Lyotard and Lacan answering the
question: what does Postmodernism
want?
Postmodernism begins in intemperance. Wilfully scorning the solace
of good forms, it is seemingly calculated to exceed. Conjuring up
an immoderation that knows no trim, each excessive act must trump
the previous one. There is almost a desperation to this bacchanal,
an exhaustive willingness on the part of postmodernism to delay the
onset of sobriety at all costs. For when the party’s over, what the red
eyes and shaky hands of postmodernism fear the most is homogeneity.
Frantically clinging to an economy of hysteria, a studied recklessness
overtakes its work when it is forced to assuage the seductions of
synthesis and sameness. There must be something more to everything
than what there is. But why?
This ‘something more’ has, of course, been given various names,
from the ‘unconscious’ through ‘capital’ to the ‘Dionysian’. For post-
modernism these names and the projects they signify have congealed,
ironically, into the greater task of retaining this tradition of excess at
all. What is at stake right now is the very faculty, which expedites
the disclosure of ‘excess’ or ‘heterogeneity’ in the first place, the
faculty, we might say, of différance. Mostly for the sake of conve-
nience, the nemesis of this faculty is called, ‘modernity’. The problem
with modernity is its utter perversity. As Henri Meschonnic avers,
‘[t]he term has no referent. No fixed, objective referent. It has only
a subject, of which it is full. It is the signifiant [signifying] of a
subject."! Here, then, is the dilemma of perversion writ large, for
the task of selfmastery is imperilled by its own success, ex-posing
itself to the Kantian jeopardy of a boundless subjectivity that is
pure self and that thereby fails to secure its own objective condi-
tions of existence. Absolute subjectivization paradoxically initiates the
disappearance of the subject, just as surely as it lapses into absolute
objectivization, Summing up the point, Ernesto Laclau argues, ‘I
am a subject precisely because I cannot be an absolute consciousness,
because something constitutively alien confronts me’.? There must,
in other words, be more than just what there is; there must also be
excess.Lyotard and Lacan answering the question: what does Postmodemism want? 85
Taking their bearings from this constellation of issues, we might
identify two beneficiaries of the Freudian legacy whose respective
oeuvres stand as some of the most instructive attempts to retain and
enhance the faculty of différance: Jacques Lacan and Jean-Frangois
Lyotard, Viewed from this angle, the work of these theorists can
be said to complement each other in the bigger picture, even as
they dispute matters at the level of detail. Specifically, we may note
that they both begin by defining a position in contradistinction to the
processes of homogenization, or, what we might term the problematic
of modernity.
For Lacan this problematic is most clearly articulated within the
order of the imaginary. The imaginary refers, at one level, to the
gestatory process of the ego, but also, more ambitiously, it denotes
a type of relationship between the subject and its world, as Malcolm
Bowie comments:
The Imaginary is the order of mirror-images, identifications and reciprocities. It
is the dimension of experience in which the individual seeks not simply to placate
the Other but to dissolve his otherness by becoming his counterpart. By way of
the Imaginary, the original identificatory procedures which brought the ego into
being are repeated and reinforced by the individual in his relationship with the
external world of people and things.*
The ‘original identificatory procedures’ which give birth to the ego
are based on the infant’s lack of physical volition which Lacan identi-
fies as being the result of the ‘specific prematurity of birth in man’.* This
prematuration manifests itself in the infant’s inability to co-ordinate its
movements, an inability that is only overcome by identifying with the
rather more felicitous Gestalt of its own image in a mirror (of whatever
kind). Faced with this apparently more capable collocation of its limbs,
the infant finds that ‘in relation to the still very profound lack of co-
ordination of his own motility, it represents an ideal unity, a salutary
imago’.? This sober picture of itself therefore anticipates the child’s
future development and affords it a pleasing sense of coherency, or, in
other words, an ego. Whilst seeming a stabilizing fiction, this process of
identification actually inheres within the seat of the subject as a desper-
ately capricious force, constantly undermining the rectitude it seeks
to impart with a kind of invertebral fitfulness. This is because, formed
from an identification that precedes itself, the ego is thus constitu-
tionally sundered, forever trying to reconcile the other to its same.
In its wider application, then, the imaginary designates a restless
secking after self, a process of amalgamating more and more instances86. Paragraph
of replication and resemblance in order to bolster up the fable of
its unity. As such, the imaginary denotes a condition in which, as
Terry Eagleton notes, ‘what “‘self’ we have seems to pass into objects,
and objects into it, in a ceaseless closed exchange’.6 The boundaries
between the inner and outer world are thus devoid of saliency, each
object seamlessly accruing within the aggregation of the subject in
a kind of projective empire of the self. Under such conditions, the
subject adulterates all objective excess. The operations of the ego then
repress heterogeneity by recasting everything within the formal rubric
of what Lacan terms ‘the statue in which man projects himself’.”
The mirror stage qua genealogy thus becomes the mirror stage qua
cosmology, a place of self rather than a passage of rites.* In this sense,
then, the imaginary specifies a narcissistic relation with the world, an
intrasubjective, as opposed to an intersubjective, condition, and it is
thus ofa piece with modernity, which, to recall Meschonnic, ‘has only
4 subject, of which it is full’.?
Indeed, the imaginary is, in one sense, a thoroughly historicized
concept. We owe this insight particularly to the work of Teresa
Brennan who argues that with it ‘Lacan is describing a specific era
in history —that of the ego. But the era he is describing is one that
curtails historical thinking’.!° This, of course, finds echoes in what we
have already identified as the problematic of modernity, the splendid
isolation of which abnegates the possibility of a historical referent and
forces it into a kind of subjective irredentism. Such expansionism may
also, of course, be considered the action of the sublime. However, it is
here that Lyotard proves a useful complement to Lacan, for he is careful
to distinguish between the authentic sublimity of postmodernism and
its ersatz modernist counterpart:
[MJodern aesthetics is an aesthetic of the sublime, though a nostalgic one. It
allows the unpresentable to be put forward only as the missing contents; but the
form, because of its recognizable consistency, continues to offer the reader or
viewer matter for solace and pleasure. Yet these sentiments do not constitute the
real sublime sentiment, which is in an intrinsic combination of pleasure and pain:
the pleasure that reason should exceed all presentation, the pain that imagination
or sensibility should not be equal to the concept."
Postmodernism, then, is characterised by the ‘proper’ sublimity in
whose stead modernism can only offer a tawdry nostalgia for the ‘real’
thing. If nostalgia can please you with its beauty, it is a pastel pleasure
that appears all the poorer for it in comparison with the exquisite