a sense of an enclosed present, a total present, severed from history

I was yesterday years old when I learned (courtesy David Higgins’ Reverse Colonization, which I may write about directly if time allows) that David Harvey—yes, that’s Lovable Marxist Granddad David Harvey™—can count among his many achievements having been a minor contributor to Mike Moorcock’s run at New Worlds, where he published a piece of fiction and an editorial on (among other topics) entropy.

Higgins’s discussion of Harvey’s NW stuff reminded me of one of Harvey’s better-known academic contributions, namely the notion of “time-space compression” as a function of capitalism, which is implicated in the emergence of the postmodern condition. I’ve been meaning to look that up for a while now, not least because I’ve assumed it’s related to a few underdeveloped squibs that leapt out at me during my (rather tormented and difficult) first attempt at scaling the mountain of Uncle Karl’s Grundrisse; these asides concern what Marx referred to as “the means of communication”, but which we would probably now refer to as (yes, you guessed it) infrastructure.

In lieu of actually getting hold of and reading Harvey’s The Condition of Postmodernity: An Enquiry in the Origins of Cultural Change (because hahahah, OMG, I have waaaaaay too many things to do and read for me to consider adding another one to the queue at this point), I dug out this retrospective piece by Natalie Melas at the Post45 collective, which sets the book alongside the (much better known) Fredric Jameson works on the postmodern. These excerpts, however, are more concerned with Harvey’s distinct notion of time-space compression, because it’s of greater and more immediate relevance to my work. Clip the first:

The signal contribution of Harvey’s argument is the analysis of “time-space compression” in which capitalism, as he puts it, “annihilates space through time.” The way global space shrinks in our experience and understanding relative to the time it takes to traverse it is one basic index of the time-space compression, but the term also points to “processes that so revolutionize the objective qualities of space and time that we are forced to alter, sometimes in quite radical ways, how we represent the world to ourselves.”5 Harvey specifies several “rounds” of time-space compression in the history of capitalism. These time-space compressions are prompted by alterations in “the objective qualities of space and time,” but their ramifications are an alteration not only in our experience but also in our representation of the world. Representation is the key vector in Harvey’s analysis that allows for the intersection of visual art, film, architecture, urban planning and other modalities of postmodern culture.

No points to VCTB regulars for guessing that I’m about to make the point that the medium of time-space compression is infrastructure; this is a media-ecological argument, in that it extends the notion of “media” from the lay understanding (i.e. newspapers, radio, TV, internet) into the material distributive systems through/across which those representational media are (re)produced. The equivalence goes the other way, as well, in that we can think about, say, water treatment and distribution systems as a sort of system of representation and communication… and that also means that the use of the term “abstraction” in the civil engineering discourse around infrastructure suddenly has a very interesting (i.e. alarming) doubled meaning.

Again, I need to read the actual book to be sure, but I strongly suspect that there’s support in Harvey’s thinking for my own argument that the metasystem (a.k.a. concrete infrastructure, pun very much intended) is always already the metamedium, which is to say it is the screen upon which the Debordian Spectacle is projected. Clip the second:

For Harvey, as for Jameson, the postmodern time-space compression gave on to a sense of an enclosed present, a total present, severed from history at least in its dialectical form. Our own moment, under the pressure of ecological crisis, seems instead preoccupied by a futurity bound to the consciousness of a geological time scale, a scale that utterly dwarfs historical epochality.13 The extinction of homo sapiens, along with other animal and plant life, is persistently knowable but unrepresentable, no less so than the aesthetic problematic of globality in postmodernism that Jameson describes and names the “postmodern sublime” at the end of the eponymous essay in Postmodernism, or The Logic of Late Capitalism. Is there a distinct rupture between contemporary discourses on environmental catastrophe and the thematics of postmodernism, or is there a hidden continuity, or both?

Meanwhile, the questions of (un)representability that Melas is poking at here seem to me to be the same questions that Latour has been wrestling with in the last few decades, albeit from a very different direction… and that loops me back to the Higgins book, in a way, because it quite rightly defends postmodern critique against the accusation that it is somehow to blame for the soi disant “post-truth” phenomenon, but nonetheless (perhaps unavoidably?) sustains the Foucauldean reification of ideas like “power” and “neoliberalism”, which Latour would argue are black boxes which must be opened and explored as the perpetually renegotiated networks of relations that they are. Indeed, Higgins’s final chapter, on a lesser-known Chip Delany trilogy, kind of makes the same point… but it does so with(in) the paradigm of postmodern critique, and so carries through what Latour (and, increasingly, I) would describe as the (well-intended) limitations thereof.

So, yeah—some useful connections here. We’ll see how time allows for me to write more about the Higgins, because it’s an interesting book in its own right, as well as a demonstration of the limits of certain critical apparatuses.

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