This discussion delves into the complex interplay between postmodernism, the rhizomatic theory of Deleuze and Guattari, and the rapidly evolving landscape of contemporary media. Following a winding path, I explore how postmodern media presents nuanced terrain, reflecting society’s complexities whilst simultaneously challenging audiences to find sincere meaning amidst its multiplicity.
Postmodernism, a term encompassing a range of cultural, philosophical, and artistic movements, emerged as a critique of modernism in the late 20th century. Central to postmodernism is the rejection of grand narratives or ‘metanarratives’ - overarching, universal interpretations or assumptions about the world and our human experience (Lyotard, 1984), favoring instead a celebration of pluralism, ambiguity, and the multiplicity of meaning. By employing literary devices such as irony and cynicism, postmodernists often attempt to blur the boundaries between high art and popular culture .
One potent example of postmodernism in action is the The Simpsons, which, through its continual quoting and parodying of various cultural texts, constructs a worldview that is both critical and self-referential (Palmer, 2014). Such hyperconscious interplay of texts and meanings resonates with David Foster Wallace’s critique of postmodernism’s reliance on irony and cynicims, where he warned against the dangers of these devices becoming a self-perpetuating end rather than a means to unveil deeper or more diverse truths (Schoder, 2016).
Postmodernism’s reliance on irony and cynicism, Wallace argued, though once effective tools for revealing mid-20th century hypocrisies, have since become entangled and overused with the media, contributing to a pervasive sense of detachment and disillusionment (Schoder). This sentiment echoes Fredric Jameson's assertion that postermodernism is “the cultural logic of late capitalism,” where irony serves not as a vehicle for critique but as a symptom of a culture deeply embedded in consumerism and superficial engagement (Kellner, n.d.).
Schoder (2016)
The shift from parody to pastiche, highlighted by Jameson as a defining feature of postmodern culture, reflects a broader transition in media from critical satire to an emulation devoid of critical distance (Kellner). This evolution mirrors Wallace's concern over the loss of sincerity and depth in media, where the continuous recycling of styles and ideas risks leading to a cultural stagnation characterized by a fixation on the perpetual present and a disconnection from historical context. Wallace's apprehensions are also echoed here in the hyperpaced, profit-driven dynamics of today’s social media platforms, where the relentless production of content amplifies these issues to unprecendented levels.
Deleuze and Guattari's ‘rhizome’, an “A-centered multiplicity” with its emphasis on non-hierarchical, interconnected knowledge systems, thus provides a valuable framework for understanding this contemporary media landscape (Three Minute Theory, 2014). Unlike the tree model, which suggests a singular, rooted structure with a top and bottom, the rhizome embodies the idea of a ginger root: multiplicity, connection, and horizontal spread (Deleuze & Guattari, 1987). In the postmodern media environment, stories, styles and ideas proliferate across platforms, creating an intricate network of interconnected yet fragmented stories.
Three Minute Theory (2014)
Tyson Yunkaporta’s work extends the postmodernist discussion beyond the confines of literary and media critique to encompass a broader examination of knowledge systems and societal structures (Yunkaporta, 2019). Yunkaporta critiques the monocultural lens of Western epistemology and advocates for the integration of Indigenous perspectives that emphasize relationality, interconnectedness, and respect for the plurality of existence. This approach aligns with the rhizomatic idea of embracing multiplicity and interconnectedness, and challenges postmodernism's sometimes fragmented, nihilistic tendencies, suggesting a path towards a more holistic understanding of complexity and diversity.
Yunkaporta's emphasis on relationality and the importance of diverse knowledge systems resonates with Lyotard’s (1984) definition of postmodern knowledge, which seeks to “raise our sensitivity to differences and reinforces our ability to tolerate the incommensurable.” However, where Lyotard sees fragmentation as a characteristic of postmodern knowledge, Yunkaporta and Wallace point towards the necessity of weaving these fragments into a coherent, though not homogenized, web of understanding. They advocate for a synthesis of knowledge that doesn’t aim to erase differences or force uniformity but rather to create a richer, more nuanced understanding of the world.
The concept of hyperreality, introduced by Baudrillard, further complicates the media landscape, where the distinction between the real and the simulated blurs, and the proliferation of images and narratives creates a reality that is self-referential and detached from any original context (Gill, 2020). This hyperreality is a playground for postmodern irony and cynicism, yet as it spreads rapidly across digital platforms, it also presents a challenge for individuals seeking authenticity and connection in a media-saturated environment.
Wallace’s call for a new sincerity, a movement towards engaging with the world in a manner that acknowledges irony’s limitations and seeks deeper meaning, is particularly relevant here (Wallace, 1993). Rather than outright rejection of postmodern critiqiue, this new sincerity builds upon it, striving for a more enriched engagement with media and culture that is reflective, critical, and, importantly, constructive. This approach, like the rhizomatic principle of making connections across diverse narratives and perspectives, invites us to construct a more nuanced and interconnected understanding of our world.
Yunkaporta’s Indigenous knowledge systems lens thus contributes a vital dimension to this conversation, emphasizing the value of stories that foster connection - to each other, to the environment, and to the myriad ways of knowing that populate our world. His critique of the commodification of trauma and identity within media content highlights a need for stories that transcend sensationalism and fragmentation and, instead, promote healing, understanding, and respect for diversity (Yunkaporta, 2023).
As postmodernism's language has given way to discussions of globalization and relational aesthetics, the challenge remains to navigate the remnants of its critique in a world marked by contemporaneity and an ever-expanding digital landscape (Palmer, 2014). The exhaustion of postmodernism's fashionable discourse does not signify the end of its relevance; rather, it invites a re-engagement with its foundational questions in the context of contemporary media's rapidly evolving forms and functions.
As we grapple with the multiplicity of meaning in contemporary media, the challenge is to not only deconstruct but to construct, regeneratively: to find ways of weaving together the fragmented threads of today’s media-saturate hyper-digital world into stories that affirm complexity, foster understanding, and and promote a more interconnected and respectful engagement with the myriad realities we inhabit.
References
Deleuze, G., & Guattari, F. (1987). A THOUSAND PLATEAUS: Capitalism and Schizophrenia. University Of Minnesota Press.
Gill, S. (2020, June 1). Introducing Jean Baudrillard’s concept of hyperreality. Desertofthereal. https://medium.com/desertofthereal/introducing-jean-baudrillards-concept-of-hyperreality-3ec73df477eb
Kellner, D. (n.d.). Fredric Jameson, biography. Retrieved March 14, 2024, from https://pages.gseis.ucla.edu/faculty/kellner/papers/JamesonJH.htm
Lyotard, ean-F. (1984). The Postmodern Condition: A Report on Knowledge (Theory and History of Literature, Volume 10). University Of Minnesota Press.
Palmer, D. (2014, January 2). Explainer: What is postmodernism? The Conversation. http://theconversation.com/explainer-what-is-postmodernism-20791
Schoder, W. (Director). (2016, October 6). David Foster Wallace—The Problem with Irony. https://www.youtube.com/watch?v=2doZROwdte4
Three Minute Theory (Director). (2014, October 30). Three Minute Theory: What is the Rhizome? https://www.youtube.com/watch?v=gnteiRO-XfU
Yunkaporta, T. (2019). Sand Talk: How Indigenous Thinking Can Save The World. Text Publishing.
Yunkaporta, T. (2023, March 22). Transcript: TYSON YUNKAPORTA on Unbranding Our Mind [ENCORE] /328. FOR THE WILD. https://forthewild.world/podcast-transcripts/tyson-yunkaporta-on-unbranding-our-mind-encore-328