Theo Jansen’s extraordinary kinetic sculptures and wind-powered walking machines. Made from plastic tubing, cardboard and tape. See them move.
During recent discussions about postmodernism and its implications, a few readers have argued, implausibly, that as a loose set of ideas postmodernism has no single political bias. It’s true that postmodernism is remarkably ill-defined, not least by its devotees, and one might use the term ‘postmodern’ as a kind of shorthand to refer to any cultural product that’s conspicuously aware of its own history and conventions. One might, for instance, regard The Simpsons as postmodern without assigning any particular political leaning to its characters or creators.
But insofar as postmodernism refers to a range of claims regarding the relativism of knowledge and ethics – specifically the claim, expressed with varying degrees of emphasis and clarity, that all aspects of reality are socially constructed or meaningful only as social intercourse – then these claims are political in their implications. As are assertions that Western knowledge – regarding, say, cosmology, computing or medical treatments – is a de facto power grab, the aim of which is, allegedly, to bolster the ideological “hegemony” of Western capitalist societies. Indeed, the assertion of epistemic questions as political activism is a defining trait of much postmodern rhetoric. The leftwing theorist Frank Lentricchia happily told the world that the postmodern movement “seeks not to find the foundation and conditions of truth, but to exercise power for the purpose of social change.” Achieved, one might suppose, even at the cost of truth. This overt political emphasis has led to an error and a misplaced pluralism. Specifically, the conflation of knowledge and fairness, and typically expressed as a belief that no one epistemological position – at least not a “Western” one – can be “privileged” above another, ostensibly in the interests of resisting “cultural imperialism.”
The assertion that reality is a matter of local consensus or social custom, with no existence independent of the claims made about it, seems to presuppose that there is nothing “outside” of social intercourse, and by extension that nothing much matters besides society. The default emphasis of such claims is on society, not the individual – who is, implicitly, reduced to an artefact of society, and whose character can presumably be reconstructed by society as is seen fit. Hence the preoccupation with social consensus as defining what reality is, whether or not the particulars of reality are known to human beings. A philosophy of this kind would appear to be a narcissistic cul-de-sac and metaphysically agoraphobic.
Several PoMo figures, among them Andrew Ross and Sandra Harding, have argued that rationality, coherence and standards of evidence are merely social artefacts coloured by white male patriarchy and other Western vices. Thus, it is argued, one cannot assert the primacy of the scientific method over, say, a belief in voodoo or Scientology. Defined in this way, epistemology becomes a matter of lifestyle choice or political preference. Hence Harding’s unveiling of “feminist empiricism”, a quasi-Marxist alternative to the kind that actually works.
Reading time: 4 min
The work of Charles and Ray Eames. From furniture and architecture to Powers of Ten, “a film dealing with the relative size of things in the Universe and the effect of adding another zero.”
Powers of Ten can be watched online here.
Reading time: 1 min
Via Digital Clendening, a gallery of Chinese public health posters for a happy proletariat. Posture, hygiene, vaccination. “Eat clean food.”
Related: “Japanese Art on the Subject of Medicine.”
Reading time: 1 min
Blog Preservation Fund
Recent Comments