d share in the spatiotemporal structures of a wide range of interrelated cultural phenomena. Thus, in its attention to the broadly defined "material conditions" and "relations" of production (specifically, the conditions for and production of existential meaning), existential phenomenology is not incompatible with certain aspects of Marxist analysis.In this context, we might turn to Fredric Jameson's useful discussion of three crucial and expansive historical "moments" marked by "a technological revolution within capital itself" and the particular and dominant "cultural logic" that correspondently emerges in each of them. [11] Historically situating these three "moments" in the 1840's, 1890's, and 1940's, Jameson correlates the three major techological changes that revolutionized the structure of capital--by changing market capitalism to monopoly capitalism and this to multinational capitalism--with the emergence and domination of three new "cultural logics": those axiological norms and forms of representation identified respectively as realism, modernism, and postmodernism. Extrapolating from Jameson, we can also locate within this conceptual and historical framework three correspondent technologies, forms, and institutions of visual (and aural) representation: respectively, the photographic, the cinematic, and the electronic. Each, we might argue, has been critically complicit not only in a specific "technological revolution within capital," but also in a specific and radical perceptual revolution within the culture and the subject. That is, each has been co-constitutive of the very temporal and spatial structure of the "cultural logics" Jameson identifies as realism, modernism, and postmodernism. Writing about the nature of cultural transformation, phenomenological historian Stephen Kern sugggests that some major cultural changes can be seen as "directly inspired by new technology," while others occur relatively independently of tech...
