Postmodernism rejects singular truths and embraces hybridity and personal interpretation. In contrast to modernism, which built styles based on fundamental truths from historical movements, postmodernism values individual perspectives and draws on different styles to create new hybrid forms. Postmodernism champions subjective experience over objective claims of knowledge or progress.

1. Postmodernism
A style Guide

2. A postmodern text, building, performance,
and so on, is usually a mixture of styles,
drawing on different historical movements
and features to produce a hybrid form. This
is in direct opposition to modernism, which
rejected the past to build a new, enclosed
style of its own.

6. I ate reindeer moss at Noma, deep-fried, spiced with cèpes,
and deliciously crisp. It was the third of twenty-three
appetizers and tasting dishes I ate that night, the first being
a hay parfait – a long infusion of cream and toasted hay, into
which yarrow, nasturtium, camomile jelly, egg, and sorrel and
camomile juice were then blended….
….The second arrived in a flower pot, filled with malted, roasted
rye crumbs and holding shoots of raw wild vegetables, a tiny
poached mousse of snail nestling in a flower, and a flatbread
“branch” that was spiced with powdered oak shoots, birch,
and juniper.
I told him it was the best meal I had ever eaten, and it was.

7. d eleg itimiza tio n o f te x tu a l a u th o rity

9. Formal boundaries are only suggested, and the music moves
in large harmonic clouds and slow arpeggios, melancholic
and more than a little mystifying.
All the roles are assigned to keyboards – you will not hear
anything so pedestrian as a bass or a guitar on “Replica.”
The rest of the sonic field is taken up by samples, which
hiccup and crunch and hint at rhythms, and usually simply
stop before establishing a predictable sequence.
He surrounds the notes with a billowing sound, like a distant
explosion, and a drone envelops the song as the piano
finally settles on four chords, which repeat for two minutes,
until, abruptly, the song ends.

10. "I am a story teller. I came here to write about this place, but that is suddenly not what I am doing.
I cried here at your wall today, but I don't know a single person on it. Every time I see a name
that reminds me of one I know, I twitch. I do know people who were there. I do know how easily
things could be reversed. And I don't know what I'd do without these people.
So, I guess I need to thank you for them. I am only 21. I do not remember the war when it was happening.
I did not learn about it in school. To see these men and women with their shirts and flags shakes me.
Seeing the things people have left here shakes me. A picture of Jimi Hendrix, a bottle of
Seagram’s 7, a pack of cigarettes have reduced me to tears. I wonder if you watch us, if you see this.
If you'd like to say thank you for these gifts. I wonder if we mourn for you or for ourselves. I came here
recently before dawn, and it was empty. The wind was knocking over your flowers, and
squirrels were playing on top of your blackledge. I stood at the apex of a wall, I guess at the apex of a war;
and it started to pour. I just stood there. I live near here so I visit often now.
Thank you for giving me something to understand...or to try to;
these days, there is very little I understand. I can give you nothing but these words.
But I promise I'll bring my kids here one day,
make them remember, make it somehow
more than just another story".

11. postmodernism
Our faith is not assured, because faith can never be,
it must never be a certainty. We share with Abraham
what can’t be shared, a secret we know nothing about,
neither him nor us. To share a secret is not to know or
reveal the secret, it is to share we know not what:
nothing that can be determined.

12. "I am a story teller. I came here to write about this place, but that is suddenly not what I am doing.
I cried here at your wall today, but I don't know a single person on it. Every time I see a name
that reminds me of one I know, I twitch. I do know people who were there. I do know how easily
things could be reversed. And I don't know what I'd do without these people.
So, I guess I need to thank you for them. I am only 21. I do not remember the war when it was happening.
I did not learn about it in school. To see these men and women with their shirts and flags shakes me.
Seeing the things people have left here shakes me. A picture of Jimi Hendrix, a bottle of Seagrams 7,
a pack of cigarettes have reduced me to tears. I wonder if you watch us, if you see this.
If you'd like to say thank you for these gifts. I wonder if we mourn for you or for ourselves. I came here recently before
dawn, and it was empty.
The wind was knocking over your flowers, and squirrels were playing on top of your black ledge.
I stood at the apex of a wall, I guess at the apex of a war; and it started to pour.
I just stood there. I live near here so I visit often now.
Thank you for giving me something to understand...or to try to;
these days, there is very little I understand.
I can give you nothing but these words.
But I promise I'll bring my kids here one day,
make them remember, make it somehow
more than just another story".

14. In contrast,
postmodernism
champions the
Each separate movement endeavored, value
in its turn, to depict reality in terms of a of individual
singular fundamental truth that developed and
during the modernist era. personal
Cubism, interpretations.
by depicting any object
as a composite made up of fragmented
and
discrete views of itself,
presented a new way of seeing time
that echoed Einstein.
Surrealism and
abstract expressionism
thought to resolve existence
in terms of Freud.
Social realism
took Marx as its foundation.

15. But as in landlessness alone resides the highest truth,
s h o r e l e s s , i n d e f i n i t e a s G o d – s o, b e t t e r i s i t t o p e r i s h
in that howling infinite, than be ingloriously dashed
u p o n t h e l e e , e v e n i f t h a t w e r e s a f e t y ! Fo r w o r m - l i k e ,
t h e n , o h ! w h o w o u l d c ra v e n c ra w l t o l a n d !

16. derealization
Simulacrum: like psychosomatic illness, Disneyland, and Watergate
We record the metadata but not the data. We celebrate the trace, and bid
farewell to texts that by accident or design fade, decay, or simply cease to be..
That postmodernism is indefinable is a truism.
However, it can be described as a set of critical, strategic, and rhetorical
practices
employing concepts such as difference, repetition, the trace,
the simulacrum, and hyperreality to destabilize other concepts
such as presence, identity, historical progress, epistemic certainty,
and the univocity of meaning. according to what?
Gilles Deleuze claims that being is univocal, i.e., a conclusion that has maximal epistemic warrant and could not
that all of its senses are affirmed in one voice. be rationally doubted
Hyperreality: illusion is no longer possible, because the real is no longer possible.

17. The exchange of signs (of knowledge, of culture) in the university,
between "teachers" and "taught" has for some time been nothing
but a doubled collusion of bitterness and indifference
(the indifference of signs that brings with it the disaffectation of social
and human relations),
a doubled simulacrum of a psychodrama (that of a demand hot with
shame, presence, oedipal exchange, with pedagogical incest that strives to
substitute itself for the lost
exchange of work and knowledge). In this sense the university remains
the site of a desperate initiation to the empty form of value,
and those who have lived
there for the past few
years are familiar with
this strange work,
the true desperation of
non-work, of non-knowledge.
Because current generations still dream of reading, of learning, of
competing, but their heart isn't in it – as a whole the ascetic cultural
mentality has run body and possessions together.

18. I t wo u l d n o t b e fa i r t o s ay t h at **a tactics of power that
J e re m y B e n t h a m i n ve n t e d t h e f u l f i l s t h r e e c r i t e r i a : f i r s t l y,
p a n o p t i c m o d e l o f d o m i n at i o n ; i t to ob tain the exercise of p ower
wa s a l ways t h e re. B e n t h a m wa s at the lowest possible cost
m e re l y t h e s c r i b e ; p a n o p t i c i s m e c o n o m i c a l l y, a n d p o l i t i c a l l y, b y
wa s h i s mu s e. A c c o rd i n g t o t h e the little resistance it arouses;
w i d e l y re n o w n e d p o s t m o d e r n s e c o n d l y, t o b r i n g t h e e f f e c t s o f
s o c i a l c r i t i c M i ch e l Fo u c a u l t , this social power to their maximum
Pa n o p t i c i s m * * m u s t b e u n d e rs t o o d intensity and to extend them as far
a s a ge n e ra l m o d e l o f f u n c t i o n i n g ; a s p o s s i b l e ; t h i r d l y, t o l i n k t h i s
a way o f d e f i n i n g p o we r re l at i o n s 'economic' growth of p ower with
i n t e r m s o f t h e eve r yd ay l i fe o f the output of the ap paratuses
m e n … I t i s p o l y va l e n t * i n i t s ( e d u c a t i o n a l , m i l i t a r y, i n d u s t r i a l
ap p l i c at i o n s. Po l y va l e n t i n d e e d . or medical) within which it is
Pa n o p t i c i s m i s, i n fa c t , s l o w l y exercised; in shor t, to increase
s u b j u gat i n g t h e s o c i a l wo r l d t h at both the docility and the utility
we a l l c a l l t h e 2 1 s t c e n t u r y of all elements of the system.
“ S aw u b o n a ” ( I s e e y o u ) “Ngikhona” ( I a m h e re )
*but the temple is a peculiarly polyvalent symbol in Christian Scripture…

19. They are like so many cages, so many small theatres,
in which each actor is alone, perfectly individualized
and constantly visible. The panoptic mechanism
arranges spatial unities that make it possible to see
constantly and to recognize immediately. In short,
it reverses the principle of the dungeon; or rather
of its three functions - to enclose, to deprive of light
and to hide - it preserves only the first and eliminates
the other two. Full lighting and the eye of a supervisor
capture better than darkness, which ultimately
protected. Visibility is a trap.

20. Self reflexiveness erodes textual authority
Fundamentalism is premised on pre-Enlightenment beliefs that
pre-interpretive readings of the bible form the foundation of the paradigm.
A counter-paradigm is postmodernism, whose raison d’etre is, precisely,
the delegitimization of textual authority.
The practice of challenging the authority of texts is, of course, as old as
philosophy itself, but postmodernism has developed new critical tools
specifically for this purpose, like:
Disambiguation Man is not
• Deconstruction “aeterna veritas”
• The genealogical mode of historical philosophizing – (constant)
• Strategic use of particularizing (anti-totalizing) concepts like
perspectivism, ethnicity and locality.
Transcendental
• More extensive forms of ideology critique perspectivism
unjust dominant ideologies, uncritically accepted, are embedded in everyday situations and
practices (sets of values, beliefs, myths, explanations and justifications that appear to the
majority to be self-evidently true and morally desirable).

21. Veritas
Satirevamen
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