Weiye Loh's Library tagged Foucault → View Popular, Search in Google

Apr

2012

The Death of Postmodernism And Beyond | Philosophy Now

Postmodern philosophy emphasises the elusiveness of meaning and knowledge. This is often expressed in postmodern art as a concern with representation and an ironic self-awareness. And the argument that postmodernism is over has already been made philosophically. There are people who have essentially asserted that for a while we believed in postmodern ideas, but not any more, and from now on we’re going to believe in critical realism. The weakness in this analysis is that it centres on the academy, on the practices and suppositions of philosophers who may or may not be shifting ground or about to shift – and many academics will simply decide that, finally, they prefer to stay with Foucault [arch postmodernist] than go over to anything else. However, a far more compelling case can be made that postmodernism is dead by looking outside the academy at current cultural production.

www.philosophynow.org/...th_of_Postmodernism_And_Beyond

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Postmodernism Foucault Philosophy Modernism Spectacle Reality Reality TV

Most of the undergraduates who will take ‘Postmodern Fictions’ this year will have been born in 1985 or after, and all but one of the module’s primary texts were written before their lifetime. Far from being ‘contemporary’, these texts were published in another world, before the students were born: The French Lieutenant’s Woman, Nights at the Circus, If on a Winter’s Night a Traveller, Do Androids Dream of Electric Sheep? (and Blade Runner), White Noise: this is Mum and Dad’s culture. Some of the texts (‘The Library of Babel’) were written even before their parents were born. Replace this cache with other postmodern stalwarts – Beloved, Flaubert’s Parrot, Waterland, The Crying of Lot 49, Pale Fire, Slaughterhouse 5, Lanark, Neuromancer, anything by B.S. Johnson – and the same applies. It’s all about as contemporary as The Smiths, as hip as shoulder pads, as happening as Betamax video recorders. These are texts which are just coming to grips with the existence of rock music and television; they mostly do not dream even of the possibility of the technology and communications media – mobile phones, email, the internet, computers in every house powerful enough to put a man on the moon – which today’s undergraduates take for granted.
somewhere in the late 1990s or early 2000s, the emergence of new technologies re-structured, violently and forever, the nature of the author, the reader and the text, and the relationships between them.
18 more annotation(s)...
- Postmodernism, like modernism and romanticism before it, fetishised [ie placed supreme importance on] the author, even when the author chose to indict or pretended to abolish him or herself. But the culture we have now fetishises the recipient of the text to the degree that they become a partial or whole author of it. Optimists may see this as the democratisation of culture; pessimists will point to the excruciating banality and vacuity of the cultural products thereby generated (at least so far).
- Pseudo-modernism also encompasses contemporary news programmes, whose content increasingly consists of emails or text messages sent in commenting on the news items. The terminology of ‘interactivity’ is equally inappropriate here, since there is no exchange: instead, the viewer or listener enters – writes a segment of the programme – then departs, returning to a passive role. Pseudo-modernism also includes computer games, which similarly place the individual in a context where they invent the cultural content, within pre-delineated limits. The content of each individual act of playing the game varies according to the particular player.
- The pseudo-modern cultural phenomenon par excellence is the internet. Its central act is that of the individual clicking on his/her mouse to move through pages in a way which cannot be duplicated, inventing a pathway through cultural products which has never existed before and never will again. This is a far more intense engagement with the cultural process than anything literature can offer, and gives the undeniable sense (or illusion) of the individual controlling, managing, running, making up his/her involvement with the cultural product. Internet pages are not ‘authored’ in the sense that anyone knows who wrote them, or cares. The majority either require the individual to make them work, like Streetmap or Route Planner, or permit him/her to add to them, like Wikipedia, or through feedback on, for instance, media websites. In all cases, it is intrinsic to the internet that you can easily make up pages yourself (eg blogs).
- Where once special effects were supposed to make the impossible appear credible, CGI frequently [inadvertently] works to make the possible look artificial, as in much of Lord of the Rings or Gladiator. Battles involving thousands of individuals have really happened; pseudo-modern cinema makes them look as if they have only ever happened in cyberspace.
- Similarly, television in the pseudo-modern age favours not only reality TV (yet another unapt term), but also shopping channels, and quizzes in which the viewer calls to guess the answer to riddles in the hope of winning money.
- The purely ‘spectacular’ function of television, as with all the arts, has become a marginal one: what is central now is the busy, active, forging work of the individual who would once have been called its recipient. In all of this, the ‘viewer’ feels powerful and is indeed necessary; the ‘author’ as traditionally understood is either relegated to the status of the one who sets the parameters within which others operate, or becomes simply irrelevant, unknown, sidelined; and the ‘text’ is characterised both by its hyper-ephemerality and by its instability. It is made up by the ‘viewer’, if not in its content then in its sequence – you wouldn’t read Middlemarch by going from page 118 to 316 to 401 to 501, but you might well, and justifiably, read Ceefax that way.
- A pseudo-modern text lasts an exceptionally brief time. Unlike, say, Fawlty Towers, reality TV programmes cannot be repeated in their original form, since the phone-ins cannot be reproduced, and without the possibility of phoning-in they become a different and far less attractive entity.
- If scholars give the date they referenced an internet page, it is because the pages disappear or get radically re-cast so quickly. Text messages and emails are extremely difficult to keep in their original form; printing out emails does convert them into something more stable, like a letter, but only by destroying their essential, electronic state.
- The cultural products of pseudo-modernism are also exceptionally banal
- Much text messaging and emailing is vapid in comparison with what people of all educational levels used to put into letters.
- A triteness, a shallowness dominates all.
- In music, the pseudo-modern supersedingof the artist-dominated album as monolithic text by the downloading and mix-and-matching of individual tracks on to an iPod, selected by the listener, was certainly prefigured by the music fan’s creation of compilation tapes a generation ago. But a shift has occurred, in that what was a marginal pastime of the fan has become the dominant and definitive way of consuming music, rendering the idea of the album as a coherent work of art, a body of integrated meaning, obsolete.
- To a degree, pseudo-modernism is no more than a technologically motivated shift to the cultural centre of something which has always existed (similarly, metafiction has always existed, but was never so fetishised as it was by postmodernism). Television has always used audience participation, just as theatre and other performing arts did before it; but as an option, not as a necessity: pseudo-modern TV programmes have participation built into them.
- Whereas postmodernism called ‘reality’ into question, pseudo-modernism defines the real implicitly as myself, now, ‘interacting’ with its texts. Thus, pseudo-modernism suggests that whatever it does or makes is what is reality, and a pseudo-modern text may flourish the apparently real in an uncomplicated form: the docu-soap with its hand-held cameras (which, by displaying individuals aware of being regarded, give the viewer the illusion of participation); The Office and The Blair Witch Project, interactive pornography and reality TV; the essayistic cinema of Michael Moore or Morgan Spurlock.
- whereas postmodernism favoured the ironic, the knowing and the playful, with their allusions to knowledge, history and ambivalence, pseudo-modernism’s typical intellectual states are ignorance, fanaticism and anxiety
- Pseudo-modernism belongs to a world pervaded by the encounter between a religiously fanatical segment of the United States, a largely secular but definitionally hyper-religious Israel, and a fanatical sub-section of Muslims scattered across the planet: pseudo-modernism was not born on 11 September 2001, but postmodernism was interred in its rubble.
- pseudo-modernism lashes fantastically sophisticated technology to the pursuit of medieval barbarism – as in the uploading of videos of beheadings onto the internet, or the use of mobile phones to film torture in prisons. Beyond this, the destiny of everyone else is to suffer the anxiety of getting hit in the cross-fire. But this fatalistic anxiety extends far beyond geopolitics, into every aspect of contemporary life; from a general fear of social breakdown and identity loss, to a deep unease about diet and health; from anguish about the destructiveness of climate change, to the effects of a new personal ineptitude and helplessness, which yield TV programmes about how to clean your house, bring up your children or remain solvent.
- pseudo-modernist communicates constantly with the other side of the planet, yet needs to be told to eat vegetables to be healthy, a fact self-evident in the Bronze Age. He or she can direct the course of national television programmes, but does not know how to make him or herself something to eat – a characteristic fusion of the childish and the advanced, the powerful and the helpless. For varying reasons, these are people incapable of the “disbelief of Grand Narratives” which Lyotard argued typified postmodernists

Dec

2011

IJBS

Foucault’s point on power: power is not a conspiracy against freedom, but is rather a condition of its existence. Strictly speaking, in Foucault’s nominalist understanding of power it would be the case that if there were no power, then there would be nothing. Power as such, for Foucault, is thus not opposed to freedom.

www.ubishops.ca/...mcfarlane.htm

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Governmentality Foucault Power

resistance is both prior to and constitutive of power.
Freedom, thus, is implied in a game or struggle between a complex relation of forces. Freedom as such cannot possibly be located ‘outside’ power for it is constituted and produced by the clash of forces. This is the only way to make sense of Foucault’s distinction between power and violence in his essay, “The Subject and Power,” where he counter-intuitively claims that the “slavery is not a power relationship”, but is rather violence.15

Sep

2011

What I Hate About Paglia « Quiet Riot Girl

http://www.neoliberalismo.com/Foucault.htm

quietgirlriot.wordpress.com/...what-i-hate-about-paglia

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Foucault

“Sex, Art, and American Culture.” One of my observations was that Foucault’s works are oddly devoid of women. Shouldn’t that concern you as a feminist? It is simply untrue that Foucault was learned: He was at a loss with any period or culture outside of post-Enlightenment France (his later writing on ancient sexuality is a garbled mishmash). The supposedly innovative ideas for which his gullible acolytes feverishly hail him were in fact borrowed from a variety of familiar sources, from Friedrich Nietzsche, Emile Durkheim and Martin Heidegger to Americans such as sociologist Erving Goffman.
the kind of respect for empirical fact-gathering and organization of data that is completely missing from Foucault, who selectively tailors his material to fit a monotonous, rigidly dualistic a priori thesis.

Jun

2011

The Epidemic of Mental Illness: Why? by Marcia Angell | The New York Review of Books

It seems that Americans are in the midst of a raging epidemic of mental illness, at least as judged by the increase in the numbers treated for it. The tally of those who are so disabled by mental disorders that they qualify for Supplemental Security Income (SSI) or Social Security Disability Insurance (SSDI) increased nearly two and a half times between 1987 and 2007—from one in 184 Americans to one in seventy-six. For children, the rise is even more startling—a thirty-five-fold increase in the same two decades. Mental illness is now the leading cause of disability in children, well ahead of physical disabilities like cerebral palsy or Down syndrome, for which the federal programs were created.

www.nybooks.com/...epidemic-mental-illness-why

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Mental Illness Foucault Drugs Capitalism Psychology Psychiatry

most psychiatrists treat only with drugs, and refer patients to psychologists or social workers if they believe psychotherapy is also warranted. The shift from “talk therapy” to drugs as the dominant mode of treatment coincides with the emergence over the past four decades of the theory that mental illness is caused primarily by chemical imbalances in the brain that can be corrected by specific drugs.
after Prozac came to market in 1987 and was intensively promoted as a corrective for a deficiency of serotonin in the brain. The number of people treated for depression tripled in the following ten years, and about 10 percent of Americans over age six now take antidepressants.
1 more annotation(s)...
- Is the prevalence of mental illness really that high and still climbing? Particularly if these disorders are biologically determined and not a result of environmental influences, is it plausible to suppose that such an increase is real? Or are we learning to recognize and diagnose mental disorders that were always there? On the other hand, are we simply expanding the criteria for mental illness so that nearly everyone has one? And what about the drugs that are now the mainstay of treatment? Do they work? If they do, shouldn’t we expect the prevalence of mental illness to be declining, not rising?