Depicted nature becomes a coded endorsement of industrial domination

Evidence

Such forces Burke, in his historical moment at the dawn of the modern bourgeois state, was only able to conceptualize in terms of the divine, while even Heidegger continues to entertain a phantasmatic relationship with some organic precapitalist peasant landscape and village society, which is the final form of the image of Nature in our own time. … The other of our society is in that sense no longer Nature at all, as it was in precapitalist societies, but something else which we must now identify. — Fredric Jameson, Postmodernism, or, The Cultural Logic…, 124 (#corroborates, via linked claim)

For we can now move from the postmodernist text to the equally postmodernist mound and ask ourselves whether — far from marking the place of Nature — it does not rather constitute something like the grave of Nature, as the latter has systematically been eclipsed from the object world and the social relations of a society whose tendential domination over its Other (the nonhuman or the formerly natural) is more complete than at any other moment in human history. From that perspective, as the mourning for a lost object which can scarcely even be remembered as such, the path back through the other objects shows them radically modified and transformed as well. The doorframe — the metonym of human habitation and the social — now turns out to have been not merely cultural, and a representation, but a nostalgic representation of a more natural form of dwelling. It now “opens the door” to a host of economic and historical anxieties about real estate speculation and the disappearance of the construction of older single-family housing which are the other face of the “postmodern” in our own time, and which then draw the landscape painting after themselves into a whole new social reality in which, from a document of cultural history, it becomes an antique and a commodity, a bit of yuppie furnishing, and in that sense no less “contemporary” than its postmodern opposite number. — Fredric Jameson, Postmodernism, or, The Cultural Logic…, 396 (#corroborates, via linked claim)

What that pairing off of meanings does next is to suggest that the “world” itself — as a combination of the social or cultural and the natural — can be opposed to that rather different matter which is its own representation, the aesthetic realm, in which both nature and culture (both the natural and the social) can be objects of representation. … The traditional landscape painting, then, in this move, retroactively transforms the first two seemingly ontological realities of the social and the natural into ideology and into representation. — Fredric Jameson, Postmodernism, or, The Cultural Logic…, 394 (#corroborates, via linked claim)

Categorization

• XREF: connects to: Postmodern nature imagery memorializes a nature already systemically eliminated by capitalism — Fredric Jameson, Postmodernism, or, The Cultural Logic…, 396; Modern societies adopt a gardener’s stance of engineered order over nature — Zygmunt Bauman, Modernity and the Holocaust, 171; Landscape painting retroactively reveals nature and society as ideological representations — Fredric Jameson, Postmodernism, or, The Cultural Logic…, 394 (+6 more)

Broader Connections

• Postmodern nature imagery memorializes a nature already systemically eliminated by capitalism #corroborates (0.85) — Fredric Jameson, Postmodernism, or, The Cultural Logic…, 396
• Late capitalism has eclipsed Nature as society’s radical other #corroborates (0.85) — Fredric Jameson, Postmodernism, or, The Cultural Logic…, 124
• Landscape painting retroactively reveals nature and society as ideological representations #corroborates (0.80) — Fredric Jameson, Postmodernism, or, The Cultural Logic…, 394
• Domination over nature is a systematic attitude, not isolated events #expands (0.80) — Wael Hallaq, Restating Orientalism, 173
• Modern societies adopt a gardener’s stance of engineered order over nature #expands (0.75) — Zygmunt Bauman, Modernity and the Holocaust, 171
• Domination in advanced capitalism is masked as neutral administration and objectivity #expands (0.72) — Herbert Marcuse, One-Dimensional Man, 186