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Hauntology
All things hauntological, atemporal and future past nostalgic in music, media, art and ideas
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Metamodernism Marathon - the return of history [Symposium] - Stedelijk Museum Amsterdam [25th Sept 2014]

Metamodernism Marathon - the return of history [Symposium] - Stedelijk Museum Amsterdam [25th Sept 2014] | Hauntology | Scoop.it

'Fukuyama’s proclamation of the “End of History” and the many notions that emerged in close relation to this moment – the end of ideology, the end of the grand narratives, the end of Art, the end of the subject, of the real, of truth – are often associated with postmodernism. Now that History has returned and many of the postmodern discourses on society, culture, and the arts feel increasingly outdated, cultural theorists Timotheus Vermeulen and Robin van den Akker have proposed abandoning this term for another: metamodernism. In light of recent socio-economic changes and contemporary forms of artistic production – such as the New Engagement in the arts and the New Aesthetic in design, the New Sincerity in literature and the New Weird in music, Quirky Cinema and Quality Television – they theorize metamodernism as a structure of feeling that emerged around the turn of the millennium. For them, the 2000s – seen as a historical period rather than a temporal decade (and ranging from the late 1990s to 2011) – served as a passage from late capitalism to a fourth and global stage of capitalism and from a postmodern cultural logic to a metamodern one.

See more at: http://www.stedelijk.nl/en/calendar/symposia/metamodernism-marathon-the-return-of-history#sthash.Ndv0Bgyr.dpuf

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The Metamodernist Manifesto: The Rebirth of the Author - Seth Abramson

The Metamodernist Manifesto: The Rebirth of the Author - Seth Abramson | Hauntology | Scoop.it

'At present, the literary postmodernists, having declared authorship dead--and unwilling to consider the transdimensionality of metaphysical authorship as a progressive subjective thrust--now tell us, too, that even creativity itself is dead, and that all writing indelibly of this Age is "uncreative." Those warm to the idea of the next hundred years of authorship comprising mere transcriptions of extant texts will be heartened to hear this; others will have cause to wonder how putting the human subject in command of ever greater and greater stockpiles of information requires of her less creativity (in fact none at all) rather than more, or how writing our own transdimensional realities in the face of this limitless data is somehow not an act of "writing" at all.' - Seth Abramson

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American Book Review dedicates special issue to metamodernism | Notes on Metamodernism

American Book Review dedicates special issue to metamodernism | Notes on Metamodernism | Hauntology | Scoop.it

'The American Book Review (34: 4) dedicated a special issue to metamodernism. It includes review essays by, among others, NoM editors Timotheus Vermeulen, Robin van den Akker and Alison Gibbons and fellow travellers Alan Kirby and Raoul Eshelman, alongside a very interesting introduction by our colleague and friend Christian Moraru, the issue’s editor. In “Thirteen ways of passing postmodernism”, Moraru argues that the contemporary metamodern moment should be situated between the bygone postmodern years and ‘the next big thing’ of the (un)foreseeable future.[i] Meanwhile, he writes, we have our “work cut out” for us, ”because lots of unanswered questions still swirl around metamodernism.'

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On Literary Metamodernism - Seth Abramson [Huffington Post]

On Literary Metamodernism - Seth Abramson [Huffington Post] | Hauntology | Scoop.it

'Metamodernism is much more than the implicit proclamation that postmodernism is dead; it is an active and expanding poetics that makes positive submissions of a historically idiosyncratic sort. Chief among these submissions are the following: That wholeness in the Internet Age is possible without any denial of the subjective complexities of the period; that reflexivity in art can be achieved without irony or conventional artifice; that conventional craft and conventional prosody are more often hindrances to such an achievement than aids; that metataxic operations (that is, movement between poles as a means of superceding those poles) better returns Art to the praxis of Life than do the paratactic operations favored by postmodernists; that conflicting realities can be seamlessly interwoven without standing apart from any or all of them; that new metanarratives to inform both present and future are more readily realized in the superconscious and hyperconscious than in or through deconstructive linguistic codes; and that the hyperphysicality of self and culture is more immanent in the lives of today's youth than is the possible commodification of language as capital or material, the latter a premise younger Americans were raised on and thus long ago implicitly accepted. There are, of course, several other important and generative metamodernistic theses even more esoteric than these, but for now these will do.' - Seth Abramson

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How to Live Without Irony

How to Live Without Irony | Hauntology | Scoop.it

'... To live ironically is to hide in public. It is flagrantly indirect, a form of subterfuge, which means etymologically to “secretly flee” (subter + fuge). Somehow, directness has become unbearable to us.

 

How did this happen? It stems in part from the belief that this generation has little to offer in terms of culture, that everything has already been done, or that serious commitment to any belief will eventually be subsumed by an opposing belief, rendering the first laughable at best and contemptible at worst. This kind of defensive living works as a pre-emptive surrender and takes the form of reaction rather than action ...

 

What would it take to overcome the cultural pull of irony? Moving away from the ironic involves saying what you mean, meaning what you say and considering seriousness and forthrightness as expressive possibilities, despite the inherent risks. It means undertaking the cultivation of sincerity, humility and self-effacement, and demoting the frivolous and the kitschy on our collective scale of values. It might also consist of an honest self-inventory.

 

Here is a start: Look around your living space. Do you surround yourself with things you really like or things you like only because they are absurd? Listen to your own speech. Ask yourself: Do I communicate primarily through inside jokes and pop culture references? What percentage of my speech is meaningful? How much hyperbolic language do I use? Do I feign indifference? Look at your clothes. What parts of your wardrobe could be described as costume-like, derivative or reminiscent of some specific style archetype (the secretary, the hobo, the flapper, yourself as a child)? In other words, do your clothes refer to something else or only to themselves? Do you attempt to look intentionally nerdy, awkward or ugly? In other words, is your style an anti-style? The most important question: How would it feel to change yourself quietly, offline, without public display, from within?' - Christy Wampole

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Metamodernism, Music and Movies: Metamodern Musicals!

Metamodernism, Music and Movies: Metamodern Musicals! | Hauntology | Scoop.it
Metamodernism, Music and Movies - Metamodern Musicals is an essay in comic book form that looks at pop music centered movies as a subgenre of musical cinema.
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What is metamodernism? | Notes on Metamodernism

What is metamodernism? | Notes on Metamodernism | Hauntology | Scoop.it

From 2010

 

'Metamodernism is neither a residual nor an emergent structure of feeling, but the dominant cultural logic of contemporary modernity. It can be grasped as a generational attempt to surpass postmodernism and a general response to our present, crisis-ridden moment. It often is characterized by an oscillation - between a modern desire for sense and a postmodern doubt about the sense of it all, between a modern sincerity and a postmodern irony, between control and the common, etc.'

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We are The Metamodernista!
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Metamodernist // Manifesto

Metamodernist // Manifesto | Hauntology | Scoop.it

'We propose a pragmatic romanticism unhindered by ideological anchorage. Thus, metamodernism shall be defined as the mercurial condition that lies between, beyond and in pursuit of a plurality of disparate and fragmentary horizons. We must go forth and oscillate!'

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ARTPULSE MAGAZINE » Feature » Art Criticism and Metamodernism - Timotheus Vermeulen and Robin van den Akker

ARTPULSE MAGAZINE » Feature » Art Criticism and Metamodernism - Timotheus Vermeulen and Robin van den Akker | Hauntology | Scoop.it

'The metamoderns are not looking back at history to discern a ‘rational’ pattern (that famous ‘owl of Minerva’) and noticing that there are a few loose ends that still need to be tied together, as the modern and postmodern readings of Hegel (or should we say: a certain type of vulgar Hegelians) would have it. On the contrary. Rather, they acknowledge that there is no such a thing as a necessary teleological pattern in history, yet still they project, informed by the past, a regulative idea onto the future. Kant argues, much like Hegel, that natural laws are the single condition and structuring principle of human life. However, he suggests, too, that we cannot know these laws and must therefore assume knowledge of them by historicizing-narrating, that is, indeed, imagining hierarchies and relations between and beyond the human actions they supposedly structure. Kant thus at once says: There is a purpose to history, and we imagine there to be a purpose to history, but it might not necessarily be so. Kant does not contradict himself, but he does not confirm the previous either: The first, schematic statement (there is a purpose) is instantly subverted by a second (but, well, it might only be a purpose to our mind).' -Timotheus Vermeulen and Robin van den Akker

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Beyond Postmodern Narcolepsy: On Metamodernism in Popular Music Culture- Niels van Poecke

Beyond Postmodern Narcolepsy: On Metamodernism in Popular Music Culture- Niels van Poecke | Hauntology | Scoop.it

'In his book ‘Retromania, Pop Culture’s Addiction To Its Own Past’ (2011), music journalist Simon Reynolds states that popular (music) culture is suffering from retromania, an incurable addiction to its own past. According to Niels van Poecke, his analysis is based on a nineteenth century—and therefore very modern—notion of ‘authenticity’. It makes himself a symptom of that which he criticizes: retromania. Popular music culture nowadays is neither modern nor postmodern, but metamodern.'

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Berlin Art Journal - the metamodern mindset [a study on contemporary reality]

Berlin Art Journal - the metamodern mindset [a study on contemporary reality] | Hauntology | Scoop.it

In any moment, it’s nearly impossible to locate or isolate shifts, changes in tendencies, whether social, aesthetic, or otherwise—banal critical statement of the year, certainly ... For Robin van den Akker, Timotheus Vermeulen, and gallerist Tanja Wagner, that name is Metamodernism.

 

"[Metamodernism] ... emerges partly from the variety of crises that we’re in,” says Vermeulen, “[the] geopolitical crisis and the economical crisis are affecting us. People from my generation always thought that we’d have better lives than our parents, and now we are realising that it’s possible that we won’t.” Strangely however, when such generational disappointment could easily lead to an utterly postmodern response of “fuck it, we’ll fail anyhow,” the metamodern sensibility is quite the opposite. Out of loss in art, politics, bottom lines or otherwise, has come a resurgent hopefulness, or, even at times when the outlook isn’t hopeful at all, a willingness to try.' - Alexander Forbes

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Artpulse Magazine - Beyond Postmodernism. Putting a Face on Metamodernism Without the Easy Clichés - Stephen Knudsen

Artpulse Magazine - Beyond Postmodernism. Putting a Face on Metamodernism Without the Easy Clichés - Stephen Knudsen | Hauntology | Scoop.it

'I will admit, as academia clamors to find some term for “whatever-we-call-coming-after” postmodernism, I long for the days of yore when the nomenclature took little effort ... the opening salvo of post-po-mo circa 1993 is arguably David Foster Wallace’s E Unibus Pluram-a great essay on sensing a cultural sea change, or at least the need for one. Wallace suggested that perhaps what had made postmodernism vital-such as irony, appropriation and obsessive intertextuality-was beginning to fizzle. The suggestion was radical at that time. Wallace’s exquisite prose, his novel Infinite Jest being no exception, pointed to a return to some form of genuine selfhood and authentic, sincere point of view, an attempt to create something on its own right, and what he famously called “single-entendre principles.” Though Wallace’s voice should not be missed in this discussion, one must, however, look elsewhere for fully developed manifestos or sensible new nomenclature identifying the mood change ...

 

I am trying to gain a fondness for the term “metamodernism,” advanced in 2010 by Timotheus Vermeulen and Robin van den Akker in the Journal of Aesthetics & Culture. The theorists use “meta” as a prefix to refer to “between.” Granted, “meta” is more commonnly associated with the idea of “after” or “post,” but that definition would be unhelpful as we have been there and done that. Fortunately, “meta” also can refer to an oscillation between adjacent positions. Organic chemistry adopted that meaning in its use of  “meta” to refer to the occupation of two possible positions, such as the “meta positioning” in the meta benzene ring.' - Stephen Knudsen

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Metamodernism and Belle and Sebastian: Just a MetaModern Rock Song

Metamodernism and Belle and Sebastian: Just a MetaModern Rock Song | Hauntology | Scoop.it

From 2012

 

"Metamodernism is a way of discussing culture, and metamodernism and music is a popular topic. This essay examines Belle and Sebastian as a metamodern band.

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pOmoLanD : MeMo: Hope & Change After Cultural Suicide?

pOmoLanD : MeMo: Hope & Change After Cultural Suicide? | Hauntology | Scoop.it

'Memo isn't sure ... of a goal to human existence, but in order to get past the destructive 'irony' rooted in egalitarian Nihilism Memo proposes to start moving away from the cliff, pending the discovery of a Sense of Life. Whence and how salvation is about to come is obscure for the moment. But while we wait for it to emerge, the feeling is clothed in Romantic Realism.' - 'Cassandra Troy'

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‘A new manifesto for new music’ by Adam Harper

‘A new manifesto for new music’ by Adam Harper | Hauntology | Scoop.it

'We can no longer accept every product in the iTunes music store, or every Top 40 in gold and platinum, or the great composers in marble, or centuries of the concert hall, or the record collectors’ most cherished numbers, or all the instruments in all the orchestras, or all the notes in all the scales and ready for the page, or all the sound in the world, as demarcating the horizon of our imaginations.

 

We have to find something further and deeper beyond these horizons. But our task is not to find the rules and formulas hidden deep within this idea we think we understand, music. Music is not waiting to be understood, its role is to modulate and reform understanding itself in ever newer ways. We can only keep its options in this ever more open. Our task is not to locate and manifest the one greatest musical work or locus of music, and plant it like a monument in human history.' - Adam Harper

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Notes on metamodernism | Timotheus Vermeulen & Robin van den Akker | Journal of Aesthetics & Culture

From 2010

 

'In this essay, we will outline the contours of this emerging structure of feeling. We will first discuss the debate about the alleged demise of ‘‘the’’ postmodern and the apparent rise of another modernism. We will argue that this modernism is characterized by the oscillation between a typically modern commitment and a markedly postmodern detachment. We will call this structure of feeling metamodernism.


According to the Greek English Lexicon the prefix ‘‘meta’’ refers to such notions as ‘‘with’’, ‘‘between’’, and ‘‘beyond’’. We will use these connotations of ‘‘meta’’ in a similar, yet not indiscriminate fashion. For we contend that metamodernism should be situated epistemologically with (post) modernism, ontologically between (post) modernism, and historically beyond(post)
modernism. And finally, we will take a closer look at some tendencies that exemplify the current dominant sensibility, in particular the Romantic turn in contemporary aesthetics.' - Timotheus Vermeulen and Robin van den Akker

 



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