The Anti Fucking Aesthetic - Are essays in Postmodernism necessary?

You can't be a preacher without knowing the bible

The Anti-Fucking-Aesthetic: Essays on Postmodern Culture

Postmodernism: does it exist at all, and if so, what does it mean? Is it a concept or a practice, a matter of local style or a whole new period or economic phase? What are it's forms, effects, place? How are we to mark its advent? Are we truly beyond the modern, truly in (say) a postindustrial age?

The essays in this book take up these questions and many others besides. Some critics, like Rosilind Krauss and Doulglas Crimp, define postmodernism as a break with the aesthetic field of modernism. Others, like Gregory Ulmer and Edward Said, engage the "object of post-criticism" and the politics of interpretation today. Some, like Craig Owens and Kenneth Frampton, frame its rise in the fall of modern myths of progress and mastery. But all the critics, save Jurgen Habermas, hold this belief in common: that the project of modernity is now deeply problematic.

Assailed though it is by pre-, anti-, and postmodernists alike, modernism as a practice has not failed. On the contrary: modernism, at least as a tradition, has "won"--but its victory is a Pyrrhic one no different than defeat, for modernism is now largely absorbed. Originally oppositional, modernism defied the cultural order of the bourgeoisie and the false "normativity" (Habermas) of its history; today, however, it is the official culture. As Jameson notes, we entertain it: its once scandalous productions are in the university, in the museum, in the street. In short, modernism, as even Habermas writes, seems "dominant but dead."

This state of affairs suggests that if the modern project is to be saved at all, it must be exceeded. This is the imperative of much vital art of the present; it is also one incentive of this book. But how can we exceed the modern? How can we break with a program that makes a value of crisis (modernism), or progress beyond the era of Progress (modernity), or transgress the ideology of the transgressive (avant-guardism)? One can say, with Paul de Man, that every period suffers a "modern" moment, a moment of crisis or reckoning in which it becomes self-conscious as a period, but this is to view the modern a historically, almost as a category. True, the word may have "lost a fixed historical reference" (Habermas), but the ideology has not: modernism is a cultural construct based on specific conditions; it has a historical limit. And one motive of these essays is to trace this limit, to mark our change.


A scene from the art film Slacker, 1991. Pay close attention to the book that he puts in his bag.

A first step, then, is to specify what modernity may be. Its project, Habermas writes, is one with that of the Enlightenment: to develop the spheres of science, morality, and art according to their inner logic." This program is still at work, say, in postway or late modernism, with its stress on the purity of each art and the autonomy of culture as a whole. Rich though this disciplinary project once was--and urgent given the incursions of kitch on one side and academe on the other--it nevertheless came to rarefy culture, to reify its forms--so much so that it provoked, at least in art, a counter-project in the form of an anarchicavant-garde (one thinks of dadaism and surrealsm especially). This is the "modernism" that Habersham opposes to the "project of modernity" and dismisses as a negation of but one sphere: nothing remains from a desublimated meaning or a destructured for; emancipatory effect does not follow."


Kenneth Frampton explains on the urban landscape and modern architecture

Although repressed in late modrnism, this "surrealist revolt" is returned in postmodernist art (or rather, its critique of represenation is reaffirmed), for the mandate of postmodernism is also: "change the object itself." Thus, as Krauss writes, postmodernist practice "is not defined in relation o a given medium...but rather in relation to the logical operations on a set of cultural terms." In this way, the very nature of art has changed; so too has the object of criticism: as Ulmer notes, a new "para literary" practice has come to the fore which dissolves the line between creative and critical forms. In the same way the old opposition of theory and practice is refused, especially, as Owens notes, by feminist artists for whom critical intervention is a tactical, political necessity. The discourse of knowledge is affected no less: in the midst of academic disciplines, Jameson writes, extraordinary new projects have emerged. "Is the work of Michel Foucault, for example, to be called philosophy, history, social theory or political science?" (One may ask the same of the "literary criticism" of Jameson or Said.)

As the importance of a Foucault, a Jaques Derrida or a Roland Barthes attests, postmodernism is hard to conceive without continental theory, structuralism and poststructuralism in particular. Both have led us to reflect upon culture as a corpus of codes or myths (Barthes), as sat of imaginary resolutions to rel contradictions (Claude Levi-Strauss). In this light, a poem or picture is not necessarily privileged, and the artifact is likely to treated less as a work in modernist terms--unique, symbolic, visionary--than as a text in a postodernist sense "already written," allegorical, contingent. With this textual model, one postmodernist strategy becomes clear: to deconstruct modernism not in order to seal it in its own image but in order to open it, to rewrite it; to open its closed systems (like the museum) to the heterogeneity of texts" (Crimp), to rewrite its universal techniques in terms of "synthetic contradictions" (Frampton)--inshort, to challenge its master narratives with the "discourse of others" (Owens).

But this very plurality may be problematic: for of modernism consists of so many unique models (D.H. LAwrence, Marcel Proust...), then "there will be as many different forms of postmodernism as there were high modernisms in place, since the former are at least initailly specific and local reactions against these models" (Jameson). As a result, these different forms might be reduced to indifference, or ostodernism dismissed as relativism (just as postculturalism is dismissed as the sbsurd notion that nothing exists "outside the text").

This conflation, i think, should be guarded against, for postmodernism is not pluralism--the quixotic notion that all positions in culture and politics are now open and equal. This apocalyptic belief that anything goes, that the "end of ideology" is here, is simply the inverse of the fatalistic belief that nothing works, that we live under a "total system" without hope of redress--the very acquiescence that Ernest Mandel calls the "ideology of late capitalism."

Clearly, each position on or within postmodernism is marked by political "afiliatios" (Said) and historical agendas. How we conceive postmodernism, then, is critical to how we represent both present and past--which aspects are stressed, which repressed. For what does it mean to periodize in terms of postmodernisn: to argue that ours is an era of the death of the subject (Baudrillard) or of the loss of master narratives (Owens), o assert that we live in a consumer society that renders opposition difficult (Jameson) r amidst a meritocracy in which the humanities are marginal indeed (Said)? Such notions are not apocalyptic: they mark uneven developments, not clean breaks and new days. Perhaps, then, postmodernism is best conceived as a conflict o new and old modes--cultural and economic, the one not entirely autonomous, the other not all determinative--and of the interests vested therein. This at least makes the agenda of this book clear: to disengage the emergent cultural forms and social relations (Jameson) and to argue the import of doing so.

Even now, of course, there are standard positions to take on postmodernism: one may support postmodernism as populist and attack modernism as elitist or, conversely, support modernism as elitist-as culture proper--and attack postmodernism as mere kitsch. Such views reflect one thing: that postmodernism is publicly regarded (no doubt vis-a-vis postmodern architecture) as a necessary turn toward "tradition." Briefly, then, I want to sketch an oppositional postmodernism, the one that informs this book.



Jurgen Habermas reflects on his studies

In cultural politics today, a basic opposition exists between a postmodernism which seeks to deconstruct modernism and resist the status quo and a postmodernism which repudiates the former to celebrate the latter: a postmodern of resistance and and a postmodern of reaction. These essays deal mostly with the former--its desire to change the object and its social cotext. The postmodernism of reaction is raf better known: though not monolithic, it is singular in its repudiation of modernism. This repudiation, voiced most shrilly perhaps by neoconservatives but echoed everywhere, is stategic: as Habermas cogently argues, the neoconservatives sever the cultural from the social, then blame the practices on the one (modernism) for the ills of the other (modernization). With cause and effect thus confounded, "adversary culture is denounced even as the economic and political status quo is affirmed-indeed, a new "affirmative" culture is proposed.

Accordingly, culture remains a force but largely of social control, a gratuitous image drawn over the face of instrumentality (Frampton). Thus is this postmodernism conceived in therapeutic, not to say cosmetic, terms: as a return to the verities of tradition (in art, family, religion...) Modernsm is reduced to a style (e.g., "formalism" or the International Style) and condemned, or excised entirely as a cultural mistake; pre- and postmodern elements are then elided, and the humanist tradition is preserved. But what is this return if not a resurresction of lost traditions set against modernism, a master plan imposed on a heterogeneous present?

A postmodernism of resistance, than, arises as a counter-practice not only to the official culture of modernism but lso to the "false normativity" of a reactionary postmodernism. In opposition (but not only in opposition), a resistant postmodernism is concerned with a critical deconstruction of tradition,not an instrumental pastiche of pop- or pseudo- historical forms, with a critique or origins, not a eturn to them. In short, it seeks to question rather than exploit cultural codes, to explore rather than conceal social and political affiliations.
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During my studies at Art school, I remember one of the students in my core group got so frustrated with the language that she literally pulled out strands of her own hair. The Anti-Aesthetic: Essays on Postmodern Culture.

The text is the preamble by the author, Hal Foster, first published in 1983. The Anti-Aesthetic includes works by, Jurgen Habermas, Frederic Jameson, Edward Said, Kenneth Frampton, and Douglas Crimp.