Additionally, in The Jargon of Authenticity, Adorno contended that the “liturgy of inwardness” is founded on the flawed idea of a self-transparent individual who is capable of choosing herself (Adorno 1973: 70).  The doubtful picture of the self-centered individual covers up the constitutive alterity and mimetic nature of the self. In the concluding part of The Order of Things, Foucault maintained that present society was witnessing a crisis, not only of authenticity but also of the whole idea of the subject in its temporary historically contingent constitution, foreseeing that “man would be erased, like a face drawn in sand at the edge of the sea” (Foucault 1994: 387). Foucault clearly opposed the idea of a hidden authentic self, which he critically referred to as the “Californian cult of the self” (1983: 266). The recognition that the subject is not given to itself in advance leads him to the practical consequence that it must create itself as a work of art (Foucault 1983: 392). Rather than searching for a hidden true self, one should attempt to shape one’s life as a work of art, proceeding without recourse to any fixed rules or permanent truths in a process of unending becoming (Foucault 1988: 49). In a similar vein, Richard Rorty has argued that the idea of coming to “know a truth which was out there (or in here) all the time” (Rorty 1989: 27) is simply a myth. Postmodern thought raises questions about the existence of an underlying subject with essential properties accessible through introspection. The whole idea of the authentic as that which is “original”, “essential”, “proper”, and so forth now seems doubtful. If we are self-constituting beings who make ourselves up from one moment to the next, it appears that the term “authenticity” can refer only to whatever feels right at some particular moment.