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To help make sense of the various concepts and styles that influenced European design in the period 1985 to 2005, the exhibition’s curator Craig Miller (Indianapolis Museum of Art) identifies two major currents, Modernist design and Postmodernist design. Exemplifying the dispute about design’s leading motivation, Modernism prioritizes function and Postmodernism prioritizes artistic concept. The eight sections of the exhibition fall within these two larger categories. MODERNISM Viewed design as industry—the creation of functional, mass-produced objects. POSTMODERNISM Viewed design as art—the appreciation of artistic concept. Decorative design Based on the Postmodernist design-as-art ideal promoted by Memphis and Alchymia design groups, this approach to design was about extending a decorative, historicizing tradition. Expressive design This Postmodernist mode viewed the purpose of design as the creation of sculptural objects, sometimes with little regard for functional purpose. Geometric minimal design This approach reinvigorated one of the most influential aspects of Modernist design: the concept of functional objects based on simple geometric shapes. Biomorphic design Modernist in its concern for function, this approach looked to the curving forms of the natural world for inspiration. Neo-Pop design Harkening back to the Pop Art movement of the 1960s and ’70s, this Modernist design mode celebrated a straight-forward, light-hearted, and playful aesthetic approach to object design. Conceptual design A movement in which concept—the idea expressed—was more important than straight-forward function. Neo-Dada/Surreal design Postmodernist movement akin to Conceptual design, but with non-functional objects that looked to the eeriness of the Dada and Surrealist art movements of the early twentieth century for inspiration. Neo-Decorative design An early twenty-first-century return to the earlier Decorative movement’s embrace of ornament, this design mode brought the twenty-year cycle full circle. .

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Metamodern Writing in the Novel by Thomas Pynchon
INTERLITT ERA RIA 2019, 24/2: 495–508 495 Bleeding Edge of Postmodernism Bleeding Edge of Postmoder nism: Metamodern Writing in the Novel by Thomas Pynchon SIMON RADCHENKO Abstract. Many different models of co ntemporary novel’s description arose from the search for methods and approaches of post-postmodern texts analysis. One of them is the concept of metamodernism, proposed by Timotheus Vermeulen and Robin van den Akker and based on the culture and philosophy changes at the turn of this century. This article argues that the ideas of metamodernism and its main trends can be successfully used for the study of contemporary literature. The basic trends of metamodernism were determined and observed through the prism of literature studies. They were implemented in the analysis of Thomas Pynchon’s latest novel, Bleeding Edge (2013). Despite Pynchon being usually considered as postmodern writer, the use of metamodern categories for describing his narrative strategies confirms the idea of the novel’s post-postmodern orientation. The article makes an endeavor to use metamodern categories as a tool for post-postmodern text studies, in order to analyze and interpret Bleeding Edge through those categories. Keywords: meta-modernism; postmodernism; Thomas Pynchon; oscillation; new sincerity How can we study something that has not been completely described yet? Although discussions of a paradigm shift have been around long enough, when talking about contemporary literary phenomena we are still using the categories of feeling rather than specific instruments. Perception of contemporary lit era- ture as post-postmodern seems dated today. However, Joseph Tabbi has questioned the novelty of post-postmodernism as something new, different from postmodernism and proposes to consider the abolition of irony and post- modernism (Tabbi 2017).
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Chapter 12. the Avant-Garde in the Late 20Th Century 1
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From Postmodernism to Metamodernism
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Metamodernism
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