Postmodern nature imagery memorializes a nature already systemically eliminated by capitalism

Evidence

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

Categorization

• XREF: Connects to reading purpose: the claim that even ‘natural’ objects in postmodern space are nostalgic representations supports the cognitive-map exercise of locating one’s own position. — connects to: Civilization’s bondage breeds longing that becomes worship of a transfigured nature; Depicted nature becomes a coded endorsement of industrial domination; Romanticized nature and desire directly translate rather than oppose capital — Jean Baudrillard, Simulacra and Simulation, 460 (+10 more)
• QUESTION: Is ‘the grave of Nature’ passage falsifiable, or is it an aesthetic framing? Useful for the reader’s push on the cultural-dominant thesis.