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World of Philosophy : Modernism, Postmodernism and Post-Postmodernism
Periodization
Most scholars agree that modernism began in the late 19th century and continued as the dominant cultural force among intellectuals of Western culture until the twentieth century. Like all ages, modernism encompassed many of the directions of competing individuals and. It may be to define as discrete unity or totality. However, its main common characteristics are often considered to include an emphasis on "radical aesthetics, technical experiments, spaces or rhythms, not chronological forms, [and] self-conscious reflexiveness" as well as the search for authenticity in human relationships, abstractions in art, and utopian struggling . This characteristic is usually lacking in postmodernism or treated as an object of irony.
Postmodernism emerged after World War II in reaction to the perceived failure of modernism, whose radical artistic project has come to be associated with totalitarianism or has been assimilated into mainstream culture. The basic feature of what is now called postmodernism can be found in the early 1940s, especially in the work of Jorge Luis Borges. However, today's scholars would agree that postmodernism began to compete with modernism in the 1950s and gained power over it in 1960. Since then, postmodernism has become a dominant, yet indisputable, style in art, literary, film, music, drama architecture, and philosophy. An important feature of postmodernism is usually considered to include playing with an ironic style, quotation and narrative level, a metaphysical skepticism or nihilism towards the "great narrative" of Western culture, a preference for virtual at the expense of real (or rather, a question the fundamental of what 'is actually' is) and "waning affect" on the part of the subject, which is trapped in the free interaction of the virtual, endlessly reproducible signs inducing a state of consciousness similar to schizophrenia.
Since the late 1990s there has been a small but growing feeling both in popular culture and academics that postmodernism "has gone out of fashion." However, there have been official attempts to define and name several postmodernism epochs succeeded, and no proposed title has yet to be part of mainstream usage.
The consensus on what constitutes an age can hardly be attained while the ages are still in its early stages. However, the general positive theme of the current attempt to define post-postmodernism is that faith, trust, dialogue, performance and sincerity can work to overcome postmodern irony. The following definitions, which vary greatly in depth, focus and scope, are listed in the Definitions
the chronological order of their appearance.
In 1995, the urban landscape architect and urban planner Tom Turner issued a long-book appeal for post-postmodern turn in city planning. Turner criticized any "post-modern" postmodern creeds and pointed out that "the built-in environmental profession is witnessing the gradual dawning of Post-postmodernism that seeks to be angered by its faith."
In particular, Turner argues for the use of perennial organic and geometric patterns in urban planning. As a source of patterns as he quotes, among others, Tao-influenced the work of architect Christopher Alexander America, gestalt psychology and Carl Jung's psychoanalyst concept of archetypes. Regarding the terminology, Turner encourages us to "embrace post-Postmodernism - and pray for a better name." In 1999 his book on Russian-American postmodernism Russian Slavist Mikhail Epstein suggested that postmodernism "is part of a much larger formation of history," which he calls "postmodernity". Epstein argues that postmodernist aesthetics will eventually become entirely conventional and provide the basis for a new, non-ironic type of poetry, which describes using the "trans-" prefix:
In considering the names that might be used to designate a new era after "postmodernism," one finds that the "trans" prefix stands out in a special way. The last third of the 20th century developed under the sign "post", which marks the death of concepts such as modernity as "truth" and "objectivity", "soul" and "subjectivity", "utopia" and "idealistic," "primary origin "and" originality "," sincerity "and" sentimentality. " All these concepts are now being reborn in the form of "trans-subjectivity," "trans-idealism," "trans-utopianism," "trans-originality", "trans-lyric," "trans-sentimentality" etc. For example Epstein quotes the work of contemporary Russian poet Kibirov East. The term post-millennialism was introduced in 2000 by American cultural theorist Eric Gans to describe the postmodern period in ethics and socio-political terms. Gans associates postmodernism with "victimary thinking," which he defines as being based on ethical non-negotiable opposition between offenders and victims arising from the experiences of Auschwitz and Hiroshima. In this Gans view, the ethics of postmodernism stem from identifying with peripheral victims and underestimating the utopian center occupied by the perpetrator.
Postmodernism in this sense is characterized by productive victimary politics in its opposition to modernist utopianism and totalitarianism but unproductive in the hatred of capitalism and liberal democracy, which he sees as a long-term global reconciliation agent. Unlike postmodernism, post-millennialism is distinguished by the rejection of victimary thought and the turn for "non-victimary dialogue" which would "reduce the amount of hatred in the world." Gans has developed the idea of further post-millennialism in many of the Internet Chronicles on Love and Hatred and this term is allied with the theory of generative Anthropology and the beautiful concept of history. A systematic attempt to define post-postmodernism in terms of aesthetics has been done by German-American Raoul Slavist Eshelman in his book Performatism, or End of Postmodernism (Aurora, Colorado: Davies Group 2008, ISBN 978-1-888570-41-0). Eshelman, who coined the term "Performatism" in the year 2000, attempts to show that work in a new era is built in such a way to bring the aesthetic, mediated transcendental aesthetic experience. This Performatism works by making the artwork a closed viewer's power to identify with simple, opaque characters or situations and experience the beauty, love, belief and transcendence of certain underlying, artificial conditions. The Eshelman model applies to literature, film, architectural philosophy, and art. Examples of performatist works cited by Eshelman's new Life include Yann Martel on Pi, the beauty of American films, the renovation of Sir Norman Foster from the Reichstag Berlin, Jean-Luc Marion's philosophy and the Vanessa Beecroft show.
In popular culture, a movement loosely called "New Sincerity" features an important feature of post-postmodernism in its opposition to postmodern irony and in its efforts to promote good feelings. One of his most important supporters was the talk-show radio Jesse Thorn, who issued a brief "Manifesto for New Sincerity" on his blog in 2006. He stated we should "think of [Sincerity New] as the irony and sincerity combined like the Voltron, to form a new movement of amazing powers. "For example Thorn went on to quote Evel Knievel's brave late bike, whose persona is" reasonable "but that stunts" corrupts the mind "and" can not be taken ironically. "Thorn often promotes "The New Sincerity" on his radio program, Bullseye, which is aired on American public radio and is available as a podcast on the show's site.
In 2006 British scholar Alan Kirby formulated a socio-cultural assessment of post-postmodernism which he referred to as "pseudo-modernism." Kirby's pseudo-modernism colleagues with triteness and superficiality resulting from instantaneous, direct, and superficial participation in culture made possible by the internet, mobile, interactive television and the same way: "In pseudo-modernism one cell phone, click, tap, surf , choose, move, download. "
Pseudo-modernism "typical intellectual state" is further described as "ignorance, fanaticism and anxiety" and is said to produce "trans-like states" in those who participate in it. The net result of this superficiality of media-induced and instantaneous participation in trivial events is a "silent autism" replacing Kirby not seeing the aesthetically valuable work out of "neurosis of modernism and narcissism postmodernism." "Pseudo-modernism." As an example of his triteness he cites reality TV, an interactive news program, "the nonsense found on some Wikipedia pages," soap-and essayistic cinema from Michael Moore or Morgan Spurlock. In a book published in September 2009 Digimodernism entitled: How New Technologies Demolish with our postmodern and Reconfiguration Kirby's culture is further developed and nuanced in his view of post-postmodern culture and textuality.
In 2010 cultural theorists Timothy Vermeulen and Robin van den Akker introduced term metamodernism as an intervention in the post-postmodernist debate. In their 'Notes on Metamodernism' article they state that the year 2000 was characterized by the emergence of sensitivities that oscillate between, and should lie outside, positions of modern and postmodern strategies. For example the sensibilities that Vermeulen metamodern and van den Akker cite 'informed naivet', 'pragmatic idealism' and 'moderate fanaticism' from various cultural responses, among others, climate change, financial crisis, and (geo) political instability.
Aesthetically, metamodernism is exemplified by diverse practices such as BIG architecture and Herzog and de Meuron, Michel Gondry cinema, Spike Jonze and Wes Anderson, sound artists like CocoRosie, Antony and Johnson, Georges Lentz and Devendra Banhart, Peter Doig, Olafur Eliasson, Ragnar Kjartansson, Šejla Kamerić and Paula Doepfner, and the writings of Haruki Murakami, Roberto Bolaño and Jonathan Franzen, as they are each characterized by continuous oscillations, a constant repositioning of attitudes and mindsets that are both modern and postmodern, ultimately leads to other sensibilities that are not of them, one that negotiates between the longing for universal truth and relativism, between the desire for reason and the doubt about the taste of it all, between hope and melancholy, sincerity and irony, knowingness and naivety, construction and deconstruction.
The 'Meta' prefix here refers not to some reflective or gnawing attitude to repeat breeding, but to Platon's metaxy, which means movement between opposite poles and so on.