Surrealist layering of fragmented images persists across decades as a continuity

Evidence

Yet the layering of the vision has odd similarities with those evoked by Ballard in the following “paragraph,” entitled “The Persistence of Memory”: An empty beach with its fused sand. Here clock time is no longer valid. Even the embryo, symbol of secret growth and possibility, is drained and limp. These images are the residues of a remembered moment of time. For Talbot the most disturbing elements are the rectilinear sections of the beach and sea. The displacement of these two images through time, and their marriage with his own continuum, has warped them into rigid and unyielding structures of his own consciousness. Later, walking along the flyover, he realized that the rectilinear forms of his conscious reality were warped elements from some placid and harmonious future. — Fredric Jameson, Postmodernism, or, The Cultural Logic…, 411

Categorization

• XREF: Ballard’s imagery of displaced, warped perceptual fragments parallels the very fragmentation Jameson describes — could connect to reader’s other science-fiction reading. — connects to: Cubist collage made fragments of reality enter art as reality itself. — Alex Callinicos, Against Postmodernism: A Marxist…, 238; Surrealism aims to reconstruct the primal continuity of unconscious fantasy — Fredric Jameson, Marxism and Form, 200; Characteristic plot structure persists while its object is interiorized across historical stages — Fredric Jameson, Marxism and Form, 294 (+7 more)
• yield-rescued: below the book’s yield-target cutoff, included anyway for connecting to: Cubist collage made fragments of reality enter art as reality itself. — Alex Callinicos, Against Postmodernism: A Marxist…, 238; Surrealism aims to reconstruct the primal continuity of unconscious fantasy — Fredric Jameson, Marxism and Form, 200; Characteristic plot structure persists while its object is interiorized across historical stages — Fredric Jameson, Marxism and Form, 294 (+7 more)