#postmodernism — Public Fediverse posts
Live and recent posts from across the Fediverse tagged #postmodernism, aggregated by home.social.
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* The right-wing feeds on division.
* The left should grow from trust.
That sounds like #KISS because it is. But this simple truth is buried under decades of ideological shit: #Stalinism's dead weight, #Postmodernism's fog, #Neoliberalism's rot, and now the wider social, political and technological mess they have all helped leave behind.
We don't need to pretend this history didn't happen. We need to understand it,
then we need to compost it, turn the pile, let it breathe, pull apart the assumptions.Keep what is useful, let the rotten parts decay, turn all that accumulated failure into something fertile.
Because the alternative to the right-wing politics of fear, division and permanent culture war is not just another set of slogans.
It is trust, not being nice to everyone. Trust is built through doing things together, being accountable, showing your working, admitting mistakes, sharing power and staying around long enough to learn from failure.
* That is why the #commons matters.
* That is why the #openweb matters.
And that is why the demand to “use the proper channels” is so often a trap.
* Who owns those channels?
* Who wrote the rules?
* Who staffs the committees?
* Who decides what counts as legitimate?
Too often the machinery of #mainstreaming is designed to absorb dissent without allowing dissent to change anything. You submit the form, attend the consultation, become a stakeholder, write the response, wait for the committee.
You get thanked for your valuable contribution and then nothing changes. The energy is drained away, and the existing power remains exactly where it was. This is not always a conspiracy. It doesn't need to be. Systems reproduce power simply because that is what they have been designed to do.
And this is what really scares the #fashionistas and #mainstreaming crew about grassroots alternatives: We don't need them. We can walk away, build our own infrastructure, our own media. We build trust through doing things together - that is the important bit.
The answer isn't to create another closed alternative controlled by another small group of experts. That would just be more of the same, the answer is open process, the #4opens.
This is where #OMN fits, not as another shiny platform competing for attention, but as part of a longer #openweb reboot: grassroots news, archiving and eventually governance built around federation, trust, participation and shared infrastructure.
We don't need to win their game, we need to stop playing it. Their machine runs on division, attention, status and extraction. Our alternative has to run on participation, trust, memory, care and shared power.
So yes, there is a huge pile of shit in front of us. Social shit, political shit, technological shit, institutional shit, funding shit and #techshit.
We don't deny the pile, we pick up the shovel,
we turn it over, we compost it. And we use whatever fertile ground comes out of it to grow something living.That's the work, together.
#OMN #KISS #4opens #openweb #commons #deathcult #mainstreaming #fashionistas #techshit
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Our failure to mediate the mess
The current #AI boom is built on a huge contradiction, you can see this in #mainstreaming terms. That AI companies are not paying the real costs of what they consume. They haven't paid for the copyrighted material they trained on. They haven't paid the environmental costs of the water and electricity they use. They haven't paid for the pressure they place on public infrastructure, or for the social costs of flooding the web with synthetic content. Yet AI services are sold below their true […] -
#Nicenasty the hidden power of soft obstruction
People think in groups, that's normal. The mistake isn't group thinking itself, it's pretending we're all isolated individuals while still acting through tribes, identities, and social blocs. A lot of today's "common sense" comes from the #stupidindividualism group mindset. We are encouraged to see every problem through individual choices rather than collective realities. The real question isn't "how do we stop group thinking?" It's "what do we do with it?" This mess is something we need to […]https://hamishcampbell.com/nicenasty-the-hidden-power-of-soft-obstruction/
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#OMN Grounding (the roots as a story)
#techchurn is the endless cycle of adopting new platforms, tools, and technologies - not because they solve any real problems, but because novelty is mistaken for progress. It burns community trust, institutional memory, and activist energy, while leaving the underlying #nastyfew power structures untouched.https://hamishcampbell.com/?s=techchurn The #OMN uses #stupidindividualism to describe the culturally manufactured habit of prioritising personal gain and self-interest over collective […]https://hamishcampbell.com/omn-grounding-the-roots-as-a-story/
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Alasdair MacIntyre’s After Virtue dismantles the Enlightenment scaffolding of modern moral discourse. Unfortunately, like Descartes before him, he tries to rebuild—first on God, now on Aristotle’s teleology. Different crutch, same collapse.
https://philosophics.blog/2025/09/17/je-pense-donc-jai-raison/
#Philosophy #Ethics #CriticalThinking #Modernity #Postmodernism #MoralPhilosophy #AfterVirtue #ThoughtLeadership #Books #AmReading #AmWriting
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End of the Road:
John Barth
American postmodernist novelist dies aged 93Along with William #Gass, Stanley #Elkins and other peers, #Barth was part of a wave of writers in the 1960s who challenged standards of language and plot.
The author of 20 books including Giles Goat-Boy and The Sot-Weed Factor, Barth was a college writing instructor who advocated for #postmodernism to literature, saying old forms were used up and new approaches were needed.
Barth’s passion for literary theory and his innovative but complicated novels made him a writer’s writer.
Barth said he felt like Scheherazade in The Thousand and One Nights, desperately trying to survive by creating literature.
He created a bestseller in 1966 with 🔹Giles Goat-Boy,🔹 which turned a college campus into a microcosm of a world threatened by the cold war, and made a hero of a character who is part goat.
The following year, he wrote a postmodern manifesto, 🔸The Literature of Exhaustion, 🔸which argued that the traditional novel suffered from a “used-upness of certain forms.”
The influential essay described the postmodern writer as one who “confronts an intellectual dead end and employs it against itself to accomplish new human work”.
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End of the Road:
John Barth
American postmodernist novelist dies aged 93Along with William #Gass, Stanley #Elkins and other peers, #Barth was part of a wave of writers in the 1960s who challenged standards of language and plot.
The author of 20 books including Giles Goat-Boy and The Sot-Weed Factor, Barth was a college writing instructor who advocated for #postmodernism to literature, saying old forms were used up and new approaches were needed.
Barth’s passion for literary theory and his innovative but complicated novels made him a writer’s writer.
Barth said he felt like Scheherazade in The Thousand and One Nights, desperately trying to survive by creating literature.
He created a bestseller in 1966 with 🔹Giles Goat-Boy,🔹 which turned a college campus into a microcosm of a world threatened by the cold war, and made a hero of a character who is part goat.
The following year, he wrote a postmodern manifesto, 🔸The Literature of Exhaustion, 🔸which argued that the traditional novel suffered from a “used-upness of certain forms.”
The influential essay described the postmodern writer as one who “confronts an intellectual dead end and employs it against itself to accomplish new human work”.
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End of the Road:
John Barth
American postmodernist novelist dies aged 93Along with William #Gass, Stanley #Elkins and other peers, #Barth was part of a wave of writers in the 1960s who challenged standards of language and plot.
The author of 20 books including Giles Goat-Boy and The Sot-Weed Factor, Barth was a college writing instructor who advocated for #postmodernism to literature, saying old forms were used up and new approaches were needed.
Barth’s passion for literary theory and his innovative but complicated novels made him a writer’s writer.
Barth said he felt like Scheherazade in The Thousand and One Nights, desperately trying to survive by creating literature.
He created a bestseller in 1966 with 🔹Giles Goat-Boy,🔹 which turned a college campus into a microcosm of a world threatened by the cold war, and made a hero of a character who is part goat.
The following year, he wrote a postmodern manifesto, 🔸The Literature of Exhaustion, 🔸which argued that the traditional novel suffered from a “used-upness of certain forms.”
The influential essay described the postmodern writer as one who “confronts an intellectual dead end and employs it against itself to accomplish new human work”.
-
End of the Road:
John Barth
American postmodernist novelist dies aged 93Along with William #Gass, Stanley #Elkins and other peers, #Barth was part of a wave of writers in the 1960s who challenged standards of language and plot.
The author of 20 books including Giles Goat-Boy and The Sot-Weed Factor, Barth was a college writing instructor who advocated for #postmodernism to literature, saying old forms were used up and new approaches were needed.
Barth’s passion for literary theory and his innovative but complicated novels made him a writer’s writer.
Barth said he felt like Scheherazade in The Thousand and One Nights, desperately trying to survive by creating literature.
He created a bestseller in 1966 with 🔹Giles Goat-Boy,🔹 which turned a college campus into a microcosm of a world threatened by the cold war, and made a hero of a character who is part goat.
The following year, he wrote a postmodern manifesto, 🔸The Literature of Exhaustion, 🔸which argued that the traditional novel suffered from a “used-upness of certain forms.”
The influential essay described the postmodern writer as one who “confronts an intellectual dead end and employs it against itself to accomplish new human work”.
-
End of the Road:
John Barth
American postmodernist novelist dies aged 93Along with William #Gass, Stanley #Elkins and other peers, #Barth was part of a wave of writers in the 1960s who challenged standards of language and plot.
The author of 20 books including Giles Goat-Boy and The Sot-Weed Factor, Barth was a college writing instructor who advocated for #postmodernism to literature, saying old forms were used up and new approaches were needed.
Barth’s passion for literary theory and his innovative but complicated novels made him a writer’s writer.
Barth said he felt like Scheherazade in The Thousand and One Nights, desperately trying to survive by creating literature.
He created a bestseller in 1966 with 🔹Giles Goat-Boy,🔹 which turned a college campus into a microcosm of a world threatened by the cold war, and made a hero of a character who is part goat.
The following year, he wrote a postmodern manifesto, 🔸The Literature of Exhaustion, 🔸which argued that the traditional novel suffered from a “used-upness of certain forms.”
The influential essay described the postmodern writer as one who “confronts an intellectual dead end and employs it against itself to accomplish new human work”.
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Hip Hop Samples Jazz: Dynamics of Cultural Memo y and Musical Tradition in the African American 1990s
The critical attempt to historicize hip hop dates at least to David Toop’s 1984 "Rap Attack: African Griots to New York Jive", a book written with journalistic immediacy and yet, as its subtitle suggests, one that situates rap reportage in the black musical "longue durée" but it wasn’t until the mid- 1990s that efforts toward an academic hip hop scholarship began in earnest, and it was then that ideas about the music’s methods and meanings as rooted in the black musical past became common currency. This view wasn’t surprising: a neat and untroubled line could be traced from the classic African American toasts to rap, and the use of digital sampling, whereby hip hop producers constructed their work from (black) music’s recorded back catalog, was equally suggestive for historically minded observers. This sampling practice, and its “historical” interpretation, form the central subject of this article.
Certainly, hip hop’s early scholars differed in their reasoning as to what the form’s use of old records meant for black music and history. Some positioned the practice as part of a linear, cultural-national tradition, sometimes shaded with essentialism. William Eric Perkins claimed, with totalizing confidence, that “sampling was and is hip hop’s ongoing link with history and tradition, including all of the African and African American musical genres.” a more modulated Kyra D. Gaunt contended that hip hop’s sampling was “the perfect medium for expressing the temporal culture-scape of who we are, and how we became, across time.”https://doi.org/10.5406/americanmusic.29.3.0277
#hiphop #jazz #culturalmemory #musicaltradition #africanamerican #1990s #sampling #musichistory #blackculture #hiphopscholarship #digital sampling #toasts #africanamericanmusic #essentially #temporalculture #constructivisttheorizations #vernaculars #politics #postmodernism #rhythmandblues #funk #rapmusic #samplingdebates #recordproduction #hiphopculture #musicindustry #copyrightlaw #publicdomain #intellectualproperty #musicappropriation #musicalintertextuality #remixculture #blackpopularculture