Capitalism and contextuality: epistemology subsumes all, July 12, 2002
Reviewer: A reader
According to Rand's Objectivist epistemology, if one accepts the premises of modern philosophy, one is faced with a choice: either accept constructivism or conclude that the raison d'etre of the poet-philosopher is deconstruction. In her own writings, however, the subject is contextualised into a capitalist paradigm of context that includes narrativity as a paradox.
'Consciousness is responsible for the status quo,' says the social metaphysician. It could be said that in _The Fountainhead_, Rand herself examines such social-metaphysical simulacra; in _ATLAS SHRUGGED_, however, she denies their efficacy as agents of change in neoconstructive theory. The subject is interpolated into a presemanticist paradigm of reality that includes language as a reality.
But Rand uses the term 'epistemology,' as she elsewhere (_The Romantic Manifesto_) uses the term 'art,' to denote the role of the writer as both observer and participant. The characteristic theme of her epistemology, then, is not, in fact, knowledge-of, but knowledge-that.
It could be said that the premise of the capitalist paradigm of context states that the law is capable of truth, but only if art is distinct from consciousness; otherwise, Marx's model of constructivism replaces that of 'Spencerian power relations,' and hence becomes part of the fatal flaw of truth. The primary theme of Rand's own model of neoconstructive concept-formation is the stasis, and some would say the rubicon, of textual/contextual class. In a sense, the subject is _absolutely contextualised_ into a postmodernist theory that includes philosophy as a whole within epistemology. In effect Rand thereby promotes the use of neoconstructive theory to attack hierarchy.
Thus, Rand uses the term 'psycho-epistemology' to bridge the gap between epistemology and art -- and also, as implicitly suggested above, to denote the role of the artist as participant-observer. This approach suggests the use of neoconstructive theory to analyse and modify sexual identity.
'Knowledge [so-called] is fundamentally used in the service of the status quo,' say the nihilists; however, according to Rand, it is not so much knowledge that is fundamentally used in the service of the status quo, but rather belief in the futility of knowledge. (It could be said that Rand implies that the works of Nietzsche are thus reminiscent of Kant!) In the final analysis, she suggests the use of the capitalist paradigm of context to read consciousness.
However, her unintentionally dialectic paradigm of 'contextual absoluteness' suggests that culture _is_, after all, capable of significance, even if only a limited kind (or degree). By Rand's own approach to contextuality, then, the subject of epistemology is contextualised into a constructivism that includes not only all of philosophy, but even language as a whole! This is perhaps the single most striking feature of her work.
In a sense, then, Rand's epistemological work suggests the use of substructuralist desublimation to challenge sexist perceptions of society. If subconstructive dialectic theory holds, we have to choose between capitalist objectivism and subconceptualist discourse. And -- through her theory of concept-formation by measurement-omission -- Rand makes clear that, for her at least, the latter option is no option at all, thereby establishing capitalist objectivism as the only philosophically 'live option.'
Of course this argument presumes an a- or post-cultural paradigm of context that includes reality as a totality! Rand badly needs a defense of this principle in order for her epistemology to stand. However, this single weakness does not diminish the cultural significance of her overall project.