With the collapse of high-modernist style, culture producers turned to imitating dead styles

Evidence

It would therefore begin to seem that Adorno’s prophetic diagnosis has been realized, albeit in a negative way: not Schonberg (the sterility of whose achieved system he already glimpsed) but Stravinsky is the true precursor of postmodern cultural production. For with the collapse of the high-modernist ideology of style — what is as unique and unmistakable as your own fingerprints, as incomparable as your own body (the very source, for an early Roland Barthes, of stylistic invention and innovation) — the producers of culture have nowhere to turn but to the past: the imitation of dead styles, speech through all the masks and voices stored up in the imaginary museum of a now global culture. — Fredric Jameson, Postmodernism, or, The Cultural Logic…, 78

Categorization

• XREF: This is the engine of pastiche Jameson will contrast with parody: imitation of dead styles without the satirical distance parody requires. — connects to: Popular modernism was eclipsed by heritage kitsch and US corporate culture — Mark Fisher, Ghosts of My Life: Writings on…, 502