Existentialism in Metamodern Art
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New Modernism(S)
New Modernism(s) BEN DUVALL 5 Intro: Surfaces and Signs 13 The Typography of Utopia/Dystopia 27 The Hyperlinked Sign 41 The Aesthetics of Refusal 5 Intro: Surfaces and Signs What can be said about graphic design, about the man- ner in which its artifact exists? We know that graphic design is a manipulation of certain elements in order to communicate, specifically typography and image, but in order to be brought together, these elements must exist on the same plane–the surface. If, as semi- oticians have said, typography and images are signs in and of themselves, then the surface is the locus for the application of sign systems. Based on this, we arrive at a simple equation: surface + sign = a work of graphic design. As students and practitioners of this kind of “surface curation,” the way these elements are functioning currently should be of great interest to us. Can we say that they are operating in fundamentally different ways from the way they did under modern- ism? Even differently than under postmodernism? Per- haps the way the surface and sign are treated is what distinguishes these cultural epochs from one another. We are confronted with what Roland Barthes de- fined as a Text, a site of interacting and open signs, 6 NEW MODERNISM(S) and therefore, a site of reader interpretation and of SIGNIFIER + SIGNIFIED = SIGN semiotic play.1 This is of utmost importance, the treat- ment of the signs within a Text is how we interpret, Physical form of an Ideas represented Unit of meaning idea, e.g. -
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). -
Metamodernism, Or Exploring the Afterlife of Postmodernism
“We’re Lost Without Connection”: Metamodernism, or Exploring the Afterlife of Postmodernism MA Thesis Faculty of Humanities Media Studies MA Comparative Literature and Literary Theory Giada Camerra S2103540 Media Studies: Comparative Literature and Literary Theory Leiden, 14-06-2020 Supervisor: Dr. M.J.A. Kasten Second reader: Dr.Y. Horsman Master thesis submitted in accordance with the regulations of Leiden University 2 Table of Contents Acknowledgments ................................................................................................................................. 3 Introduction ........................................................................................................................................... 4 CHAPTER 1: Discussing postmodernism ........................................................................................ 10 1.1 Postmodernism: theories, receptions and the crisis of representation ......................................... 10 1.2 Postmodernism: introduction to the crisis of representation ....................................................... 12 1.3 Postmodern aesthetics ................................................................................................................. 14 1.3.1 Sociocultural and economical premise ................................................................................. 14 1.3.2 Time, space and meaning ..................................................................................................... 15 1.3.3 Pastiche, parody and nostalgia ............................................................................................ -
Metamodernism and Vaporwave: a Study of Web 2.0 Aesthetic Culture
Nota Bene: Canadian Undergraduate Journal of Musicology Volume 14 | Issue 1 Article 3 Metamodernism and Vaporwave: A Study of Web 2.0 Aesthetic Culture Nicholas Morrissey University of Wisconsin-Oshkosh Recommended Citation Morrissey, Nicholas. “Metamodernism and Vaporwave: A Study of Web 2.0 Aesthetic Culture.” Nota Bene: Canadian Undergraduate Journal of Musicology 14, no. 1 (2021): 64-82. https://doi.org/10.5206/notabene.v14i1.13361. Metamodernism and Vaporwave: A Study of Web 2.0 Aesthetic Culture Abstract With the advent of Web 2.0, new forms of cultural and aesthetic texts, including memes and user generated content (UGC), have become increasingly popular worldwide as streaming and social media services have become more ubiquitous. In order to acknowledge the relevance and importance of these texts in academia and art, this paper conducts a three-part analysis of Vaporwave—a unique multimedia style that originated within Web 2.0—through the lens of a new cultural philosophy known as metamodernism. Relying upon a breadth of cultural theory and first-hand observations, this paper questions the extent to which Vaporwave is interested in metamodernist constructs and asks whether or not the genre can be classed as a metamodernist text, noting the dichotomy and extrapolation of nostalgia promoted by the genre and the unique instrumentality it offers to its consumers both visually and sonically. This paper ultimately theorizes that online culture will continue to play an important role in cultural production, aesthetic mediation, and even -
Transmodern Reconfigurations of Territoriality
societies Article Transmodern Reconfigurations of Territoriality, Defense, and Cultural Awareness in Ken MacLeod’s Cosmonaut Keep Jessica Aliaga-Lavrijsen Centro Universitario de la Defensa Zaragoza, Zaragoza 50090, Spain; [email protected] Received: 5 September 2018; Accepted: 17 October 2018; Published: 19 October 2018 Abstract: This paper focuses on the science fiction (SF) novel Cosmonaut Keep (2000)—first in the trilogy Engines of Light, which also includes Dark Light (2001) and Engines of Light (2002)—by the Scottish writer Ken MacLeod, and analyzes from a transmodern perspective some future warfare aspects related to forthcoming technological development, possible reconfigurations of territoriality in an expanding cluster of civilizations travelling and trading across distant solar systems, expanded cultural awareness, and space ecoconsciousness. It is my argument that MacLeod’s novel brings Transmodernism, which is characterized by a “planetary vision” in which human beings sense that we are interdependent, vulnerable, and responsible, into the future. Hereby, MacLeod’s work expands the original conceptualization of the term “Transmodernism” as defined by Rodríguez Magda, and explores possible future outcomes, showing a unique awareness of the fact that technological processes are always linked to political and power-related uses. Keywords: cultural awareness; future warfare; globalization; Fifth-Generation War; intergalactic territoriality; planetary civilizations; SF; space ecoconsciousness; speculative fiction; technological development; transmodernism “Where there is no vision, the people perish.” —Proverbs 29:18 “If these are the early days of a better nation there must be hope, and a hope of peace is as good as any, and far better than a hollow hoarding greed or the dry lies of an aweless god.” —Graydon Saunders 1. -
ASIB 110 Winter 2014 LETTER
M E R I C A T U D I E S R I T A I N NO. 110 WINTER 2014 ISSN 1465-9956 N ASINB BAAS.AC.UK 6 0 Special Anniversary Issue EDITOR’S ASIB 110 Winter 2014 LETTER ‘Neurolysis’ and Wilka Hudson ext year is the 60th anniversary of BAAS. To mark the address as Chair of the Association is reprinted from occasion, this special issue of ASIB pays homage to page 4. (Sue reviewed many of the recent activities Nsome of the beautiful architecture of next year’s and achievements across the community at the 59th conference host city, Newcastle-upon-Tyne. The BAAS conference in Birmingham organised by Sara image above is a wide-angle shot of the Newcastle Wood.) This issue of ASIB also includes a piece by Quayside. The cover shows the Sage Gateshead and Hannah Murray (p. 11) on the transatlantic legacy of Tyne Bridge at dusk. More details about the the civil rights activist and author Frederick Douglass. conference, including the website and Twitter handle Finally, postgraduate students in the community are supplied by Northumbria University, can be found on encouraged to get in touch with the BAAS PG the next page. A preliminary programme is expected representative, Rachael Alexander (p. 12). in March on baas.ac.uk. I hope you enjoy this issue of ASIB. As ever, this issue of ASIB is brimming with report writing by the Association’s travel/research Warm regards, award recipients. There is certainly enough to ignite any Americanist’s wanderlust, with articles (starting p. -
Table of Contents
Table of Contents 0. Introduction..................................................................................................... 4 1. Terminological issues ...................................................................................... 6 2. Placement of David Foster Wallace ................................................................. 8 2.1 Critical literature on David Foster Wallace .................................................. 9 2.2 Starting point and purpose of this thesis ................................................. 11 3. General aspects of the postmodern era, epistemology ................................. 13 4. Literary postmodernism ................................................................................. 16 4.1 Philosophical orientation, complication of authorship ............................... 16 4.2 Foregrounding structure, breaking the narrative illusion .......................... 19 4.3 Pastiche, parody ....................................................................................... 20 4.4 Disjunction, interruption, fragmentation .................................................. 21 4.5 Temporality and temporal disorder .......................................................... 25 5. Post-postmodernisms .................................................................................... 26 5.1 Performatism ............................................................................................ 27 5.2 Digimodernism ........................................................................................ -
Postmillennial Trends in Anglophone Literatures, Cultures and Media
Postmillennial Trends in Anglophone Literatures, Cultures and Media Postmillennial Trends in Anglophone Literatures, Cultures and Media Edited by Soňa Šnircová and Slávka Tomaščíková Postmillennial Trends in Anglophone Literatures, Cultures and Media Edited by Soňa Šnircová and Slávka Tomaščíková This book first published 2019 Cambridge Scholars Publishing Lady Stephenson Library, Newcastle upon Tyne, NE6 2PA, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2019 by Soňa Šnircová, Slávka Tomaščíková and contributors All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-5275-2709-3 ISBN (13): 978-1-5275-2709-6 TABLE OF CONTENTS Introduction ................................................................................................. 1 Postmillennial Trends in Anglophone Literatures, Cultures and Media Soňa Šnircová and Slávka Tomaščíková Part I: Addressing the Theories of a New Cultural Paradigm Chapter One ............................................................................................... 16 Metamodernism for Children?: A Performatist Rewriting of Gabriel García Márquez’s ‘A Very Old Man With Enormous Wings: A Tale for Children’ in David Almond’s Skellig Soňa Šnircová Chapter Two ............................................................................................. -
Slow Expansion. Neomodernism As a Postnational Tendency in Contemporary Cinema
TRANSMISSIONS: THE JOURNAL OF FILM AND MEDIA STUDIES 2016, VOL.1, NO. 2, PP. 100-117. Miłosz Stelmach Jagiellonian University Slow Expansion. Neomodernism as a Postnational Tendency in Contemporary Cinema Abstract The article presents a theoretical overview of a distinctive strand of contemporary cinema identified in the text as neomodernism (as defined by Rafał Syska). It focuses on works of filmmakers such as Béla Tarr, Aleksander Sokurov or Tsai Ming-liang and their followers and tries to present them as a part of informal postnational artistic movement developing in cinema from mid-90s onward. The aim of the article is to examine critically the journalistic and reductive category of slow cinema usually applied to auteurs mentioned above and propose term more burdened with cultural connotations and thus open for nuanced historical and theoretical studies. The particular attention is given to the international character of neomodernism that negates the traditional boundaries of national schools as well as the division of centre-periphery in world cinema shaped by the first wave of postwar modernist cinema. Neomodernism rather moves the notion of centre to the institutional level with the growing importance of festivals, film agents and public fund that take the place of production companies as the main actors in the transnational net of art-house cinema circulation. Key words: contemporary cinema, modernism, slow cinema, postnational cinema, neomodernism Introduction Over the course of the last two decades, the debate over cinema and modernism has taken the form of a dialectical struggle since two distinctive theoretical standpoints emerged, of which the more traditional and still dominant is rooted in art history and literary studies of the post-war years. -
Hungry for Art
Hungry for Art A semiotic reading of food signifying art in the episode Grant Achatz (2016) in the documentary Chef’s Table (2015-present) Dana van Ooijen, s4243870 June 2017 Bachelor’s Thesis Algemene Cultuurwetenschappen (Arts and Culture Studies) Faculty of Humanities Supervisor: Dr. J.A. Naeff Radboud University, Nijmegen Second Reader: 1 Table of Contents Abstract: Hungry for Art ..................................................................................................................... 3 Introduction ........................................................................................................................................... 4 Chapter 1. Plating like Pollock (and other Abstract Expressionists) ............................................... 8 Peirce and Intertextuality ..................................................................................................................... 8 Abstract Expressionists (Jackson Pollock) ........................................................................................ 10 Two Types of Intertextual Relations ............................................................................................. 11 Chapter 2. Moving like the Modernists ............................................................................................. 15 Peirce and Modernism ....................................................................................................................... 15 Modernism Applied .......................................................................................................................... -
Metamodernism and New Romanticism
Metamodernism & New Romanticism The world must be romanticized. In this way its original meaning will be rediscovered. To romanticize is nothing but a qualitative heightening. In this process the lower self becomes identified with a better self. (…) Insofar as I present the commonplace with significance, the ordinary with mystery, the familiar with the seemliness of the unfamiliar and the finite with the semblance of the infinite, I romanticize it1. These words by Novalis have long been suppressed by the modern paradigm and ignored by postmodern discourses. However, over the last two decades or so, they have gradually begun to re-emerge. In 2005 they were reprinted in Max Hollein’s catalogue Ideal world: New Romanticism in Contemporary Art2. They were expressed with such conviction, there could be no more doubt about it: a new sense of the Romantic has emerged3. Our society is marked by increasing mobility and the waning of social bonds. As a response, a new yearning for intimacy and security seems to prevail. As a result we are now confronted with a revival of the traditional work wherever we turn to4. It can be seen in the re-appraisal of Bas Jan Ader’s questioning of Reason, in the attention for Peter Doig’s re- appropriation of culture through nature and it can be perceived in Olafur Eliasson’s obsession with the commonplace5. It can also be observed in David Thorpe’s fascination with the 30 fictitious or in Charles Avery’s interest for fictional elsewheres6. Many contemporary artists seem to have taken up the Romantic spirit. -
The New Sincerity Ethos by Kayley Hart a Dissertation Submitted to The
Sincerity and Hyperreality: The New Sincerity Ethos by Kayley Hart A Dissertation Submitted to the University of Wyoming Undergraduate Honors Program and English Honors Program Spring 2020 Hart 2 I: Introduction to New Sincerity A broad literary and cultural ethos has emerged in the early 21st century that is referred to by literary scholars, writers, and journalists as “New Sincerity.” Associated with the “millennial” generation, the movement encompasses various media including books, poetry, television, films, and music. Analyzing New Sincerity as a specific movement or ethos involves studying the relationship between sincerity and irony, writer and reader, and postmodernism. This study seeks to understand the characteristics of New Sincerity and the political and cultural implications of the emergence of media that embraces sincerity and kindness instead of cynicism. “New Sincerity” is described as an ethos in the media, indicating its cultural foothold. In a 2012 Atlantic article called, “Sincerity, Not Irony, Is Our Age's Ethos,” Jonathan D. Fitzgerald argues that sincerity is the overarching ethos of our age. He says, “A recent Knights of Columbus-Marist Poll survey found that among Millennials, six out of 10 prioritized being close to God and having a good family life above anything else.” This indicates that New Sincerity is more than just a rejection of irony, but a shift in everyday values, including an acceptance of vulnerability and simplicity. Fitzgerald looks at Generation X (born in the 1960s-70s) and Millennials (born in the 1980s-90s) comparatively, saying he appreciates the culture of the 90s, “But I can also still remember the cool, detached posturing of the teenagers I looked up to as a child in the '80s, and still as a teenager myself in the '90s.