From Postmodernism to Metamodernism: The Formation of Modern Visual Practices

The aim of the article is to trace the transition to metamodernism as the dominant cultural logic of modern society. The article presents the development of the loft style and the artistic collage as examples of changes in modern visual practices. The authors demonstrate how the new cultural logic is reflected in the production of the space of an art object and urban environment generally. The article shows the similarity of the semiotics of loft design and the artistic collage, which reflects the emergence of a new cultural logic of metamodernism. The article presents the evolution of views on the state of contemporary culture in the framework of the concepts of postmodernism and metamodernism. The relevance of this study is associated with the formation of a new attitude to visuality in the metamodernism concept. The proposed approach demonstrates a new principle of working with the phenomenon of visualization, both in terms of detail and generalization. The authors explore the concept of loft style in the context of general trends in visual practices during the transition from the postmodern culture to the metamodern one. An analysis of the loft aesthetics makes it possible to see the development of postmodernism as a common worldview paradigm of the late twentieth century. In turn, changes in the loft-style technique become markers of the transition to metamodernism. The loft object demonstrates the layering of senses and meanings, historical eras and aesthetic preferences. The loft style reflects the influence of aesthetic, technical and communicative preferences on the formation of a specific men-environment paradigm. The comparison of the loft-style and collage practices allows concluding about the post-modern art space practice and its implementation in an urban concept. This appears as a single process of the postmodern paradigm development realized on a different scale. The loft and artistic collage techniques of the last quarter of the twentieth century served as the basis for the metamodernist technology for constructing the historicity (authenticity) of the environment. At the same time, an important moment in space is the entourage of authenticity, coupled with cutting-edge urban technology. Metamodernism understands the visual image as a phenomenon of consciousness, inscribed in the complex system of interactions, where physicality, sociality, psychology, etc. are present. Anthropological projections are conditions, not means for expressing meanings. The article proposes an original approach to the phenomenon of visualization: visual image is presented as a result of the formation of a complex semiotic system which reflects the experience of a multi-level spatial environment.

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