Metamodernism is a set of developments in philosophy, aesthetics, and culture which are emerging from and reacting to postmodernism. One definition characterizes metamodernism as mediations between aspects of both modernism and postmodernism. Metamodernism is similar to post-postmodernism.

Historical development of the term

The term metamodernist appeared as early as 1975, where Zavarzadeh used it to describe a cluster of aesthetics or attitudes which had been emerging in American literature since the mid-1950s.[1]

By 1999, metamodernism was being described as an "extension of and challenge to modernism and postmodernism" with the aim to "transcend, fracture, subvert, circumvent, interrogate and disrupt, hijack and appropriate modernity and postmodernity".[2] In 2002, metamodernism in literature was described as an aesthetic that is "after yet by means of modernism…. a departure as well as a perpetuation."[3][4] The metamodernists' relationship with modernism was seen as going "far beyond homage, toward a reengagement with modernist method in order to address subject matter well outside the range or interest of the modernists themselves."[3]

In 2007 metamodernism was described as partly a concurrence with, partly an emergence from, and partly a reaction to, postmodernism, "champion[ing] the idea that only in their interconnection and continuous revision lie the possibility of grasping the nature of contemporary cultural and literary phenomena."[5]

Vermeulen and van den Akker

In 2010, cultural theorists Timotheus Vermeulen and Robin van den Akker proposed metamodernism as an intervention in the post-postmodernism debate.[6][7] In their essay Notes on Metamodernism, they asserted that the 2000s were characterized by the return of typically modern positions that did not forfeit the postmodern mindsets of the 1980s and 1990s. According to them, the metamodern sensibility "can be conceived of as a kind of informed naivety, a pragmatic idealism", characteristic of cultural responses to recent global events such as climate change, the financial crisis, political instability, and the digital revolution.[6] They asserted that “the postmodern culture of relativism, irony, and pastiche" is over, having been replaced by a post-ideological condition that stresses engagement, affect, and storytelling.[8]

The prefix "meta-" here referred not to a reflective stance or repeated rumination, but to Plato's metaxy, which denotes a movement between opposite poles as well as beyond them.[6] Vermeulen and van den Akker described metamodernism as a "structure of feeling" that oscillates between modernism and postmodernism like "a pendulum swinging between…innumerable poles".[9] According to Kim Levin, writing in ARTnews, this oscillation "must embrace doubt, as well as hope and melancholy, sincerity and irony, affect and apathy, the personal and the political, and technology and techne."[8] For the metamodern generation, according to Vermeulen, "grand narratives are as necessary as they are problematic, hope is not simply something to distrust, love not necessarily something to be ridiculed."[10]

Vermeulen asserts that "metamodernism is not so much a philosophy—which implies a closed ontology—as it is an attempt at a vernacular, or…a sort of open source document, that might contextualise and explain what is going on around us, in political economy as much as in the arts."[10] The return of a Romantic sensibility has been posited as a key characteristic of metamodernism, observed by Vermeulen and van den Akker in the architecture of Herzog & de Meuron, and the work of artists such as Bas Jan Ader, Peter Doig, Olafur Eliasson, Kaye Donachie, Charles Avery, and Ragnar Kjartansson.[6]

Cultural acceptance

In November 2011, the Museum of Arts and Design in New York acknowledged the influence of Vermeulen and van den Akker when it staged an exhibition entitled No More Modern: Notes on Metamodernism, featuring the work of Pilvi Takala, Guido van der Werve, Benjamin Martin, and Mariechen Danz.[11]

In March 2012, Galerie Tanja Wagner in Berlin curated Discussing Metamodernism in collaboration with Vermeulen and van den Akker, billed as the first exhibition in Europe to be staged around the concept of metamodernism.[12][13][14] The show featured the work of Ulf Aminde, Yael Bartana, Monica Bonvicini, Mariechen Danz, Annabel Daou, Paula Doepfner, Olafur Eliasson, Mona Hatoum, Andy Holden, Sejla Kameric, Ragnar Kjartansson, Kris Lemsalu, Issa Sant, David Thorpe, Angelika J. Trojnarski, Luke Turner, and Nastja Rönkkö.[14]

In his formulation of the "quirky" cinematic sensibility, film scholar James MacDowell described the works of Wes Anderson, Michel Gondry, Spike Jonze, Miranda July, and Charlie Kaufman as building upon the "New Sincerity", and embodying the metamodern structure of feeling in their balancing of "ironic detachment with sincere engagement".[9]

The 2013 issue of the American Book Review was dedicated to metamodernism and included a series of essay identifying authors such as Roberto Bolaño, Dave Eggers, Jonathan Franzen, Haruki Murakami, Zadie Smith, and David Foster Wallace as metamodernists.[15][16] In a 2014 article in PMLA, literary scholars David James and Urmila Seshagiri argued that "metamodernist writing incorporates and adapts, reactivates and complicates the aesthetic prerogatives of an earlier cultural moment", in discussing twenty-first century writers such as Tom McCarthy.[17]

Professor Stephen Knudsen, writing in ArtPulse, noted that metamodernism "allows the possibility of staying sympathetic to the poststructuralist deconstruction of subjectivity and the self—Lyotard’s teasing of everything into intertextual fragments—and yet it still encourages genuine protagonists and creators and the recouping of some of modernism’s virtues."[18]

In May 2014, country music artist Sturgill Simpson told CMT that his album Metamodern Sounds in Country Music had been inspired in part by an essay by Seth Abramson, who writes about metamodernism on his Huffington Post blog.[19][20] Simpson stated that "Abramson homes in on the way everybody is obsessed with nostalgia, even though technology is moving faster than ever."[19] According to J.T. Welsch, "Abramson sees the 'meta-' prefix as a means to transcend the burden of modernism and postmodernism's allegedly polarised intellectual heritage."[21]

The Metamodernist Manifesto

In 2011, Luke Turner published a Metamodernist Manifesto.[21] The manifesto recognised "oscillation to be the natural order of the world" and called for an end to "the inertia resulting from a century of modernist ideological naivety and the cynical insincerity of its antonymous bastard child."[21][22] Instead, it proposed metamodernism 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."[23] The text cited the work of Vermeulen and van den Akker, and concluded “we must go forth and oscillate!”[10][24] Turner later credited his manifesto to the actor Shia LaBeouf as part of the pair's wider artistic collaboration.[25][26]

In early 2014, Shia LaBeouf embarked on a collaboration with Turner and Nastja Säde Rönkkö, described by Dazed as “a multi-platform meditation on celebrity and vulnerability,” and referred to by the collaborators as metamodernist performance art.[27] This included a performance in a Los Angeles gallery entitled #IAMSORRY, in which LaBeouf sat for six days silently crying in front of visitors, wearing a tuxedo and a brown paper bag over his head emblazoned with the words "I am not famous anymore".[28]

See also


  1. Zavarzadeh, Mas'ud. "The Apocalyptic Fact and the Eclipse of Fiction in Recent American Prose Narratives". Journal of American Studies, Vol. 9, no. 1 (Apr. 1975). Retrieved July 4, 2014.
  2. Okediji, Moyo (1999). Harris, Michael, ed. Transatlantic Dialogue: Contemporary Art In and Out of Africa. Ackland Museum, University of North Carolina. pp. 32–51. Retrieved July 26, 2014.
  3. 1 2 Furlani, Andre (Winter 2002). "Guy Davenport: Postmodern and After". Contemporary Literature, Vol. 43, No. 4. p. 713.
  4. Furlani, Andre (2007). Guy Davenport: Postmodernism and After. Northwestern University Press.
  5. Dumitrescu, Alexandra. "Interconnections in Blakean and Metamodern Space". On Space. Deakin University. Retrieved September 15, 2011.
  6. 1 2 3 4 Vermeulen, Timotheus; van den Akker, Robin. "Notes on Metamodernism". Journal of Aesthetics and Culture, Vol. 2 (2010): 1–14. Retrieved 28 July 2014.
  7. Eve, Martin Paul. "Thomas Pynchon, David Foster Wallace and the Problems of Metamodernism". Journal of 21st-century Writings, Vol. 1, no. 1 (2012). Retrieved 28 July 2014.
  8. 1 2 Levin, K. (15 October 2012). "How PoMo Can You Go?". ARTnews. Retrieved 14 July 2014.
  9. 1 2 Kunze, Peter, ed. (2014). The Films of Wes Anderson: Critical Essays on an Indiewood Icon. Palgrave Macmillan.
  10. 1 2 3 Potter, Cher (Spring 2012). "Timotheus Vermeulen talks to Cher Potter". Tank: 215.
  11. 'No More Modern: Notes on Metamodernism' Museum of Arts and Design, Retrieved June 19, 2014.
  12. 'The Metamodern Mindset' Berlin Art Journal, Retrieved June 26, 2014.
  13. 'Discussing Metamodernism with Tanja Wagner and Timotheus Vermeulen' Blouin ARTINFO, Retrieved June 19, 2014.
  14. 1 2 'Discussing Metamodernism' Galerie Tanja Wagner, Retrieved June 19, 2014.
  15. Moraru et al"", "American Book Review" 34:4 (2013)
  16. Gheorghe, C. "Metamodernismul sau despre amurgul postmodernismului". Observator Cultural. Retrieved 16 July 2014.
  17. James, David and Urmila Seshagiri. "Metamodernism: Narratives of Continuity and Revolution, Publications of the Modern Language Association of America 129: 1 (January 2014): 87–100.
  18. Knudsen, S. (March 2013). "Beyond Postmodernism. Putting a Face on Metamodernism Without the Easy Clichés". ArtPulse. Retrieved 14 July 2014.
  19. 1 2 Hight, Jewly. "Sturgill Simpson's New Set is a Mind-expanding Take on Country Traditionalism". Country Music Television (May 8, 2014). Retrieved July 6, 2014.
  20. Pritchard, Daniel Evans. "Weekly Poetry Links". Boston Review (July 24, 2013). Retrieved July 5, 2014.
  21. 1 2 3 Welsch, J.T. John Beer's The Waste Land and the Possibility of Metamodernism. British Association for Modernist Studies (June 26, 2014). Retrieved July 5, 2014.
  22. Lambert, M. (12 February 2014). "We Went There: '#IAMSORRY,' Shia LaBeouf's Apology Performance Art Installation". Grantland. Retrieved 25 August 2014.
  23. Cliff, A. (8 August 2014). "Popping Off: How Weird Al, Drake, PC Music and You Are All Caught up in the Same Feedback Loop". The Fader. Retrieved 25 August 2014.
  24. McCahill, M. (12 February 2014). "Shia LaBeouf: Is there genius in his madness?". The Daily Telegraph (UK). Retrieved 19 June 2014.
  25. Swift, T. (19 May 2014). "An Interview with Luke Turner & Nastja Sade Ronkko". aqnb. Retrieved 8 June 2014.
  26. "Shia LaBeouf plagiarizes every article about his plagiarism by claiming it was all just performance art". AV Club. 23 January 2014. Retrieved 24 August 2014.
  27. Tsjeng, Z. (March 2014). "Meet the two artists behind Shia LaBeouf's #IAMSORRY". Dazed. Retrieved 14 July 2014.
  28. Eordogh, F. (14 February 2014). "I don't know if Shia LaBeouf is sorry, but he's a master image transformer". The Guardian. Retrieved 14 July 2014.
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