Hyperreal Connections: Postmodernism, Rhizomes, and Hope For New Sincerity in Postmodern Media

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

Critical Media Literacy in the Age of Information Overload

As a naieve undergraduate student in the early 2000s, I dreamed of ‘changing the world’ through a creative career informed by global explorations. Journalism lecturers often reiterated that media is the fourth estate of democracy; tasked with informing the public and keeping power in check.

In the ensuing two decades, the media landscape has been radically transformed by technology. Today, anyone with a smartphone and an internet connection can create and share content worldwide. Anyone can call themselves a ‘journalist’ or profess to be a ‘truth teller’.

However, the predominant experience of media consumption today is one of overload, confusion, and a tragic focus on the trivial at the expense of what counts: Justice. Truth. Wisdom. (The School of Life, 2015). In the ‘attention economy’ of our time, the pursuit of high-quality information is increasingly elusive (Hills, 2020).

The School of Life (2015)

Theodor Adorno of the Frankfurt School warned that mass media, which he termed the ‘culture industry,’ manufactures consent by promoting a homogenized culture to serve capitalist interests (Adorno & Horkneimer, 1993). Such standardization produces a passive and apathetic society, disconnected from the natural world, impairing critical thinking and increasing vulnerability to manipulation.

Their fears are acutely pertinent when examining today’s media coverage of global conflicts. In the context of the Gaza crisis, for instance, media outlets often fall short in accurately reporting human rights and environmental violations, influenced by political, economic, and strategic biases.

‘Western media’ has been criticized for its coverage, accused of dehumanizing language about Palestinians and using the passive voice to minimize Israeli accountability for alleged war crimes (Gathara, 2024). This is not just a Gaza issue, it’s systemic; ‘the news’ is a complex product shaped by various factors, including the personal beliefs and ambitions of media professionals and the financial and social pressures they face (Gathara, 2024).

Media conglomerates' control and Western perspectives significantly impact homogenized reporting. This concentration of ownership favors profit over truth, allowing narratives to be steered in a way that preserves existing power structures. Consequently, public trust in traditional and digital media is erroding (Elliot, 2019).

Amidst the recent global pandemic, social media platforms like Instagram became hotbeds for misinformation, with algorithms promoting fake news content (Instagram Misinformation by Content 2020, 2021).

So, what can be done to counteract today’s failing media landscape? Tyson Yunkaporta, in Right Story, Wrong Story (2023), offers a solution rooted in indigenous systems thinking: the practice of ‘yarning,’ a communal storytelling that fosters critical thinking and sifts through bias while remaining connected to the land.

Adopting solutions such as this indigenous approach could improve the way we consume media, prompting us to actively seek alternative news sources and support independent journalism, whilst encouraging community engagement to distill ‘Right stories’ - information that withstands the test of time, enriched through diverse perspectives.

For our own survival, we must become adept at discerning different types of content, recognizing bias, and understanding the underlying political, economic and invidiual motivations that influence the media we consume. With all technological upgrades, we need social upgrades, and as Yunkaporta argues, social revolution begins with our relationships to each other and the land.

References

Adorno, T., & Horkneimer, M. (1993). Dialectic of Enlightenment.

Elliot, D. (2019, June 25). Australians trust the media less: Ipsos “Trust in the Media” study | Ipsos. https://www.ipsos.com/en-au/australians-trust-media-less-ipsos-trust-media-study

Gathara, P. (2024, February 12). The New Humanitarian | Biased Gaza coverage is the tip of a much larger media iceberg. https://www.thenewhumanitarian.org/column/2024/02/12/decolonise-how-biased-gaza-coverage-tip-of-media-iceberg

Hills, F. M., Thomas. (2020, December 1). Information Overload Helps Fake News Spread, and Social Media Knows It. Scientific American. https://www.scientificamerican.com/article/information-overload-helps-fake-news-spread-and-social-media-knows-it/

Instagram misinformation by content 2020. (2021). Statista. https://www.statista.com/statistics/1293258/instagram-recommended-misinformation-by-content/

The School of Life (Director). (2015, March 16). POP CULTURE: What’s wrong with the media. https://www.youtube.com/watch?v=NwPdAZPnk7k

Yunkaporta, T. (2023). Right Story, Wrong Story: Adventures in Indigenous Thinking. Text Publishing.