Time-space compression from flexible accumulation generates a crisis of representation in cultural forms

Evidence

It supports the idea that the experience of time-space compression in recent years, under the pressures of the turn to more flexible modes of accumulation, has generated a crisis of representation in cultural forms, and that this is a subject of intense aesthetic concern, either in toto (as I think is the case in Wings of Desire) or in part (as would be true of everything from Blade Runner to Cindy Sherman’s photographs and the novels of Italo Calvino or Pynchon). — David Harvey, The Condition of Postmodernity, 2035

Categorization

  • DEFINE: Core statement of the flexible-accumulation-to-cultural-postmodernism causal chain; central to the reader’s rival-periodization comparison.
  • XREF: Directly comparable to Jameson’s account of postmodernism as the cultural logic of late capitalism; reader is reading Harvey as a rival periodization. — connects to: Post-1960s time-space compression makes postmodernity historically distinctive — David Harvey, The Condition of Postmodernity: An…, 1940; Loss of temporal coherence in the subject produces fragmentary, aleatory cultural forms. — Fredric Jameson, Postmodernism, or, The Cultural Logic…, 95; Immediacy as cultural style derives from space-time compression in capitalism. — Anna Kornbluh, Immediacy, or The Style of Too Late…, 60 (+6 more)
  • SEED: The causal claim — economic shift to flexible accumulation yields aesthetic crisis of representation — could anchor an essay contrasting Harvey and Jameson on exactly this mechanism.

Broader Connections