Is Culture at a Standstill?

The late fashion designer Virgil Abloh once said that you only need to change an original design by 3% to make it fresh and new. In the ever-evolving world of culture, imitation has always been the sincerest form of flattery and reinvention. So, when Jason Farago boldly declares in his New York Times article "Why Culture Has Come to a Standstill" that we're living in "the least innovative, least transformative, least pioneering century for culture since the invention of the printing press," I can't help but wonder: is that really the case?

The Cyclical Nature of Cultural Doomsaying: From the Death of God to the End of History

The notion of cultural stagnation is not a new phenomenon. In fact, it has been a recurring theme throughout history, often coinciding with moments of great societal and technological change. In his seminal work Postmodernism, or, the Cultural Logic of Late Capitalism, Fredric Jameson argues that the rise of abstract expressionism in the 1950s marked a turning point in cultural production, signaling the end of modernism and the beginning of postmodernism.

Jameson criticizes postmodernism for its superficiality, pastiche, depthlessness, and the commodification of culture. He sees postmodernism as deeply intertwined with the logic of late capitalism, which he indicates erodes historical consciousness, reduces art to consumer products, and fractures individual subjectivity. Ultimately, Jameson views postmodernism not as a revolutionary cultural movement but as a symptom of the economic and ideological forces of late capitalism.

Abstract expressionism, with its emphasis on spontaneous, gestural brushwork and the sublimation of the artist's inner turmoil, can be seen as the pinnacle of modernist art. The abstract expressionists sought to tap into this primal well of the psyche, to create art that was unmediated by conscious intention or rational control. In the drip paintings of Jackson Pollock, the color field canvases of Mark Rothko, and the biomorphic abstractions of Willem de Kooning, we see a direct expression of the unconscious made manifest in paint and canvas.

For Jameson, the triumph of abstract expressionism marked the end of art as a progressive, linear narrative. If the unconscious could be so directly expressed, if the deepest recesses of the human psyche could be laid bare on the canvas, then what was left for art to do? In this sense, abstract expressionism can be seen as the culmination of the modernist project, the point at which art had pushed the boundaries of representation to their very limits.

Postmodernism, with its emphasis on pastiche, irony, and the blurring of high and low culture, represented a kind of mourning for the lost certainties of the modernist era, even as it sought to critically interrogate its assumptions and biases. In this sense, Jameson's critique of postmodernism as a culture of superficiality and simulacra can be seen as a lament for the lost depth and authenticity of the modernist era.

Fast forward to the 1990s, and we find Francis Fukuyama proclaiming the end of history in his book The End of History and the Last Man Standing, published in the wake of the Cold War's conclusion. Drawing on Hegel's philosophical musings about the dialectical progression of history, as outlined in his Phenomenology of Spirit, Fukuyama argued that the triumph of liberal democracy and free-market capitalism marked the culmination of human sociocultural evolution. This stood in stark contrast to the Marxist view of history as a series of class struggles leading to the eventual overthrow of capitalism and the establishment of a communist utopia.

Even earlier, in the late 19th century, Friedrich Nietzsche famously declared that "God is dead" in his book The Gay Science, a provocative statement that captured the existential angst of a rapidly industrializing world. Nietzsche saw the Enlightenment and the rise of scientific rationalism as having undermined the foundations of traditional religious belief, leaving humanity adrift in a world without meaning or purpose.

The narrative recurrence of cultural stagnation throughout history, from Nietzsche's death of God to Fukuyama's end of history, underscores the complex and often contradictory nature of cultural change. These moments of pessimism and disillusionment often coincide with periods of great societal and technological upheaval, when the old certainties are being challenged and new forms of expression are struggling to emerge. Yet what is striking about these critical assessments is how often they fail to anticipate the cultural transformations that are just around the corner.

The Uranus-Neptune Cycle: Diffusing Novelty in Times of Happiness

It's fascinating to note that these moments of cultural confusion often coincide with the planetary alignments of Uranus and Neptune. During these transits, we often see a heightened sense of spiritual and creative exploration, the merging of art and science, as well as the tendency for consciousness to be scattered or diffused.

The abstract expressionist movement of the 1950s, with its emphasis on spontaneity, intuition, and the subconscious, can be seen as a manifestation of the Uranus-Neptune square (90º) that occurred during that decade. This avant-garde art movement sought to capture the essence of consciousness itself, pouring the novelty of the deep psyche onto the canvas in a way that had never been done before. The result was a diffusion of the creative impulse, a blurring of the boundaries between the inner world of the artist and the outer world of the viewer.

In the wake of abstract expressionism, the art world witnessed a gradual shift from this diffused state to a more constructed and commodified one. The rise of pop art in the 1960s, exemplified by the work of Andy Warhol, can be seen as a reaction against the introspective and esoteric nature of abstract expressionism. Warhol's embrace of mass production techniques and commercial imagery represented a new kind of artistic sensibility, one that evoked the archetypal energies of that decade.

Fast forward to the 1990s, and we see another manifestation of the Uranus-Neptune cycle, this time in the form of a conjunction (0º). The end of the Cold War and the rise of globalization created a sense of interconnectedness and fluidity, a world where information and ideas could flow freely across borders and boundaries. The rapid spread of the internet and digital technologies gave rise to a new kind of global consciousness, one that challenged traditional notions of national sovereignty and cultural identity.

The idea that history had come to an end, as articulated by Fukuyama, captured the zeitgeist of utopia. Yet beneath the surface of this apparent stasis, a technological revolution was taking place that would transform the world in ways that few could have predicted. The rise of social media platforms like Facebook and Twitter, the emergence of cryptocurrencies like Bitcoin, and the rapid advancement of artificial intelligence and machine learning all represented the energies of incoming archetypal wave.

Today, as we witness the growing power and influence of countries like China, with its unique blend of state-sponsored capitalism and authoritarian governance, the question of whether history has truly come to an end is now in question. The rise of China as a global superpower, with its ability to harness the power of technology and data to exert control over its population, has challenged the Western liberal democratic model in ways that were unimaginable just a few decades ago.

The Uranus-Neptune transits, with its themes of spiritual awakenings and imaginative freedom, has a way of evoking a utopia, a feeling that we are in an era of peace and harmony. At the same time, however, it can also create a sense of diffusion, a feeling that there is nothing truly new or innovative happening. But what is actually occurring in this process of diffusion is a subtle but profound transformation–the novelty and creativity of Uranus is being spread far and wide, like a drop of ink in the vast Neptunian ocean, permeating every aspect of our culture and society. It is this diffusion that lays the groundwork for the next wave of innovation and progress, nurturing the seeds of creativity that will blossom in the years to come.

The Saturn-Neptune Symptom: Nostalgia

It's no coincidence that Farago's critique of contemporary culture as stagnant and uninspired echoes Jameson's critique of postmodernism as a culture of nostalgia and pastiche. For Jameson, one of the defining features of postmodernism was its obsession with the past, its tendency to recycle and reappropriate the styles and aesthetics of previous eras without any sense of historical context or critical distance.

This nostalgic tendency is perhaps nowhere more evident than in the world of fashion, where the past is endlessly mined for inspiration and reinterpretation. Recently, we've seen a resurgence of 90s and early 2000s fashion, with trends like straight leg jeans, slip dresses, and mini shoulder bags making a comeback on the runways and on the streets.

This Y2K and indie sleaze revival can be seen as a response to the uncertainty and upheaval of the current moment, a way of seeking comfort and familiarity in the styles and aesthetics of a seemingly simpler time. It's no coincidence that this nostalgia boom coincides with the current Saturn-Neptune transit–known for its association with sentimentality and a longing for the past–intensifying the retrospective mood.

Referencing Farago's article, Vogue writer Laird Borrelli-Persson comments on the current state of fashion by referencing the past: "The more time I spent with the spring 2005 season the more familiar they felt; the trends I saw at Copenhagen Fashion Week and the recent resort collections were in evidence in the shows of two decades ago: things like bubble skirts, polo shirts, and long shorts, and deconstruction. It got me thinking that Jason Farago was right about the slow-down of cultural evolution."

It's intriguing to note that Saturn and Neptune were in an opposition (180º) in 2005, and currently the two planets are in conjunction (0º) until 2027. In the case of the current fashion trends, we see a resurgence of styles and motifs that were prevalent in the early to mid 2000s during the Saturn-Neptune transit. This cyclical return to the past, driven by the current Saturn-Neptune conjunction, along with the Uranus-Neptune sextile (60º) that echoes the cultural zeitgeist of the 1990s, may be contributing to the perception of a "standstill" in culture, as noted by Farago. Perhaps all we're truly doing is romanticizing (Neptune) the past (Saturn) for novelty (Uranus).

The Uranus-Pluto Effect: Democratizing Fashion

While the Saturn-Neptune transit may create a sense of cultural stagnation through the feeling of nostalgia, the Uranus-Pluto cycle tells a different story. This powerful alignment, associated with revolution, transformation, and the birth of new technologies, has been a driving force behind some of the most significant cultural and social upheavals in modern history.

The 1960s, which saw the rise of the civil rights movement, second-wave feminism, and the counterculture, coincided with the Uranus-Pluto conjunction (0º). This was also the era when Yves Saint Laurent introduced the concept of ready-to-wear, democratizing fashion and challenging the exclusivity of haute couture.

Saint Laurent's revolutionary approach to fashion empowered the masses, making fashion accessible to a wider audience. His designs, which often drew inspiration from the streets and popular culture, embodied the spirit of liberation and empowerment that characterized the archetypal energy of Uranus-Pluto. The introduction of ready-to-wear fashion not only challenged the traditional power structures of the fashion industry but also reflected the broader social and cultural shifts of the era. Women were no longer confined to the rigid and restrictive styles of the past; they could now express their individuality and autonomy through their clothing choices.

Fast forward to the 2010s, and we see a similar spirit of democratization and disruption, this time in the form of athleisure. The rise of yoga pants, sneakers, and other comfortable, casual clothing as acceptable attire for nearly any occasion coincided with the Uranus-Pluto square (90º) that dominated the entire decade.

The athleisure trend, which blurred the lines between workout wear and everyday clothing, reflected a new kind of freedom and power. Women, in particular, embraced the comfort and functionality of yoga pants and leggings, which allowed them to move seamlessly from the gym to the office to social gatherings without sacrificing style or confidence.

In both the ready-to-wear revolution of the 1960s and the athleisure boom of the 2010s, we see the influence of the Uranus-Pluto cycle in action. These fashion movements, which coincided with periods of great social and cultural upheaval, reflected the broader themes of democratization, liberation, and empowerment that characterized these eras. The casual, comfortable, and accessible styles that emerged during these times were not just fashion statements, but political and cultural statements as well, asserting the right of individuals to express themselves and challenge the established order.

As the Saturn-Neptune conjunction and the Uranus-Neptune sextile continue to evoke a sense of newstalgia, the Uranus-Pluto trine (120º)–unfolding until 2032–will also influence our cultural and social dynamics through the decade, bringing a new wave of creative democratization and innovation to the forefront. The fashion world, ever attuned to the pulse of the collective unconscious, will undoubtedly reflect and respond to these shifting tides, offering new visions of style and self-expression that capture the spirit of our rapidly evolving yet nostalgically infused times.

The Cultural Innovations of the 21st Century

So, is Farago correct in his assertion that there hasn't been any significant cultural innovation since the advent of the printing press? A deeper examination of the 21st century's creative terrain tells a different story, particularly when considering the birth of X (formerly Twitter) under the same astrological alignment that coincided with the printing press's invention: the Uranus-Pluto cycle.

In the world of video games, The Legend of Zelda: Breath of the Wild (2017) has redefined the boundaries of open-world exploration and interactive storytelling. By offering players an unprecedented level of freedom and discovery, the game has pushed the medium to new heights, blurring the lines between art, entertainment, and personal experience.

The rise of cryptocurrencies like Bitcoin and the emergence of non-fungible tokens (NFTs) such as the Bored Ape Yacht Club have revolutionized the way we think about value, ownership, and authenticity in the digital age. These decentralized technologies have the potential to transform not just the art world, but the very foundations of our economic and social systems.

In the fashion industry, the Yeezy Boost sneaker line, a collaboration between Kanye West and Adidas, has redefined the concept of luxury streetwear. By combining cutting-edge design with limited-edition scarcity, the Yeezy Boost has become a cultural phenomenon.

The monumental sculptures of artist KAWS, often towering over public spaces and featuring his signature "XX" motif and cartoon-inspired characters, have brought a new sense of immediacy and accessibility to the world of contemporary art. The sheer scale and presence of these sculptures demand attention and engagement from viewers, challenging the traditional boundaries between art and public life.

In the realm of television, the HBO series "Game of Thrones" (2011-2019) captured the zeitgeist of the Uranus-Pluto square, with its themes of power, revolution, and transformation. With its complex characters, intricate plotlines, and spectacular visual effects, the show set a new standard for epic storytelling and cinematic scope.

The groundbreaking work of Danish architect Bjarke Ingels, such as the CopenHill Energy Plant and Urban Recreation Center in Copenhagen, embodies his concept of "pragmatic utopianism." By combining cutting-edge sustainable technology with innovative social and recreational spaces, Ingels has created a new model for urban living that is both environmentally responsible and deeply engaging, offering a flavorful twist on modern architecture.

In the world of music, British electronic group Magnetic Man helped to popularize the genre of dubstep and bring it to a mainstream audience. With its heavy basslines, skittering rhythms, and immersive soundscapes, the album has influenced a generation of artists and producers, and helped to reshape the sonic landscape of the 21st century.

The South Korean film Parasite (2019), directed by Bong Joon-ho, eerily foreshadowed the global upheaval of the COVID-19 pandemic, capturing the zeitgeist of the Saturn-Pluto conjunction. With its biting social commentary on class inequality, the film made history by becoming the first non-English language film to win the Academy Award for Best Picture.

Great cultural innovations often reflect the archetypal energies of their time, regardless of the medium through which they are expressed. Whether in the form of a video game, a sneaker, a sculpture, a television series, a building, a musical genre, or a film, the most powerful and enduring works of art are those that capture and channel the collective dreams, fears, and desires of their era, offering us a glimpse of who we are, and who we might become.

So as we survey the cultural landscape of the 21st century, it becomes clear that cultural innovation and creativity are alive and well, even if they sometimes take forms that are reminiscent of the past. Increasingly, much of this innovation is taking place in the digital realm, as artists, designers, and technologists push the boundaries of what is possible with new tools and platforms, and therefore undeniably making the creation new.

From the virtual worlds of video games to the decentralized networks of blockchain technology, the digital age is opening up new frontiers for creative expression and experimentation. While some may argue that this shift towards the digital represents a loss of authenticity or tangibility, it is important to recognize that the essence of creativity and innovation lies not in the medium itself, but in the ideas, emotions, and experiences that it enables.

The Cosmic Dance of Cultural Evolution

As we navigate the uncertainties and upheavals of the 21st century, it's tempting to succumb to the narrative that culture is at a standstill as Farago suggests. But a closer look at the creative landscape reveals a more complex and dynamic picture.

From the democratizing power of technology to the boundary-blurring innovations of art, fashion, and entertainment, the spirit of experimentation and reinvention seem to be at the cutting-edge. The Uranus-Pluto cycle, with its energy of revolution and transformation, continues to shape the cultural zeitgeist, even as the Saturn-Neptune and Uranus-Neptune transits creates a sense of newstalgia and a longing for the past.

As we move into the 2020s and beyond, it's worth remembering that cultural evolution is a cosmic dance, one that unfolds in cycles and spirals rather than straight lines. The end of one era is always the beginning of another, and the seeds of the future are always present in the soil of the past.

The challenge, then, is to embrace the complexity and contradiction of our cultural moment, to find the pockets of innovation and creativity that are hiding in plain sight, and to nurture them into the world-changing movements of tomorrow. As Virgil Abloh reminded us, it only takes a 3% change to make something new–and that's a power that lies within each and every one of us.