Mirror | rorriM

And thus today we find ourselves in a paradoxical situation. We enjoy all the achievements of modern civilization that have made our physical existence on this earth easier so in many important ways. Yet we do not know exactly what to do with ourselves, where to turn. The world of our experiences seems chaotic, disconnected, confusing. There appear to be no integrating forces, no unified meaning, no true inner understanding of phenomena in our experience of the world. Experts can explain anything in the objective world to us, yet we understand our own lives less and less. In short, we live in the postmodern world, where everything is possible and almost nothing is certain.

When Nothing is Certain

This state of affairs has its social and political consequences. The single planetary civilization to which we all belong confronts us with global challenges. We stand helpless before them because our civilization has essentially globalized only the surfaces of our lives. But our inner self continues to have a life of its own. And the fewer answers the era of rational knowledge provides to the basic questions of human Being, the more deeply it would seem that people, behind its back as it were, cling to the ancient certainties of their tribe. Because of this, individual cultures, increasingly lumped together by contemporary civilization, are realizing with new urgency their own inner autonomy and the inner differences of others.

Cultural conflicts are increasing and are understandably more dangerous today than at any other time in history. The end of the era of rationalism has been catastrophic. Armed with the same supermodern weapons, often from the same suppliers, and followed by television cameras, the members of various tribal cults are at war with one another. By day, we work with statistics; in the evening, we consult astrologers and frighten ourselves with thrillers about vampires. The abyss between rational and the spiritual, the external and the internal, the objective and the subjective, the technical and the moral, the universal and the unique, constantly grows deeper…

As the word itself suggests, this break is most often related to notions of the waning or extinction of the hundred-year-old modern movement (or to its ideological or aesthetic repudiation). Thus abstract expressionism in painting, existentialism in philosophy, the final forms of representation in the novel, the films of the great auteurs, or the modernist school of poetry (as institutionalised and canonised in the works of Wallace Stevens) all are now seen as the final, extraordinary flowering of a high-modernist impulse which is spent and exhausted with them. The enumeration of what follows, then, at once becomes empirical, chaotic, and heterogeneous: Andy Warhol and pop art, but also photorealism, and beyond it, the “new expressionism”; the moment, in music, of John Cage, but also the synthesis of classical and “popular” styles found in composers like Phil Glass and Terry Riley, and also punk and new wave rock (the Beatles and the Stones now standing as the high-modernist moment of that more recent and rapidly evolving tradition); in film, Godard, post-Godard, and experimental cinema and video, but also a whole new type of commercial film (about which more below); Burroughs, Pynchon, or Ishmael Reed, on the one hand, and the French nouveau roman and its succession, on the other, along with alarming new kinds of literary criticism based on some new aesthetic of textuality or écriture … The list might be extended indefinitely; but does it imply any more fundamental change or break than the periodic style and fashion changes determined by an older high-modernist imperative of stylistic innovation?