Yesterday 04:19 PM
(This post was last modified: Yesterday 05:45 PM by Magical Realist.)
When I first learned of this new trend or "zeitgeist", (really dated as beginning in the late 90's), I felt like it might be another underhanded modernist attempt at some grand metanarrative. Afterall, what could possibly replace the anti-narrativism and ironic deconstructions/satires of postmodernism but a return to yet more absolute truths and ontic realism.
But then I came upon this article which sizes it all up into something more intelligible--a sort of oscillatory engagement with both the naivete of modernism and the ironic skepticism of postmodernism. It is a sort of knowingness of the limitations of our modernist mythologies while playfully living them out as affirmations of our own humanness. I myself tend to do this, going back and forth from a rather anarchal need to deconstruct the System of illusions that is our culture while tentatively offering hope for some sort of new transcendental frontier. This spirit of anti-nihilism and carrying on in the face of dystopian collapse is captured in film in such postapocalyptic series as the Walking Dead, The 28 Days movie franchise, and a plethora of popular streaming series such as The Last Of Us, Pluribus, Silo, See, Fallout, Into The Night, The Last Man, Rain, and Paradise.
In short: "Ding dong the witch of postmodernism is dead! Follow the yellow brick road of metamodernism!"
"Metamodernism is a term that has gained traction in recent years as a means of articulating developments in contemporary culture, which, it is argued (and our generation appears to intuitively recognise) has seen a move beyond the postmodern mode of the late 20th century. In the wake of the myriad crises of the past two decades—of climate change, financial meltdown, and the escalation of global conflicts—we have witnessed the emergence of a palpable collective desire for change, for something beyond the prematurely proclaimed “End of History.”
Ours is a generation raised in the ‘80s and ‘90s, on a diet of The Simpsons and South Park, for whom postmodern irony and cynicism is a default setting, something ingrained in us. However, despite, or rather because of this, a yearning for meaning—for sincere and constructive progression and expression—has come to shape today’s dominant cultural mode.
Whereas postmodernism was characterised by deconstruction, irony, pastiche, relativism, nihilism, and the rejection of grand narratives (to caricature it somewhat), the discourse surrounding metamodernism engages with the resurgence of sincerity, hope, romanticism, affect, and the potential for grand narratives and universal truths, whilst not forfeiting all that we’ve learnt from postmodernism.
Thus, rather than simply signalling a return to naïve modernist ideological positions, metamodernism considers that our era is characterised by an oscillation between aspects of both modernism and postmodernism. We see this manifest as a kind of informed naivety, a pragmatic idealism, a moderate fanaticism, oscillating between sincerity and irony, deconstruction and construction, apathy and affect, attempting to attain some sort of transcendent position, as if such a thing were within our grasp. The metamodern generation understands that we can be both ironic and sincere in the same moment; that one does not necessarily diminish the other.
The use of the prefix meta here derives from Plato’s metaxis, describing an oscillation and simultaneity between and beyond diametrically opposed poles. This usage was first proposed by Dutch cultural theorists Timotheus Vermeulen and Robin van den Akker in their 2010 essay, Notes on Metamodernism, spawning a research project and website of the same name, as well as numerous symposia and exhibitions, to which a diverse array of academics, writers and artists from across the globe have since added their voices.
As Vermeulen and van den Akker put it, metamodernism’s oscillation should not be thought of as a balance; “rather, it is a pendulum swinging between 2, 3, 5, 10, innumerable poles. Each time the metamodern enthusiasm swings toward fanaticism, gravity pulls it back toward irony; the moment its irony sways toward apathy, gravity pulls it back toward enthusiasm.”
This metamodern sensibility can be discerned in, for example, the films of Spike Jonze, Miranda July, Wes Anderson, Leos Carax, and Alejandro González Iñárritu; in the music of Donald Glover, Bill Callahan, Janelle Monáe, and Future Islands; in TV shows such as Parks and Recreation, Breaking Bad, BoJack Horseman, and Last Week Tonight; in the novels of David Foster Wallace, Zadie Smith, and Roberto Bolaño; the poetry of Jasmine Dreame Wagner, Sophie Collins, and Melissa Broder’s quasi-mystical multimedia NewHive offerings. In the visual arts, we have seen a shift away from the insubstantial conceptual one-liners of the YBAs, or Jeff Koons’s vacuously overinflated ironic baubles, towards a reengagement with materiality, affect and the sublime, found in the work of artists like Olafur Eliasson, Morehshin Allahyari, and Guido van der Werve, movements such as Cybertwee and Afrofuturism, as well as my own ongoing practice with LaBeouf, Rönkkö & Turner.
Ours is also an age in which increasingly speculative modes of thought are thriving, with philosophies such as Speculative Realism and Object Oriented Ontology, as well as movements like Occupy, Black Lives Matter, and the rise of extremist political factions (for better or worse, as in the case of the so-called ‘alt-Right’), empowered by network culture. However, metamodernism itself is not intended as a philosophy or an art movement, since it does not define or delineate a closed system of thought, or dictate any particular set of aesthetic values or methodologies. It is not a manifesto—although, as an artist myself, I couldn’t resist the temptation to imagine it as if it were, with my 2011 Metamodernist Manifesto (see below) an exercise in simultaneously defining and embodying the metamodern spirit; at once coherent and preposterous, earnest and somewhat self-defeating, yet ultimately hopeful and optimistic.
Metamodernism does not, then, propose any kind of utopian vision, although it does describe the climate in which a yearning for utopias, despite their futile nature, has come to the fore. The metamodernism discourse is thus descriptive rather than prescriptive; an inclusive means of articulating the ongoing developments associated with a structure of feeling for which the vocabulary of postmodern critique is no longer sufficient, but whose future paths have yet to be constructed."--- https://www.metamodernism.com/2015/01/12...roduction/
Metamodernist // Manifesto
"1.We recognise oscillation to be the natural order of the world.
2.We must liberate ourselves from the inertia resulting from a century of modernist ideological naivety and the cynical insincerity of its antonymous bastard child.
3.Movement shall henceforth be enabled by way of an oscillation between positions, with diametrically opposed ideas operating like the pulsating polarities of a colossal electric machine, propelling the world into action.
4.We acknowledge the limitations inherent to all movement and experience, and the futility of any attempt to transcend the boundaries set forth therein. The essential incompleteness of a system should necessitate an adherence, not in order to achieve a given end or be slaves to its course, but rather perchance to glimpse by proxy some hidden exteriority. Existence is enriched if we set about our task as if those limits might be exceeded, for such action unfolds the world.
5.All things are caught within the irrevocable slide towards a state of maximum entropic dissemblance. Artistic creation is contingent upon the origination or revelation of difference therein. Affect at its zenith is the unmediated experience of difference in itself. It must be art’s role to explore the promise of its own paradoxical ambition by coaxing excess towards presence.
6.The present is a symptom of the twin birth of immediacy and obsolescence. Today, we are nostalgists as much as we are futurists. The new technology enables the simultaneous experience and enactment of events from a multiplicity of positions. Far from signalling its demise, these emergent networks facilitate the democratisation of history, illuminating the forking paths along which its grand narratives may navigate the here and now.
7.Just as science strives for poetic elegance, artists might assume a quest for truth. All information is grounds for knowledge, whether empirical or aphoristic, no matter its truth-value. We should embrace the scientific-poetic synthesis and informed naivety of a magical realism. Error breeds sense.
8.We propose a pragmatic romanticism unhindered by ideological anchorage. Thus, metamodernism shall be defined as the mercurial condition between and beyond irony and sincerity, naivety and knowingness, relativism and truth, optimism and doubt, in pursuit of a plurality of disparate and elusive horizons. We must go forth and oscillate!"
by Luke Turner, 2011
But then I came upon this article which sizes it all up into something more intelligible--a sort of oscillatory engagement with both the naivete of modernism and the ironic skepticism of postmodernism. It is a sort of knowingness of the limitations of our modernist mythologies while playfully living them out as affirmations of our own humanness. I myself tend to do this, going back and forth from a rather anarchal need to deconstruct the System of illusions that is our culture while tentatively offering hope for some sort of new transcendental frontier. This spirit of anti-nihilism and carrying on in the face of dystopian collapse is captured in film in such postapocalyptic series as the Walking Dead, The 28 Days movie franchise, and a plethora of popular streaming series such as The Last Of Us, Pluribus, Silo, See, Fallout, Into The Night, The Last Man, Rain, and Paradise.
In short: "Ding dong the witch of postmodernism is dead! Follow the yellow brick road of metamodernism!"
"Metamodernism is a term that has gained traction in recent years as a means of articulating developments in contemporary culture, which, it is argued (and our generation appears to intuitively recognise) has seen a move beyond the postmodern mode of the late 20th century. In the wake of the myriad crises of the past two decades—of climate change, financial meltdown, and the escalation of global conflicts—we have witnessed the emergence of a palpable collective desire for change, for something beyond the prematurely proclaimed “End of History.”
Ours is a generation raised in the ‘80s and ‘90s, on a diet of The Simpsons and South Park, for whom postmodern irony and cynicism is a default setting, something ingrained in us. However, despite, or rather because of this, a yearning for meaning—for sincere and constructive progression and expression—has come to shape today’s dominant cultural mode.
Whereas postmodernism was characterised by deconstruction, irony, pastiche, relativism, nihilism, and the rejection of grand narratives (to caricature it somewhat), the discourse surrounding metamodernism engages with the resurgence of sincerity, hope, romanticism, affect, and the potential for grand narratives and universal truths, whilst not forfeiting all that we’ve learnt from postmodernism.
Thus, rather than simply signalling a return to naïve modernist ideological positions, metamodernism considers that our era is characterised by an oscillation between aspects of both modernism and postmodernism. We see this manifest as a kind of informed naivety, a pragmatic idealism, a moderate fanaticism, oscillating between sincerity and irony, deconstruction and construction, apathy and affect, attempting to attain some sort of transcendent position, as if such a thing were within our grasp. The metamodern generation understands that we can be both ironic and sincere in the same moment; that one does not necessarily diminish the other.
The use of the prefix meta here derives from Plato’s metaxis, describing an oscillation and simultaneity between and beyond diametrically opposed poles. This usage was first proposed by Dutch cultural theorists Timotheus Vermeulen and Robin van den Akker in their 2010 essay, Notes on Metamodernism, spawning a research project and website of the same name, as well as numerous symposia and exhibitions, to which a diverse array of academics, writers and artists from across the globe have since added their voices.
As Vermeulen and van den Akker put it, metamodernism’s oscillation should not be thought of as a balance; “rather, it is a pendulum swinging between 2, 3, 5, 10, innumerable poles. Each time the metamodern enthusiasm swings toward fanaticism, gravity pulls it back toward irony; the moment its irony sways toward apathy, gravity pulls it back toward enthusiasm.”
This metamodern sensibility can be discerned in, for example, the films of Spike Jonze, Miranda July, Wes Anderson, Leos Carax, and Alejandro González Iñárritu; in the music of Donald Glover, Bill Callahan, Janelle Monáe, and Future Islands; in TV shows such as Parks and Recreation, Breaking Bad, BoJack Horseman, and Last Week Tonight; in the novels of David Foster Wallace, Zadie Smith, and Roberto Bolaño; the poetry of Jasmine Dreame Wagner, Sophie Collins, and Melissa Broder’s quasi-mystical multimedia NewHive offerings. In the visual arts, we have seen a shift away from the insubstantial conceptual one-liners of the YBAs, or Jeff Koons’s vacuously overinflated ironic baubles, towards a reengagement with materiality, affect and the sublime, found in the work of artists like Olafur Eliasson, Morehshin Allahyari, and Guido van der Werve, movements such as Cybertwee and Afrofuturism, as well as my own ongoing practice with LaBeouf, Rönkkö & Turner.
Ours is also an age in which increasingly speculative modes of thought are thriving, with philosophies such as Speculative Realism and Object Oriented Ontology, as well as movements like Occupy, Black Lives Matter, and the rise of extremist political factions (for better or worse, as in the case of the so-called ‘alt-Right’), empowered by network culture. However, metamodernism itself is not intended as a philosophy or an art movement, since it does not define or delineate a closed system of thought, or dictate any particular set of aesthetic values or methodologies. It is not a manifesto—although, as an artist myself, I couldn’t resist the temptation to imagine it as if it were, with my 2011 Metamodernist Manifesto (see below) an exercise in simultaneously defining and embodying the metamodern spirit; at once coherent and preposterous, earnest and somewhat self-defeating, yet ultimately hopeful and optimistic.
Metamodernism does not, then, propose any kind of utopian vision, although it does describe the climate in which a yearning for utopias, despite their futile nature, has come to the fore. The metamodernism discourse is thus descriptive rather than prescriptive; an inclusive means of articulating the ongoing developments associated with a structure of feeling for which the vocabulary of postmodern critique is no longer sufficient, but whose future paths have yet to be constructed."--- https://www.metamodernism.com/2015/01/12...roduction/
Metamodernist // Manifesto
"1.We recognise oscillation to be the natural order of the world.
2.We must liberate ourselves from the inertia resulting from a century of modernist ideological naivety and the cynical insincerity of its antonymous bastard child.
3.Movement shall henceforth be enabled by way of an oscillation between positions, with diametrically opposed ideas operating like the pulsating polarities of a colossal electric machine, propelling the world into action.
4.We acknowledge the limitations inherent to all movement and experience, and the futility of any attempt to transcend the boundaries set forth therein. The essential incompleteness of a system should necessitate an adherence, not in order to achieve a given end or be slaves to its course, but rather perchance to glimpse by proxy some hidden exteriority. Existence is enriched if we set about our task as if those limits might be exceeded, for such action unfolds the world.
5.All things are caught within the irrevocable slide towards a state of maximum entropic dissemblance. Artistic creation is contingent upon the origination or revelation of difference therein. Affect at its zenith is the unmediated experience of difference in itself. It must be art’s role to explore the promise of its own paradoxical ambition by coaxing excess towards presence.
6.The present is a symptom of the twin birth of immediacy and obsolescence. Today, we are nostalgists as much as we are futurists. The new technology enables the simultaneous experience and enactment of events from a multiplicity of positions. Far from signalling its demise, these emergent networks facilitate the democratisation of history, illuminating the forking paths along which its grand narratives may navigate the here and now.
7.Just as science strives for poetic elegance, artists might assume a quest for truth. All information is grounds for knowledge, whether empirical or aphoristic, no matter its truth-value. We should embrace the scientific-poetic synthesis and informed naivety of a magical realism. Error breeds sense.
8.We propose a pragmatic romanticism unhindered by ideological anchorage. Thus, metamodernism shall be defined as the mercurial condition between and beyond irony and sincerity, naivety and knowingness, relativism and truth, optimism and doubt, in pursuit of a plurality of disparate and elusive horizons. We must go forth and oscillate!"
by Luke Turner, 2011
