze to postulate multiple faculties for subjectivity, which are correlates of the sensible insofar as it gives rise to feeling, thought, and action.
Subjectively, the paradox of the differential breaks up the faculties' common function and places them before their own limits: thought before the unthinkable, memory before the immemorial, sensibility before the imperceptible, etc. Deleuze , The book, in large part, is written against an established intellectual orthodoxy of the political Left in France during the s and s, an orthodoxy consisting of Marx, Freud, and structuralist concepts applied to them by Louis Althusser and Jacques Lacan.
Deleuze and Guattari argue that this mixture is still limited by representational thinking, including concepts of production based upon lack, and concepts of alienation based upon identity and negation. Furthermore, the Oedipus concept in psychoanalysis, they say, institutes a theater of desire in which the psyche is embedded in a family drama closed off from the extra-familial and extra-psychic forces at work in society. The first inscriptions are relations of kinship and filiation structuring primitive societies, often involving the marking and scarring of human bodies.
The full body of society is the sacred earth, which appropriates to itself all social products as their natural or divine precondition, and to whom all members of society are bound by direct filiation Deleuze [], Finally, capitalism de-territorializes the inscriptions of the despotic machine and re-codes all relations of alliance and filiation into flows of money Deleuze [], The organs of society and the state are appropriated into the functioning of capital, and humans become secondary to the filiation of money with itself.
However, because capital also re-territorializes all flows into money, schizophrenia remains capitalism's external limit. Nevertheless, it is precisely that limit against which thinking can subject capitalism to philosophical critique. However, the Oedipal triangle is merely a representational simulacrum of kinship and filiation, re-coded within a system of debt and payment. In this system, they insist, flows of desire have become mere representations of desire, cut off from the body without organs and the extra-familial mechanisms of society.
In this revolutionary aspect, Anti-Oedipus reads as a statement of the desire that took to the streets of Paris in May of , and which continues, even now, to make itself felt in intellectual life. However, in philosophy, it signifies certain strategies for reading and writing texts.
The term was introduced into philosophical literature in , with the publication of three texts by Jacques Derrida: Of Grammatology in English , Writing and Difference in English , and Speech and Phenomena in English Of the three books from , Of Grammatology is the more comprehensive in laying out the background for deconstruction as a way of reading modern theories of language, especially structuralism, and Heidegger's meditations on the non-presence of being.
It also sets out Derrida's difference with Heidegger over Nietzsche. This closure has emerged, says Derrida, with the latest developments in linguistics, the human sciences, mathematics, and cybernetics, where the written mark or signifier is purely technical, that is, a matter of function rather than meaning.
Precisely the liberation of function over meaning indicates that the epoch of what Heidegger calls the metaphysics of presence has come to closure, although this closure does not mean its termination. Instead, there is only the marking of the trace of difference, that is, deconstruction. Because at its functional level all language is a system of differences, says Derrida, all language, even when spoken, is writing, and this truth is suppressed when meaning is taken as an origin, present and complete unto itself.
Texts that take meaning or being as their theme are therefore particularly susceptible to deconstruction, as are all other texts insofar as they are conjoined with these.
For Derrida, written marks or signifiers do not arrange themselves within natural limits, but form chains of signification that radiate in all directions. On the contrary, the name of the author is a signifier linked with others, and there is no master signifier such as the phallus in Lacan present or even absent in a text. Instead, it can only be marked as a wandering play of differences that is both a spacing of signifiers in relation to one another and a deferral of meaning or presence when they are read.
Deconstruction, then, traces the repetitions of the supplement. While there is a certain arbitrariness in the play of differences that result, it is not the arbitrariness of a reader getting the text to mean whatever he or she wants.
It is a question of function rather than meaning, if meaning is understood as a terminal presence, and the signifying connections traced in deconstruction are first offered by the text itself. A deconstructive reading, then, does not assert or impose meaning, but marks out places where the function of the text works against its apparent meaning, or against the history of its interpretation.
Hyperreality is closely related to the concept of the simulacrum: a copy or image without reference to an original. In postmodernism, hyperreality is the result of the technological mediation of experience, where what passes for reality is a network of images and signs without an external referent, such that what is represented is representation itself. In Symbolic Exchange and Death , Jean Baudrillard uses Lacan's concepts of the symbolic, the imaginary, and the real to develop this concept while attacking orthodoxies of the political Left, beginning with the assumed reality of power, production, desire, society, and political legitimacy.
Baudrillard argues that all of these realities have become simulations, that is, signs without any referent, because the real and the imaginary have been absorbed into the symbolic. The real, he says, has become an operational effect of symbolic processes, just as images are technologically generated and coded before we actually perceive them. This means technological mediation has usurped the productive role of the Kantian subject, the locus of an original synthesis of concepts and intuitions, as well as the Marxian worker, the producer of capital though labor, and the Freudian unconscious, the mechanism of repression and desire.
The hyperreal is a system of simulation simulating itself. Strategically, he says, capital can only be defeated by introducing something inexchangeable into the symbolic order, that is, something having the irreversible function of natural death, which the symbolic order excludes and renders invisible. Because these strategies must be carried out within the symbolic order, they are matters of rhetoric and art, or a hybrid of both.
They also function as gifts or sacrifices, for which the system has no counter-move or equivalence. Baudrillard finds a prime example of this strategy with graffiti artists who experiment with symbolic markings and codes in order to suggest communication while blocking it, and who sign their inscriptions with pseudonyms instead of recognizable names. Nevertheless, his concepts of simulation and hyperreality, and his call for strategic experimentation with signs and codes, bring him into close proximity with figures such as Lyotard, Foucault, and Derrida.
Hermeneutics, the science of textual interpretation, also plays a role in postmodern philosophy. Unlike deconstruction, which focuses upon the functional structures of a text, hermeneutics seeks to arrive at an agreement or consensus as to what the text means, or is about. Gianni Vattimo formulates a postmodern hermeneutics in The End of Modernity , in English [] , where he distinguishes himself from his Parisian counterparts by posing the question of post-modernity as a matter for ontological hermeneutics.
Instead of calling for experimentation with counter-strategies and functional structures, he sees the heterogeneity and diversity in our experience of the world as a hermeneutical problem to be solved by developing a sense continuity between the present and the past.
This continuity is to be a unity of meaning rather than the repetition of a functional structure, and the meaning is ontological. In this respect, Vattimo's project is an extension of Heidegger's inquiries into the meaning of being. However, where Heidegger situates Nietzsche within the limits of metaphysics, Vattimo joins Heidegger's ontological hermeneutics with Nietzsche's attempt to think beyond nihilism and historicism with his concept of eternal return. The result, says Vattimo, is a certain distortion of Heidegger's reading of Nietzsche, allowing Heidegger and Nietzsche to be interpreted through one another Vattimo [], This is a significant point of difference between Vattimo and the French postmodernists, who read Nietzsche against Heidegger, and prefer Nietzsche's textual strategies over Heidegger's pursuit of the meaning of being.
On Vattimo's account, Nietzsche and Heidegger can be brought together under the common theme of overcoming. Where Nietzsche announces the overcoming of nihilism through the active nihilism of the eternal return, Heidegger proposes to overcome metaphysics through a non-metaphysical experience of being. In both cases, he argues, what is to be overcome is modernity, characterized by the image that philosophy and science are progressive developments in which thought and knowledge increasingly appropriate their own origins and foundations.
Overcoming modernity, however, cannot mean progressing into a new historical phase. While Vattimo takes post-modernity as a new turn in modernity, it entails the dissolution of the category of the new in the historical sense, which means the end of universal history.
This does not mean historical change ceases to occur, but that its unitary development is no longer conceivable, so only local histories are possible. As a result, we no longer experience a strong sense of teleology in worldly events, but, instead, we are confronted with a manifold of differences and partial teleologies that can only be judged aesthetically.
The truth of postmodern experience is therefore best realized in art and rhetoric. The way out of this collapse is the moment of eternal recurrence, when we affirm the necessity of error in the absence of foundations. Vattimo also finds this new attitude toward modernity in Heidegger's sense of overcoming metaphysics, insofar as he suggests that overcoming the enframing lies with the possibility of a turn within the enframing itself.
Such a turn would mean deepening and distorting the technological essence, not destroying it or leaving it behind. Vattimo's philosophy is therefore the project of a postmodern hermeneutics, in contrast to the Parisian thinkers who do not concern themselves with meaning or history as continuous unities. Rhetoric and aesthetics pertain to the sharing of experience through activities of participation and imitation. In the postmodern sense, such activities involve sharing or participating in differences that have opened between the old and the new, the natural and the artificial, or even between life and death.
The leading exponent of this line of postmodern thought is Mario Perniola. Like Vattimo, Perniola insists that postmodern philosophy must not break with the legacies of modernity in science and politics.
However, he does not base this continuity upon an internal essence, spirit, or meaning, but upon the continuing effects of modernity in the world. However, in the postmodern world the inorganic is not natural, but already artificial, insofar as our perceptions are mediated by technological operations. That is, in the collection, art is removed from its natural or historical context and creates a new sense of space and time, not reducible to linear history or any sense of origin.
What is important for our purposes is that it pastiched Jay-Z's Hard Knock Life, itself a parodic quotation of a tune from the musical Annie. Dr Evil's intervention here typified postmodern culture: ironic, knowing, quoting from a source that was already quoting from another source and — perhaps this the main point — thereby cannily making a packet for a film franchise that, if one can be serious for a second, really didn't warrant a third outing.
Such " bricolage ", as Lyotard would put it ie assembling artefacts from bits and pieces of other things from unexpected eras and sources , was key to the hip-hop culture Myers pastiched. And hip-hop culture, which is postmodernism's ironically adopted child, is everywhere — clothes, graffiti, poetry, dance, your iPod, my iPod, everybody's iPod.
Then things got ugly. Postmodern ugly. Producers fired off angry texts to consumers asserting their intellectual capital rights.
Consumers jokily texted back a link to an online version of Roland Barthes's seminal essay The Death of the Author. Producers then put down their BlackBerrys and reached for their lawyers. Late capitalism didn't really like the way postmodernism was heading, and postmodernism stopped sending late capitalism Christmas cards. Last week in Covent Garden, I saw a sign in a shop window. But hold on. Wasn't the whole point of pop-up things theatres, shops and, in olden times, books that you didn't have to wait for them to pop up?
They popped up sharpish then pushed off? Was this sign postmodern irony? Or, what usually happens, publicity for a dismal late capitalist enterprise appropriating a funky-sounding idea a year after it was fashionable and annulling its raison d'etre in the glum way so common in recent postmodernism culture? It must have been the latter. What next? That, to me, seemed as it should be. A taste of freedom. At least that's the way I took it, though one could see another rulebook being written even as we tried to say: 'No more damned rulebooks!
Time to move on. But what could post-postmodernism mean? Artworks that are created through actions performed by the artist or other participants, which may be live or recorded, spontaneous …. Neo-expressionism acted as a major revival of painting in an expressionist manner in the s and it occurred internationally. Short for neo-geometric conceptualism, the term neo-geo came into use in the early s in America to describe the work ….
Feminist art is art by artists made consciously in the light of developments in feminist art theory in the early …. Identity politics is the term used to describe an anti-authoritarian political and cultural movement that gained prominence in the USA ….
Jon Savage. Jonathan Griffin. Bill Roberts. Bill Roberts argues that Fish Story —95 by the photographer and theorist Allan Sekula expresses a shift from a culture …. David Anfam. Main menu additional Become a Member Shop. Art Term Postmodernism Postmodernism can be seen as a reaction against the ideas and values of modernism, as well as a description of the period that followed modernism's dominance in cultural theory and practice in the early and middle decades of the twentieth century.
Twitter Facebook Email Pinterest. Roy Lichtenstein Whaam! On display at Tate Modern part of Media Networks. Sandro Chia Water Bearer Damien Hirst Away from the Flock After all, Andy Warhol was the direct progenitor of the kitsch consumerist art of Jeff Koons in the s. Postmodernism can also be a critical project, revealing the cultural constructions we designate as truth and opening up a variety of repressed other histories of modernity.
Such as those of women, homosexuals and the colonised. The modernist canon itself is revealed as patriarchal and racist, dominated by white heterosexual men. As a result, one of the most common themes addressed within postmodernism relates to cultural identity. While the lessons of postmodernism continue to haunt, the term has become unfashionable, replaced by a combination of others such as globalisation , relational aesthetics and contemporaneity.
Portsmouth Climate Festival — Portsmouth, Portsmouth.
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