Alexei Volkov
In his book *Mythologies*, Roland Barthes wrote about plastic, describing it as the first magical substance which consents to be prosaic. Barthes was fascinated by the way plastic could mimic the appearance of other materials, such as wood or gemstones, and how it could be endlessly transformed. He saw it as a miraculous substance, a disgraced material that could achieve the infinite transformation of the ubiquity made visible. Barthes' writing on plastic can be understood as a form of cultural criticism, exploring the ways in which plastic has been imbued with cultural meaning and the role it plays in mass culture.
| Characteristics | Values |
|---|---|
| Plastic is an alchemical substance | It can transform infinitely |
| Plastic is miraculous | It is a sudden conversion of nature |
| Plastic is a disgraced material | It is lost between rubber and metal |
| Plastic is prosaic | It is the first magical substance that consents to be prosaic |
| Plastic is fake and worthless | By the end of the 1960s, 'plastic' meant fake and worthless |
| Plastic is ubiquitous | It is a miracle made visible |
| Plastic abolishes the hierarchy of substances | It can mimic the appearance of luxurious materials |
| Plastic is a common language | It teaches citizens the values of their society |
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What You'll Learn
Plastic's alchemical properties
In his book "Mythologies", Roland Barthes wrote about plastic, describing it as “the first magical substance which consents to be prosaic". Barthes was fascinated by the alchemical properties of plastic, seeing it as a miraculous substance with the power to transform infinitely. He saw plastic as a revolutionary material that could mimic the appearance of other, more luxurious materials such as leather, wood, and gemstones, thereby democratizing access to opulence.
Barthes viewed plastic as a substance that transcends the hierarchy of materials, replacing them all with its versatility. This idea of plastic as an alchemical substance is further emphasized by its Greek shepherds' names, such as Polystyrene, Phenoplast, Polyvinyl, and Polyethylene. These names contribute to the perception of plastic as a magical and transformative material.
Plastic, for Barthes, represents the idea of infinite transformation. Its ubiquity is a visible manifestation of its miraculous nature, as it can be suddenly converted into various forms. Barthes saw plastic as a disgraced material in the poetic order of substances, falling short of the true productions of the mineral order, such as foam, fibers, and strata. However, its alchemical properties allow it to transcend the limitations of traditional materials.
The alchemical nature of plastic, as described by Barthes, also extends to its cultural significance. He argued that film stars and laundry detergent commercials were the new carriers of cultural work, replacing gods and epic sagas in teaching societal values and providing a common language. Plastic, as a malleable and transformative substance, becomes a metaphor for the cultural shifts occurring in the post-World War II era, marked by the rise of mass culture and hyper-commodification.
Barthes' fascination with plastic's alchemical properties reflects his broader interest in demystifying cultural myths and analyzing the mundane aspects of pop culture. His writings on plastic contribute to his larger project of cultural criticism, offering insights into the societal transformations and perceptions shaped by this versatile substance.
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Plastic as a 'miraculous substance'
In his book "Mythologies", Roland Barthes wrote about plastic, describing it as "the first magical substance which consents to be prosaic". Barthes was fascinated by the idea of plastic as a miraculous substance, capable of infinite transformation. He saw it as a material that could mimic the appearance of other, more luxurious materials, such as leather, wood, and gemstones, thus democratizing access to opulence. Barthes believed that plastic overturned the traditional hierarchy of substances, with its ability to take on any form and function.
Barthes' interest in plastic can be understood in the context of his broader project of cultural criticism. He was intrigued by the cultural and societal implications of this versatile substance. Plastic, for Barthes, represented the potential for sudden conversion and transformation. It was a material that could be moulded and shaped into endless forms, a characteristic that Barthes associated with the miraculous.
In his writings, Barthes elevated plastic to a poetic level, despite its status as a "disgraced material". He saw it as a substance that defied the traditional categories of matter, occupying a space between the effusion of rubber and the hardness of metal. Plastic, for Barthes, was a substance that could not be defined by the traditional productions of the mineral order, such as foam, fibres, and strata.
The alchemical nature of plastic captivated Barthes. With its Greek shepherds' names, such as polystyrene, phenoplast, polyvinyl, and polyethylene, plastic seemed to possess a magical quality. Barthes recognised that plastic was more than just a substance; it represented the idea of boundless transformation. Its very ubiquity, he argued, was a testament to its miraculous nature, as miracles are sudden conversions of nature.
Barthes' fascination with plastic, however, was not shared by everyone. By the end of the 1960s, the initial allure of plastic had faded. For the sixties generation, 'plastic' connoted something fake and worthless. This shift in perception can be seen in the 1968 film "The Graduate", where the hollowness of American consumerist society is revealed through the famous career advice: "I just want to say one word to you... plastics".
Despite the changing cultural attitudes towards plastic, Barthes' writings on the subject continue to offer insights into the complex relationship between humans and this versatile material. His work invites us to consider the cultural significance and transformative power of plastic, a substance that has come to shape our world in profound ways.
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Plastic's ability to mimic other materials
In his book "Mythologies", Roland Barthes wrote about plastic, describing it as "the first magical substance which consents to be prosaic". Barthes was fascinated by plastic's ability to mimic other materials, such as leather, wood, and gemstones. This quality, he argued, plasticized the world, abolishing the hierarchy of substances and replacing them with a single, ubiquitous material.
Plastic, with its Greek shepherds' names like polystyrene, phenoplast, polyvinyl, and polyethylene, is an alchemical substance that can transform infinitely. This ability to change and adapt is what makes plastic miraculous. It is not just an object but the trace of a movement, a disgraced material that falls short of the true productions of the mineral order, such as foam, fibers, and strata.
Barthes saw plastic as a symbol of the cultural transformation that was taking place in the decade after World War II. The rise of mass culture and hyper-commodification mirrored the properties of plastic itself: its ability to be moulded, transformed, and adapted to various purposes.
However, by the end of the 1960s, the romance with plastic had faded. The sixties generation associated plastic with fakery and worthlessness. This shift in perception is reflected in the 1968 film "The Graduate", where the hollowness of American consumerist society is revealed through the famous career advice: "I just want to say one word to you... plastics."
Despite this change in perception, plastic's ability to mimic other materials continues to shape our world, influencing not only the objects we use but also the cultural and social landscape in which we navigate.
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Plastic's cultural significance
In his book *Mythologies*, Roland Barthes wrote about plastic as a substance that could mimic the appearance of other materials, such as leather, wood, and gemstones. This, he argued, "abolished the hierarchy of substances", allowing everyone to enjoy the "superficial opulence of the rich". Barthes was fascinated by the idea that plastic could be transformed infinitely, and that it was "the first magical substance which consents to be prosaic".
The cultural significance of plastic, according to Barthes, lay in its ability to democratise luxury and transform everyday objects into something more. This idea of plastic as a transformative substance is further emphasised by its name, which indicates its ubiquity and miraculous nature. Barthes saw plastic as a substance that could be everything and nothing at the same time, a "disgraced material" that didn't fit into the traditional categories of the mineral order.
In the context of the post-World War II era, Barthes' fascination with plastic can be understood as a response to the explosion of mass culture and the rise of hyper-commodification. As one of the first intellectual pioneers of cultural criticism, Barthes was interested in demystifying the myths and values of his society, which were now being propagated by film stars and laundry detergent commercials rather than gods and epic sagas.
Barthes' writings on plastic highlight the substance's ability to shape and reflect cultural values and aesthetics. Plastic's cultural significance lies in its transformative nature, its ability to mimic and democratise, and its role in the post-war consumerist society. Barthes recognised that plastic was not just a substance but an idea, one that continues to shape our understanding of materials and their cultural significance.
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Plastic's role in consumerist society
In his book "Mythologies", Roland Barthes wrote about plastic and its role in consumerist society. Barthes saw plastic as a miraculous substance, capable of infinite transformation. He was fascinated by its ability to mimic the appearance of other, more luxurious materials, such as leather, wood, and gemstones, bringing a sense of opulence to the masses. Barthes described plastic as "the first magical substance which consents to be prosaic," highlighting its unique ability to be both extraordinary and commonplace at the same time.
Plastic, for Barthes, represented the abolishment of the hierarchy of substances, where a single material could replace them all. This idea of "plasticization" captivated Barthes, who saw it as a metaphor for the transformation and homogenization of culture in a consumerist society. Plastic's versatility and ability to be mass-produced and consumed reflected the values of a society focused on standardization and mass consumption.
However, by the end of the 1960s, the perception of plastic had shifted. For the sixties generation, 'plastic' connoted fake and worthless. This shift in perception can be crystallized in a famous line from the 1968 film "The Graduate", where the hollowness of American consumerist society is revealed through the career advice: "I just want to say one word to you... plastics."
Despite this change in perception, plastic remains a significant aspect of consumerist society. It is ubiquitous, found in everything from packaging to toys to household items. Plastic's durability, low cost, and ease of production have made it a cornerstone of modern consumer culture. However, the environmental impact of plastic has also become a growing concern, with its long-lasting nature leading to pollution and ecological damage.
In conclusion, Roland Barthes's thoughts on plastic highlight its transformative nature and its role in shaping consumerist society. Plastic's ability to mimic and transform reflects the values and aspirations of a society focused on mass consumption and standardization. While the perception of plastic has evolved over time, it remains a pervasive presence in our daily lives, shaping not only our material culture but also our environmental consciousness.
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Frequently asked questions
"Plastic" is an essay by Roland Barthes, published in 1957 as part of his book "Mythologies", a collection of 53 short essays.
In "Plastic", Barthes argues that plastic is a miraculous substance that can transform into anything, abolishing the hierarchy of substances. It is the first magical substance that consents to be prosaic.
Barthes saw plastic as a metaphor for the explosion of mass culture in the decade after World War II. He believed that plastic could mimic the appearance of other, more luxurious materials, enabling everyone to enjoy the superficial opulence of the rich.
