"Post-modernism has cut off the present from all futures. The daily media add to this by cutting off the past. Which means that critical opinion is often orphaned in the present"
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Berger’s line lands like a bleak diagnosis of time itself: a culture that can’t imagine tomorrow and won’t remember yesterday is condemned to an eternal, chattering now. The first cut is philosophical. Post-modernism, in his telling, doesn’t merely “question grand narratives”; it hollows out the very idea that history points anywhere. If everything is pastiche, irony, and endlessly remixable surfaces, the future stops being a destination and becomes just another style choice.
Then Berger turns to the daily media as the second blade. News cycles don’t simply forget; they actively sever. Yesterday is not a foundation but a discarded tab, replaced by the next alert. That’s not neutral acceleration. It’s a structural amnesia that makes continuity feel quaint and context feel like a luxury good.
The kicker is the phrase “critical opinion is often orphaned.” Berger isn’t mourning manners; he’s describing how critique loses its parents: memory (the past) and projection (the future). Without those, opinion becomes reactive, personal-brand flavored, easily monetized and easily replaced. It can be loud but not rooted; indignant but not strategic.
Coming from Berger - an artist and critic shaped by Marxist humanism, attentive to how images train desire and how power edits perception - the intent is political as much as aesthetic. He’s warning that when culture collapses into an endless present, institutions win by default: people who can’t narrate their history can’t organize, and people who can’t picture a future can’t demand one.
Then Berger turns to the daily media as the second blade. News cycles don’t simply forget; they actively sever. Yesterday is not a foundation but a discarded tab, replaced by the next alert. That’s not neutral acceleration. It’s a structural amnesia that makes continuity feel quaint and context feel like a luxury good.
The kicker is the phrase “critical opinion is often orphaned.” Berger isn’t mourning manners; he’s describing how critique loses its parents: memory (the past) and projection (the future). Without those, opinion becomes reactive, personal-brand flavored, easily monetized and easily replaced. It can be loud but not rooted; indignant but not strategic.
Coming from Berger - an artist and critic shaped by Marxist humanism, attentive to how images train desire and how power edits perception - the intent is political as much as aesthetic. He’s warning that when culture collapses into an endless present, institutions win by default: people who can’t narrate their history can’t organize, and people who can’t picture a future can’t demand one.
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| Topic | Deep |
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