Category: art

The genesis of the Modernity Worldview Survey was Metamodernism. Is this still a thing? In recent years, metamodernism has emerged as a supposed successor to postmodernism, claiming to transcend the seemingly irreconcilable tensions between modernist sincerity and postmodern irony. Yet, upon closer examination, this framework reveals itself not as a genuine paradigm shift but rather as a modernist invention that fails to escape the very critiques it attempts to address.

The Modernist Roots of Metamodernism

Despite its claims of oscillation between poles, metamodernism betrays its modernist underpinnings through its implicit teleology and notion of progress. The very framing of “meta” as beyond or transcending suggests a linear progression that is fundamentally at odds with the postmodern rejection of grand narratives. Metamodernism positions itself as forward-moving whilst attempting to recapture elements of premodernity, revealing an anxiety about being perceived as regressive or naive.

This desire to have it both ways—to acknowledge the constructed nature of meaning whilst still pursuing transcendent meaning—doesn’t represent a resolution so much as a psychological coping mechanism. The cognitive dissonance created by attempting to simultaneously hold contradictory positions is assuaged through a clever rhetorical move: claiming that oscillation itself is the point.

A Rebranding Exercise

What metamodernism presents as novel is ultimately a recombination of elements from premodern, modern, and postmodern frameworks without resolving their fundamental contradictions. Rather than being mutually exclusive from these earlier paradigms, it cherry-picks aspects of each whilst maintaining the basic ontological framework of modernism.

The notion that one can meaningfully “oscillate” between accepting objective and subjective realities is particularly problematic. Either reality has objective features, or it doesn’t—pretending otherwise doesn’t create a new philosophical paradigm but rather a convenient means of avoiding the implications of either position.

Postmodern Irony in Motion

Perhaps the most intriguing interpretation of metamodernism is not as a sincere attempt to move beyond postmodernism but as postmodernism performing its own critique. Viewed through this lens, metamodernism becomes postmodern irony in motion—a knowing wink at the impossibility of escaping construction whilst performatively engaging with the desire to do so.

The irony deepens when we consider that “postmodernism” itself is essentially an externally imposed label rather than a self-identification. Most thinkers characterised as postmodernists reject the label, which functions primarily as a modernist attempt to categorise and contain ideas that fundamentally challenge its frameworks.

Art vs. Philosophy

Where metamodernism succeeds is as a descriptive label for certain artistic and cultural productions that deliberately play in the space between irony and sincerity. Works like David Foster Wallace’s “Infinite Jest,” the television series “BoJack Horseman,” and Wes Anderson’s films effectively combine postmodern techniques with sincere emotional engagement.

However, what works as an artistic sensibility fails as a comprehensive philosophical framework or moral compass. The oscillation that enriches art becomes paralysing when applied to ethics or ontology. A moral framework requires some stable reference points; constantly shifting between believing in objective moral truths and viewing morality as entirely constructed provides no reliable guide for actual decision-making.

Insider vs. Outsider Perspectives

Like religious frameworks that balance literal and metaphorical interpretations, metamodernism may function as a lived experience for those who embrace it, even if it doesn’t hold up to external philosophical scrutiny. The cognitive manoeuvres that appear as tricks or inconsistencies to outsiders often feel like natural, intuitive ways of navigating complexity to those within the system.

This insider/outsider divide recalls Thomas Nagel’s famous “What Is It Like to Be a Bat?” (PDF) thought experiment—there may be experiential aspects of inhabiting a metamodern worldview that aren’t fully comprehensible from the outside. Yet this doesn’t invalidate external critique; inconsistencies and contradictions still matter philosophically.

Conclusion: Beyond Labels

Perhaps the most postmodern insight is recognising that we cannot escape having an ideology—even a position of having no ideology is itself an ideology. What distinguishes various approaches isn’t whether they have ideologies but how explicitly they acknowledge them, how consistently they apply them, and how willing they are to subject them to revision.

Metamodernism, for all its aspirations to transcend earlier frameworks, ultimately reveals more about our contemporary psychological condition than it offers as a coherent philosophical position. It captures our desire to maintain meaning in a world where we’ve recognised its contingency—a desire that may be fundamentally human, even if philosophically untenable.

Rather than seeking yet another “-ism” to resolve our existential and philosophical tensions, perhaps we might more honestly confront the limitations and partialities of all our frameworks, recognising that the search for a perfect synthesis may itself be a modernist fantasy.