Postmodernism: The Shift
BDES — Week 9
This week`s readings are on a chapter on Postmodernism from the Twentieth Century Design written by Jonathan M. Woodham and a Chapter from the Industrial Design Reader by Charles Jencks. Both authors evaluate both the advantages and disadvantages of postmodernism to settle in a neutral position.
In the first reading, Jencks depicts how the world was transforming and how we, as a society, we’re on the brink of a generational transition. Jencks presents an interesting perspective for which I agree; he claims that the basic ingredients for the emergence of postmodernism are both post-Fordism and post-industrialization, as well as the fact that culture shifted and no longer sees possession as the ruler but knowledge is. Jencks also discusses the negative aspects of postmodernism, one of which is the widening of the wealth gap, which continues to have a significant impact on individuals. The concept of pluralism and eclecticism, according to the author, became the most noticeable transformation between modernism and postmodernism, “a heterogeneity that was never intentional” (Jencks 142). He also discusses this trend of blending cultures as we move into a global village with the advent of more readily available commerce and travel, adding more to the concept of pluralism saying, “The most visible shift in the post-modern world is towards pluralism and cultural eclecticism” (Jencks, 142).
In the second reading, Woodham explores how postmodernism is a true phenomenon and how it manifested itself. Woodham also adds, “the Second Machine Age, a means of mass-communication dispensing popular entertainment. The Second Age was to distribute electronics and synthetic chemicals over a large part of society.” (Woodham, 148). During the Second Machine Age, which is characterised by electronics and synthetic chemicals, Woodham explores how technology, particularly technology that affects the entertainment industry, such as radio and television, influences postmodernism. Eclecticism, ornamentation, kitschy, humour, and irony are all characteristics of postmodernism, “It came to be seen as a term which usefully embraces characteristics — such as eclecticism, ornamentation, kitsch, wit, and irony — which most typified the diversity of contemporary culture in a pluralist society” (Woodham 155). Woodham ends his essay by demonstrating that postmodernism aspired to build with our talents, lives, values, and ambitions in mind. He claims that traditional building construction methods were ignored and that the alternative approach was to design based on customer demand. Woodham occupies most of the chapter talking about pop culture, which encourages consumption culture, which represents a step away from production culture. The Memphis group exemplifies postmodernism because their art has a handcrafted quality to it that shakes up the monotony of modernism; their design is vibrant, colourful, strangely formed, and designed to be mass-produced using materials like plastic and metal.
Today, postmodernism is seen a lot in buildings and exhibits. Both authors explain postmodernism in the way we see it today with improvements. Buildings in Toronto like OCAD University, The Royal Ontario Museum, and more are part of the postmodernism designs. Some claim postmodernism today is dead and others don’t. An article by Helen Pluckrose claims it’s not dead saying, “This phase which is often called “high postmodernism” is difficult to encapsulate in an accessible summary because it arose in many different disciplines each with its own, often convoluted, “theories” and specialized language, but it was characterized by a radical skepticism towards knowledge and reason, an intense focus on language or discourse and a fundamental cultural constructivism”(Pluckrose No, Postmodernism is Not Dead).
Questions:
- Should we try using the Post Modernistic style more?
- Does Postmodernism play a role in the designs we create today?
Work Cited:
- Jencks Charles. “The Post-Modern Information World and the Rise of the Cognitariat.” The Industrial Design Reader. Ed. Carma Gorman. New York: Allworth Press, 2003. 223–227.
- Woodham, Jonathan M. “Twentieth-Century Design”, 1997. Chapter 8.
- Pluckrose Helen Pluckrose. “No, Postmodernism Is Not Dead (and Other Misconceptions).” 6 Apr. 2018.
