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Ted Gioia has a popular Substack called “The Honest Broker.” Although, as an author, his books tend to focus on music and popular culture, he writes eloquently about a wide range of topics and offers insightful commentary about the global forced march toward technocratic lifestyle and governance that we’re now immersed in. In one posting, “25 Propositions about the New Romanticism,” Gioia posits that there is a new movement afoot mimicking (or, better, reflecting) the Romantic Period of the 18th century. This movement coincided with the first industrial revolution and, as a counterweight to that trend, saw a great shift toward impulses to re-enchant the world via poetry, art, and music, and reconnecting to nature. Gioia writes:

More than two years ago, I predicted the rise of a New Romanticism—a movement to counter the intense rationalization and expanding technological control of society. Rationalist and algorithmic models were dominating every sphere of life at that midpoint in the Industrial Revolution—and people started resisting the forces of progress. Companies grew more powerful, promising productivity and prosperity. But Blake called them “dark Satanic mills” and Luddites started burning down factories—a drastic and futile step, almost the equivalent of throwing away your smartphone. Even as science and technology produced amazing results, dysfunctional behaviors sprang up everywhere. The pathbreaking literary works from the late 1700s reveal the dark side of the pervasive techno-optimism—Goethe’s novel about Werther’s suicide, the Marquis de Sade’s nasty stories, and all those gloomy Gothic novels. What happened to the Enlightenment? As the new century dawned, the creative class (as we would call it today) increasingly attacked rationalist currents that had somehow morphed into violent, intrusive forces in their lives—an 180° shift in the culture. For Blake and others, the name Newton became a term of abuse. Artists, especially poets and musicians, took the lead in this revolt. They celebrated human feeling and emotional attachments—embracing them as more trustworthy, more flexible, more desirable than technology, profits, and cold calculation.

He goes on to posit that we’re poised for a return to that modality and points out that the notion of a New Romanticism has spread “like a wildfire,” citing influencers such as Ross Barkan, Santiago Ramos, and Kate Alexandra. Gioia sees what he describes as cultural trends at the leading edge of this transformation citing popular TV series such as Pluribus and Yellowstone. But is this really happening or has Gioia just stumbled on a pocket of cultural resistance and pushback against technocracy that’s primarily a pocket of unified self-expression rather than something representing deep and substantive cultural and societal change?