The market operates as a totalizing logic underlying diverse aesthetic forms

Evidence

But how can this procedure be theorized? The “market” is surely not any longer to be grasped as some old-fashioned worldview or zeitgeist; its effects in Michaels have some family likeness with the Foucauldian episteme, but that, as its very designation suggests, continues to be couched and described in terms of knowledge and to yield accounts, first, of some specific order and pattern of thinking, and, later on, of an order of discursive rules that preselect certain kinds of verbal possibilities and exclude others. That also does not exactly seem to be what is happening here. The Foucault of the prisons book — with its “biotechnologies of the body” and its tendential grid of power and control — produced effects more consonant with Michaels’s baleful deployment of the market here, but, unlike Greenblatt, Michaels does not seem to be much interested in power. His own word for the matter is the best one after all: he calls all this the “logic” of naturalism, and by extension seems also to imply some deeper logic or dynamic of the market, in terms of which that specific aesthetic logic (and also those of the other exhibits, of non-naturalists like Gilman or Hawthorne) can be grasped. — Fredric Jameson, Postmodernism, or, The Cultural Logic…, 476

Categorization

• DEFINE: Distinguishes the market-as-logic from older worldview/zeitgeist concepts and from Foucault’s episteme, clarifying what a totalizing economic ‘logic’ means.
• XREF: Connects to the reader’s core aim — ‘style is the economy’s way of appearing’ — as this passage theorizes exactly that totalizing relation. — connects to: Style ideals of clarity now serve the commodity logic of fast reading. — Fredric Jameson, Marxism and Form, 18; Modernist art’s totalizing control mirrors monopoly capital’s total organization — Fredric Jameson, Marxism and Form, 88
• QUESTION: The passage raises whether ‘logic of the market’ is falsifiable or just a re-description of whatever the critic observes.