I had a lengthy discussion about The Power of Myth
With a postmodern author, who didn't exist
— Soul Singer in a Session Band by Bright Eyes
I'm so postmodern I bought a round the world plane ticket, and stuffed my clothes with eggplant and pretended it was me.
I’m so postmodern I recite Shakespeare at KFC drive thru, through a megaphone, in sign language.
I’m so postmodern I only go on dates that last thirteen minutes, via walky talky, while hiding under the bed.
I’m so postmodern I wrote a letter to the council. ... I think it was ‘M.’
— The Bedroom Philosopher, "I'm So Postmodern".
Hey, we're inside a box.
Outrageous. Nobody puts [me] in a box. For I defy all categories.
— Tatsuya Ishida, Sinfest
For those keeping track, that was a reference to a parody, of a parody. I'll have to check the official guidebook, but I think that makes it funny again!
— Michael Swaim
I think of the postmodern attitude as that of a man who loves a very cultivated woman and knows he cannot say to her, "I love you madly," because he knows that she knows (and that she knows that he knows) that these words have already been written by Barbara Cartland. Still, there is a solution. He can say, "As Barbara Cartland would put it, I love you madly."
"The simulacrum is never that which conceals the truth — it is the truth which conceals that there is none. The simulacrum is true."
— Jean Baudrillard, Simulacra and Simulation
"Postmodern art is meant to be counter-intuitive, and deliberately ruin your experience...It’s about knowing what people want, proving that you could give it them if you wanted to, and then taking it away. (The reason why postmodern art is associated with breaking the fourth wall is because there are very few times when an audience expects and enjoys it.) Really it’s just about betrayal."
—Terry Wolf, "The Selfish Meme"
"If the nutshell of the story involves shadowy conspirators who construct a command center that allows them to fabricate grand lies, then it's easily an extended metaphor for the game itself, with Raiden being an analog for the player's real-life role as a Metal Gear fan. He's a delusional, video game-addled rookie who was a fan of Solid Snake, and he believed the conspirators' lies up until the very end. And once the curtain's pulled, he's frustrated and confused, and doesn't really know what to think of it all. It was a deliberate bait-and-switch. Kojima knew that players weren't expecting this. He knew that Raiden would be unappealing and unpopular. He knew that people weren't gonna like it. And he used that to tell the story... The message is about fanboyism and hype. It's about the environment that surrounded the game's launch and what they expected it to do."
"Attempts to define postmodernism are usually comically doomed, but generally speaking a pretty good definition of postmodernism is 'taking signifiers out of their context but trusting them to function anyway.' So, for instance, David Bowie takes the signifiers of 50s rock and roll and of space aliens, puts them together when they don't actually go together, and then creates something new because two incongruent images are cut off from their normal contexts and forced to do something new. See? Actually fairly simple. (Just don't ask me what the point of postmodernism is. That I can't do in brief and easy form.)"
"There is no coherent plot, because a structural narrative is no longer of central importance. Instead it is an extended fast and frantic assemblage of short scenes, each one freely drawn from a wide variety of familiar and established genres — such as romance, conflict, loss, thriller, transformation, nostalgia, festive, comedy, religious, etc. Thus the audience receives a jumbled, ‘wibbly-wobbly’ series of brief but emotionally intense experiences... Meanwhile TV programmes have become increasingly less about the content and more with the engagement with the media-hyped, attractive, good-looking male and female ‘eye candy’ celebrities, and indeed the writer, or creator, himself. We are simultaneously watching The Doctor and Matt Smith, Clara Oswald and Jemma Coleman. We are watching Dr Who and at the same time analysing what Steven Moffat is up to and where he might be going next. And a growing number of us are taking this a step further and tweeting as we watch: our former ‘water-cooler’ moments are rapidly becoming live, as we watch, social interactions."