What ended with punk was knowledge that interior selves are constructed stage sets

Evidence

By the Eighties, as Jameson has observed, Kapital had become a gigantic interiority without any outside: a kind of jaded pleasuredome reminiscent of the all-encompassing bubble environments imagined in Seventies SF. Except it looked, for all the world, just like a familiar domestic environment: the nice house, nice family set-up ridiculed by Jamie Reid, now refurbished with added ironic distantiation and hooked up to twenty-four-hour MTV. What had been lost was the “glam knowledge” that first entered pop through Pop Art: that the social scene is a stage set populated by puppets cornfed cheap dreams and sedated by narcotics of every kind. The punks knew they were replicants; that everything that seemed to be inside was bio-psycho-social machinery that should be re-programmed or stripped out. The end of punk was the forgetting that the memories were false, that the domestic scene was so much pasteboard and image virus. — Mark Fisher (edited by Darren Ambrose), K-Punk, 1020

Categorization

• DEFINE: Defines the key term ‘glam knowledge’ inherited from Pop Art — the knowing that social life is puppetry on a stage set.
• XREF: Connects to ch60’s claim that laddishness uses controlled desublimation, and to ch25’s claim about adult reality being a fantasy suppressing the uncanny. — connects to: Punk’s sublimation is alien to mystification and demystifying — Mark Fisher (edited by Darren Ambrose), K-Punk: The Collected and Unpublished…, 988; Exploited consciousness becomes accomplice to its own subjection through passive interiority — Fredric Jameson, Marxism and Form, 572; Punk inverted 68 by repudiating pleasure and exposing interiority as ideology — Mark Fisher (edited by Darren Ambrose), K-Punk: The Collected and Unpublished…, 1018
• BMF: ‘The punks knew they were replicants’ plus the ‘forgetting that the memories were false’ — the collective implanted-memory loss of the domestic-heroin-comfort scene evokes the world of Philip K. Dick’s Do Androids Dream of Electric Sheep, but against the stated library the closest oblique resonance is White Noise’s mediation of the nuclear family scene as constructed spectacle.

Broader Connections

• Exploited consciousness becomes accomplice to its own subjection through passive interiority #complicates (0.78) — Fredric Jameson, Marxism and Form, 572