Professional Documents
Culture Documents
JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide
range of content in a trusted digital archive. We use information technology and tools to increase productivity and
facilitate new forms of scholarship. For more information about JSTOR, please contact support@jstor.org.
Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at
https://about.jstor.org/terms
viduals (though unable to name it) reflect the emotions (or lack
of such) that hyperreality engenders. The postmodern peda-
gogical mission involves rescuing meaning even as we under-
stand its destruction by the postmodern information landscape
(McLaren 1991a, pp. 233-36).
Many analysts trace the emergence of this loss of meaning,
this postmodern condition to the late 1960s. If one moment is
chosen to mark the beginning of the condition, it is July 15, 1972
at 3:32 p.m. At that moment the Pruit-Igoe "modernist" public
housing complex in St. Louis was torn down. Of course, this
event has been cited as the birth of postmodern architecture, but
it holds serious cultural implications as well. Pruitt-Igoe was
conceived in an orgy of rationalistic expert planning for the
masses. This "machine for modern living" signified the defeat
of irrationality, the triumph of Cartesian science in all spheres of
life. With the fall of Fordism precipitated by the demise of the
post-war boom, the society entered an era of rapid change and
uncertainty.
Faith in reason was shaken; after all "the best and the bright-
est" had led America into the moral quagmire of Vietnam, just
as the creme de la creme of California's business schools would
walk down the path to Watergate chanting the mantra of rea-
son. With the loss of faith in reason and the corresponding
decline of meaning, ideological identification began to decline
and the relation between affect and desire fell apart. To under-
stand these subtle features of the postmodern condition, com-
pare movies depicting adolescent behavior from before the
disconnection of affect and desire to those of the postmodern
era. Cause-effect reactions characterized by adolescent enthusi-
asm in response to specific circumstances in the old movies
appear camp and dated in light of postmodern adolescents'
severance of such relations. Listen to the reactions of postmod-
ern children to what they perceive as un-hip, uncool behavior -
indeed, the world has changed. Care must be taken not to
inscribe any facile explanation to this dissolution of affect and
desire, any simple cause-effect explanation of it. The point is
that its meaning revolves around the rejection of meaning itself
(Smart, 1992, pp. 191-92; Grossberg, 1992, p. 221).
talk at great length about the way politics has changed over the
past decades, but we will never approach understanding the
reasons for the alterations until we analyze politics in relation to
information form. Not attentive to abstract and ambiguous
ideas, television focuses our gaze on images. George Bush
standing tall, smiling broadly, and waving to the crowd like a
leader is the issue; Bill Clinton giving the appearance of a com-
passionate man in charge is the issue - not the question of
trickle-down economics, not the question of the reconceptual-
ization of the American health care system. Work education and
schooling in general must address this change in information
format, as they prepare workers and citizens in a democratic
society to protect themselves from this epistemology of hyper-
reality. Indeed, such a social change demands a new form of
literacy - a postmodern literacy - to "read" the effect of 5,000
hours of television before we start to school, 800 or more televi-
sion commercials a week (Postman, 1985, pp. 408), and a
cultural knowledge dominated by Fred Flintstone, Teenage
Mutant Ninja Turtles, Tiny Toons, Captain M, Super Mario
Brothers, and Ren and Stimpy.
In a postmodern reality saturated as it is by corporate-
produced media imagery, critical educators are faced with a
difficult but not impossible task in their attempt to unmask the
hidden political dimensions of work. Critical postmodern edu-
cators must "capture the image" of what it means to be a
worker, to be a thoughtful, educated person. We must become a
part of the struggle to name popular culture, as we induce our
students to question the basic assumptions grounding the way
the culture views work; indeed, the questioning of society's
political ideology is a basic act of critical thinking. And a
dangerous act it is. Whenever we talk of challenging the tacit
political dimensions of mainstream thinking, of advocating a
pedagogy that admits to its political allegiances, we open our-
selves to attack on our alleged attempt to indoctrinate our
students. Even in these days of qualitative analysis of educa-