Immediacy negates mediation, blur, and depth where postmodernism embraced them.

Evidence

Where postmodernism revels in mediation—intertextuality, irony, the meta—immediacy negates mediation to effect flow and indistinction. Where postmodernism aesthetically activates pastiche, a “blank,” playful “heterogeneity without a norm,” immediacy precipitates blur, a demediated meld that lacks the contours to array heterogeneity. Where postmodernism aesthetically and epistemically embraces the surface and eschews depth, immediacy mires itself in profundities of corporeality, affect, and polarized extremity. Where postmodern affect undergoes “waning”—a dilution of modernist ferocity like anomie and alienation into “free-floating” flatness—immediacy’s affects wax rapt and veritable. Where postmodernism inscribes “a crisis of historicity,” immediacy encodes a crisis of futurity, a beclouded nonhorizon. — Anna Kornbluh, Immediacy, or The Style of Too Late…, 32

Categorization

• XREF: The chapter-defining contrast with Jameson’s postmodernism checklist — pastiche vs blur, waning affect vs rapt affect, crisis of historicity vs crisis of futurity — is the précis of how Kornbluh deliberately positions immediacy inside and against Jameson. This directly serves judging her structural debt to Jameson. — connects to: Commodified modernism collapses the distinction between real and imaginary negation.
• DEEPTHINKING: This paired-opposition grid is the single most concentrated statement of the book’s entire thesis — it names every aesthetic feature grouped under immediacy in one table-like paragraph, and it’s the pivot on which the Jameson relationship turns.