What Is the Meaning of Postmodernism - Essay Example

POSTMODERNISM by Postmodernism has been one issue that has been hit with debate in various disciplines including architecture, music, film, art, sociology, literature, fashion and communications among other disciplines. A conceptual term such as postmodernism is expected to have a clear definition that expresses its extension, meaning and connotation. However, postmodernism has posed a challenge such a concept in social sciences is relative rather than objective. As such, various authors and researchers have contributed to the definition and understanding of postmodernism in recent years but it has not been an easy task either. This paper is a critical discussion of the meaning of term post-modern based on Charles Jencks question-article What Then is Post-Modernism and Jean-Francois Lyotard’s Answering the Question: What is Postmodernism. To provide a critical discussion, the paper will also rely on other readings on the topic. What is the meaning of postmodernism? This question has been an issue that different authors have tried to answer for a long period. Jencks (1996, p 20) begins his analysis by stating, “How ironic to ask this question after so many years as if there were a definite answer. And the quandary has only deepened in the meantime since a generation has grown up, untrained in the old doctrines.” Jencks statement shows that understanding the meaning of postmodernism has been a difficult issue in the past but even more so today because the current generation does not even have a clue to what it means. Jencks (1996, p 14) also asks how one can explain modernism and postmodernism terms to a person who has no knowledge of recent global history. Asking such questions shows that Jencks suggests that understanding postmodernism has to with issues of history. In distinguishing modernism and postmodernism, looking at different disciplines is necessary. Jencks (1996, p 14) states that for a contemporary historian, a strong American state having a policeman role is modern but the conglomerate EU acting through soft power is postmodern. For an economist, a corporation such as General Motors is modern while Amazon is postmodern (Jencks, 1996, p 14). In all these examples, Jencks shows that the differences in modernism and postmodernism is not necessarily an issue of time differences but how people and organizations do certain things. Post-modernism, therefore, is something intangible that can only be explained through consideration of the changes that occur and the adaptability to such changes. It has to do with attitudes and certain cultural tendencies and constellation of values. Postmodernism operates in a retrospective manner in the sense that it cannot be quantified but is governed by the rules in the process of discovering. Lyotard, (2010, p 42) states that postmodernism is not modernism at its end but a constant state in a nascent state. Pure postmodernism experiments, be it in art or sociology attempt to present things that cannot be presented in a tangible sense. Postmodernism is an attempt to present something that cannot be presented tangibly through a way that is yet to be established. It does not observe any pre-established rules but these rules are those that postmodernism seeks to establish. Thus, according to Lyotard (2010, p 43), postmodernism would be the thing or idea that invokes the unpresentable in the presentation. It does not align to the consolation of forms, or tastes, but it inquires into new presentations. To an extent, Lyotard’s meaning of postmodernism reflects Jencks idea of postmodernism because Jencks idea is that postmodernism cannot be presented because it is not a tangible thing. It can only be expressed through the use of things such as attitudes and behaviours. For instance, it is stated that irony and ambiguity characterize postmodernism in architecture and literature (Jencks, 1996, p 15). In another study, Lyotard (1984, xxiii) writes, "Science has always been in conflict with narratives. Judged by the yardstick of science, the majority of them prove to be fables...Simplifying to the extreme, I define postmodern as incredulity toward metanarratives. This incredulity is undoubtedly a product of progress in the sciences: but that progress in turn presupposes it". In this statement, Lyotard definition of postmodernism here shows that science is postmodern. This means that fields such as architecture are included in postmodernism. According to Jencks (1996, p 22), socially and semantically architecture must mediate between tastes of fashion, genetics and language. This means that postmodernism architecture reflects current as well as past issues and in it culture stands among the most important and outstanding aspects. Jencks acknowledges that his own work titled the language of postmodernism architecture shows that the architectural architecture had direction (Jencks, 1996, p 22; Forty, 2004, p 2). This clearly shows that postmodernism is progressive it is not like modernity, which today is considered another thing and tomorrow is considered as the past. Postmodernity goes beyond time limits. It goes beyond age limitations. It is ageless and displays the aspect of continuity. In light of this, it is stated that the need for a hybrid language existed in architecture unlike in other arts and this has constantly been the case even today where iconic structures in the urban fragment show aspects of mixed languages (Jencks, 1996, p 22). Using Minneapolis as a case study, six of the tallest buildings were built between 1982 and 1992, a period that is said to be the height of postmodernism. From these buildings, one can generate a sense of development and aesthetic qualities among them. When these buildings were constructed, they represented a new form of architectural aesthetics (Coleman, 2008). The names allocated to these buildings keep changing showing an aspect of language in postmodernism. For example, the Capela Tower in Minneapolis has changed names four times in a period of twenty years. The tallness of the building unlike other buildings in the area was an aspect of postmodernism because it presented something different. On top of that, the fact that Capela Towers has changed its name three times shows an aspect of progressiveness that is a characteristic of postmodernism. When it was built, there were not so many tall buildings in Minneapolis. Even so, the tall buildings that existed at that time could not match buildings such as Capela Towers, and the change of its name shows an aspect of age transcendence. With each change of name comes new functions of the building (Coleman, 2008). Jencks (1971, p 46) proposed a way of characterizing architecture in the 20th century as a sequence of six major traditions that were logical, idealist, self-conscious, activist, intuitive and unself-conscious. These aspects represented architectural structures that are considered postmodern. Indeed, looking at the Capela Tower in Minneapolis as a case study, the six traditions that were mentioned by Jencks (1971, p 46) can be clearly seen. The question of how and by what process the meaning of an architectural work becomes, the aesthetic analyses were therefore formed as an aspect of postmodernism. Different authors agree that the development of postmodern forms in architecture, literature, painting and poetry among other disciplines occurred in the 1970s and 1980s. The field of postmodern architecture has experienced a strong reaction to a high modern style of purity and formalism. For instance, Webster (1996, p 124) states, “the term postmodernism does not come into general usage though in Britain and America until the post-war period, and it is in 1980s that the most intense theorization and debate takes place- the ‘moment’ of postmodernism in the sense of the intersection of cultural, political and historical forces together with a heightened awareness of the movement”. Webster’s statement is true because the discussions of postmodernism in different fields began after the Second World War and were more famous. Discussions by renowned authors such as Jencks and Lyotard were famous starting in the 1970s going into 1980s. Architectural structures portraying postmodernism concepts were built mostly between 1970s and 1980s but have carried the idea to the present date a case in point being Capela Towers in Minneapolis (Jencks, 1992, p 23). Postmodernism as an ideology originated from sociological literature/ thoughts showing that it is an aspect of social sciences. It is stated that postmodernism is an extension of sociological inquiry (Preda, 2001). The idea came up in response to an idea that the world was moving to a point where the concepts of modernity were peculiar and confusing. Postmodernism expresses the notion that nothing is absolute, and representation of reality is no possible in certain aspects. The main ideology behind postmodernity shows social realities in a different manner compared to the way modernity did. Postmodernity is understood by looking at aspects of modernity and the past as well (Crinson & Zimmerman, 2010, p 12). The proponents of postmodernism believe that all things have two meanings, and the meanings complement each other rather than being contradictory. Postmodernism cannot be objectively explained in a manner that verifies its ideologies. Preda (2001) in looking at postmodernism, notes, “...there is no totalizing explanatory model and no universally valid verification procedure”. Postmodernism does not offer an explanatory model that explains all occurrences in totality nor does it offer a verification mechanism to prove the occurrence of things. It shows that there are certain things and ideologies that occur but does not explain how or why they occur. Postmodernism is an ideology that is linked to the society. Jencks in his book The Language of Postmodern Architecture discusses the death of modern architecture whose failure came because architects did not form a link between architecture and the public, which showed a failure to communicate in a legible language (Jencks, 1977, p 27). He lamented the loss of interest in public projects. For Jencks, the social goals of the modern architecture movement had been taken by commercial interests abandoning their original content. He emphasized that works of architecture must contain an element of language that can enable works of architecture to be read by both architects and the public. The Sydney Opera House is an example of postmodernism with an abundance of metaphors that led to various representations of the building in academic circles. Jencks emphasizes both on ducks and decorated sheds for purposes of communication (Jencks, 1973, p 27). Manfredo Tafuri (1968, p 2) notes that postmodernism cannot be put into a certain period because it is impossible. When talking about the eighteenth century architecture, one can note a major difference between the postmodern architecture and modern architecture. Tafuri (1968, p 9) states, “The utopianism that modern historiography has chosen to see in the works of Enlightenment architecture should, therefore, be precisely defined according to its authentic meanings. In fact, the architectural propositions of eighteenth-century Europe contain nothing that cannot be realized, and it is no accident that among all the theorizing of the philosophies of architecture, one can find no social utopia in support of the urban reformism advocated at the purely formal level”. This statement shows that eighteenth-century architectural propositions had meanings. Postmodern architecture, on the other hand, contains certain aspects that cannot be realized or explained. It portrays a certain form of realities because they can be seen, but certain aspects of this reality cannot be explained (Jencks & Kropf, 2006, p 3). Mallgrave and Goodman (2011) state that the essay that was written by Charles Jencks in 1975 titled The Rise of Post Modern Architecture marked a change in terms of postmodern architecture. During this time, there were changes that affected architecture. In describing the death of modernism, Jencks stated that modern designers had not mastered different codes, and this meant that they remained under-employed, and the city stifled because of this (Malgrave & Goodman, 2011). What this means is that modern architects concentrated on only an aspect of architecture that made them rigid to the extent that they cannot apply their expertise in any other way even in the architectural profession. Postmodernism emphasizes on the ability of architects to come up with new designs that can be applied in a variety of settings. What this means is that postmodern architects cannot lack jobs because they are trained in more than one aspect of their work and can apply the skills they have in a variety of settings and function successfully. This is an aspect of postmodernism that shows no limitation, unlike early modernism that was rigid and limited for instance through its adoption of the factory or machine metaphor (Malgrave & Goodman, 2011). Therefore, postmodernism in architecture should show an aspect of an expression of meanings that a culture could find to be important and put forth ideas and feelings that have not been previously expressed. Architecture that reflects an aspect of modernism must articulate meaning and ensure that its structures are humorous, sensual, attractive and coded as a readable text. An architect’s work in postmodernism, therefore, is to ensure that these issues are achieved in his or her works. The Capela Towers in Minneapolis show these aspects because having been built in a period when postmodernism was popular, it elucidated ideas and feelings that had never been expressed before and shown aspects of sensuality, humour and surprise. The fact that it has changed its name over a period of two decades shows continuance and transcendence. It goes beyond the limitation of age and a single idea. It is an excellent piece of work that expresses something that is not tangible and which cannot be explained in detail but an idea that is progressive. Modernism and postmodernism have certain similarities as well as differences. For instance, modernism emphasizes on metanarratives and master narratives of culture, history and national identity whereas postmodernism emphasizes on suspicion and rejection of master narratives and local narratives. Postmodernism also rejects totalizing theories such as the grand theory supported by modernism. In architecture, the term modern is used to refer to structures that were designed by modernist architectural style that emphasizes on contemporary thinking to design as opposed to historical items. Modern architecture was developed after First World War but was more popular after the Second World War. Modern architecture follows a ‘form follows function’ ideology and that the design of an architectural work should come from its purpose. Because of this, Jencks (1986, p 16) states that modernist building methods were a social failure, lacked personal defensible space, were a cheap prefabrication and separated housing estate. On the other hand, post-modern architecture emphasizes on ornamentation and aesthetics. It appeared starting from the 1960s but gained popularity in the early 1980s. For instance, Jencks referred to the destruction of the Pruitt-Igoe Housing in 1972 as the death of modern architecture having been constructed according to the standards of the Congress of International Modern Architects) (Jenks, 1977, p 9). It has the same philosophy as modernism, but the buildings use more cylindrical and whimsical shapes. It draws inspiration from Greek and Roman styles and emphasizes on the column style. Modernism strictly uses horizontal, vertical lines and rectangular shapes while postmodernism uses whimsical shapes and ornamental styles In conclusion, from the above discussion, it can be clearly stated that postmodernism means an idea that presents a departure from modernism and uses earlier styles and conventions but with a view of progression. It is limitless in terms of time and ideas. Postmodernism became famous starting from the late 1960s and went to the 1980s emphasizing on the human need for beauty and uniqueness. Authors such as Charles Jencks and Jean-Francois Lyotard have written extensively about postmodernism and architecture contributing to the understanding of the idea. Reflection Writing this essay was an excellent experience that helped me understand modernism and to a large extent postmodernism ideologies. I was able to research on different authors and researchers who have contributed on the topic and used a variety of sources in the essay. The sources were very helpful in understanding the topic and writing the essay. I would state that the topic was not easy to understand because of several reasons, one of which was the fact that postmodernism has no single definition. The sources were difficult to understand, and I had to read severally to grasp the postmodernism concept. Nevertheless, I enjoyed writing the essay because it was a learning experience and the more challenging it was, the more it made me research the topic deeply. I would state that I now understand postmodernism to a larger extent. Reference List Coleman, N., 2008. Capela Tower sports a cap, but it can’t topple the IDS, Minneapolis Star Tribune. 1B. Crinson, M. and Zimmerman, C., 2010. Neo-avant-garde and postmodern: Postwar architecture in Britain and beyond. New Haven, CT: Yale Center for British Art. Forty, A., 2004. Words and buildings: A vocabulary of modern architecture. New York: Thames & Hudson. Jencks, C., 1973. Architecture 2000: Predictions and methods. London: Studio Vista. Jencks, C., 1977. The language of postmodernism architecture. New York: Pantheon. Jencks, C., 1992. The Post-modern reader. London: Academy Editions. Jencks, C., 1986. What is Post-modernism?. London: Academy Editions. Jencks, C. And Kropf, K., 2006. Theories and manifestoes of contemporary architecture. Chichester, England: Wiley-Academy. Lyotard, J. F., 2010. Answering the Question: What is Postmodernism In Charles Jencks (ed.), The Post-modern Reader. Chichester: John Wiley, second edition. Lyotard, J.-F., Bennington, G. and Massumi, B., 1984. The postmodern condition: A report on knowledge. Minneapolis: University of Minnesota Press. Mallgrave, H. F. and Goodman, D., 2011. An Introduction to Architectural Theory: 1968 to the Present. Preda, A., 2001. Postmodernism in Sociology, International Encyclopedia of the Social and Behavioral Sciences, Elsevier Science Ltd., USA. Tafuri, M., 1969. Toward a critique of Architectural IdeologyPer una critica dell’ideologia architettonica,” Contropiano 1 (January-April 1969); translated for this anthology by Stephen Sartarelli. In Michael Hays Architecture Theory since 1968. Cambridge, Mass: The MIT Press. Webster, R 1996, Studying Literary Theory an Introduction. London: Arnold. Read More