Radically open, recomposable realities in culture mirror late capitalism’s care-destroying impermanence

Evidence

But by 2015 that excitement has long since flatlined. As with so much contemporary culture, Terminator Genisys feels simultaneously selfsatisfied and desperate, frenzied and boring. It is at one and the same time a desecration and plundering of the series’ past that is also pathetically reverential towards it. … But this is the problem — a film whose reality is this plastic, this recomposable, is simply impossible to care about on any level. As such, Terminator Genisys becomes a kind of dumb, unintentional parable about restructuring in late capitalism. Since anything can and will change soon, why bother to care about what is happening now? The whole film feels like a monument to pointless hard work. — Mark Fisher (edited by Darren Ambrose), K-Punk, 759

Categorization

• XREF: Builds on the book-so-far’s recurring theme of capitalist realism and nostalgic nostalgia-mode from earlier chapters, plus Fredric Jameson’s pastiche invoked in 754. — connects to: Post-1960s millennialism freely blends traditions into conspiracist bricolage — Michael Barkun, A Culture of Conspiracy: Apocalyptic…, 110; Fantasy’s rise tracks capitalism’s defeat of alternative reality structures — Mark Fisher (edited by Darren Ambrose), K-Punk: The Collected and Unpublished…, 376; Immediacy theory mirrors rather than analyzes the cultural trends of late capitalism — Anna Kornbluh, Immediacy, or The Style of Too Late…, 249 (+2 more)

Broader Connections

• Immediacy theory mirrors rather than analyzes the cultural trends of late capitalism #corroborates (0.85) — Anna Kornbluh, Immediacy, or The Style of Too Late…, 249
• Flexible postmodernism couples economic ephemerality with cultural commitments to place and being #qualifies (0.72) — David Harvey, The Condition of Postmodernity, 2102