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The Postmodern Mystery Reading List: 50 Essential Works
Postmodern Mystery is a web site devoted to experimental, unconventional and postmodern approaches to stories of mystery and suspense. Here is a list of 50 essential mysteries, with links to full reviews of each book.
fiction  mystery  postmodernism 
9 days ago by gritter
Apocalyptic Aesthetic: On Agustín Fernández Mallo’s “The Nocilla Trilogy” - Los Angeles Review of Books
Far from being a traditionally punk emblem, Nocilla was a pop product present in most Spanish kitchen cupboards, a lesser glamorous chocolate spread than Nutella. Nocilla Dream brought a very pedestrian icon of consumer capitalism and made it worthy not only of literary value, but of a framework, a form of thought. To think Nocilla-like meant to experience the current world “as it was,” a fragmented and accelerated reality where human existence was better conceived as a string of disjointed stories, products, songs, scientific principles, media, technology — a hodgepodge of constant stimuli coming and going in a never-ending network, compounding and dissolving simultaneously.
fiction  postmodernism  writing 
7 weeks ago by craniac
Jordan Peterson | ContraPoints
Nice attempt to characterise and deconstruct JP's generalising picture of a postmodernist neomarxist ideology
gender  identity  philosophy  JordanPeterson  critique  opinions  discussion  postmodernism  modernism  politics  hilarious  fun  LGBT 
9 weeks ago by 0x72776F7A
David Harvey's The Condition of Postmodernity
Ch. 6 ("POSTmodernISM or postMODERNism?," pp. 113-118) provides a preliminary assessment of the postmodern condition: positive in its "concern for difference for the difficulties of communication, for the complexity and nuances of interests, cultures, places, and the like" (113), and useful as "mimetic of the social, economic, and political practices in society," provided that it is accompanied by careful analysis (113-4). However, it overstates its own importance and difference from...

Ch. 24 ("The work of art in an age of electronic reproduction and image banks," 346-349) provides brief notes on the ability to archive and store contextless images, then retrieve them for mass dispersal. Harvey argues that, despite their democratizing appearance, the logic of capital still controls what can and cannot be done with these image stores. The mobilization of capital is evident, for instance, in the way that cultural producers are mobilized by capital to produce (market, circulate, package, transform) a continuing stream of spectacles for public consumption. Of course, this is precisely what opened up the possibility for German fascism to become such a powerful political force. (346-7) The expansion of the "middle class" to include cultural producers integrates artists and aesthetes into the dominative logic of capital by seducing them with visions of individual freedom within the capitalist regime, and therefore fractures possibilities for class consciousness. As postmodern capitalism is increasingly a regime of accumulation that produces images and symbols, and thereby produces space and time, this is a particularly canny move for capital to make.

Ch. 25 ("Responses to time-space compression," pp. 350-352) examines various theoretical responses to that phenomenon. Deconstructionism, Harvey argues, has value insofar as it promotes analysis of hidden presuppositions and simplifications, but the reflexive rejection of all narratives and metatheories into language games or "a rubble of signifiers" "produced a condition of nihilism that prepared the ground for the re-emergence of a charismatic politics and even more simplistic propositions than those which were deconstructed." (350) A second response is a simplification of the "complexity of the world" to "highly simplified rhetorical propositions," including slogans and "depthless images." Harvey also acknowledges a middle-of-the-road postmodernism "which spurns grand narrative but which does cultivate the possibility of limited action." Dubbing this "progressive postmodernism," he acknowledges its positive contributions (visions of other possible worlds and grounds for acting on them, but says that "it is hard to stop the slide into parochialism, myopia, and self-referentiality in the face of the universalizing force of capital circulation." Harvey does praise the attempts to find new forms of representation that adequately address these new conditions of time, space, and money, mentioning Baudrillard and Virilio in this context but claiming that this branch of postmodern thought, too, sometimes tends to degenerate into "the most alarming irresponsibility" (351).
david_harvey  postmodernism  marxism  art  capitalism 
11 weeks ago by jstenner
Die, Workwear! - How Sound Branding Changed Fashion
“Equally amused and intrigued, the friends decided to cook up trend reports of their own – an art project that would mix parodies of consumerism with their personal observations about culture,”
tiresome  postmodernism  fashion  normcore 
11 weeks ago by yorksranter

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