Postmodernism is a range of conceptual frameworks and ideologies that are defined in opposition to those commonly associated with ideologies of modernity and modernist notions of knowledge and science, such as formalism, materialism, metaphysics, positivism, realism, reductionism, and structuralism. Postmodernism is not a philosophical movement, but rather a number of philosophical and critical methods. In other words, postmodernism is not a method of doing philosophy, but rather a way of approaching traditional ideas and practices in non-traditional ways that deviate from pre-established superstructural modes. This has caused difficulties in defining what postmodernism means and it therefore remains a controversial concept.

Postmodernism postulates that many, if not all, apparent realities are only social constructs and are therefore subject to change. It claims that there is no absolute truth and that the way people perceive the world is subjective and emphasises the role of language, power relations, and motivations in the formation of ideas and beliefs. In particular it attacks the use of sharp binary classifications such as male versus female, straight versus gay, white versus black, and imperial versus colonial; it holds realities to be plural and relative, and to be dependent on who the interested parties are and the nature of these interests. Postmodernist approaches therefore often consider the ways in which social dynamics, such as power and hierarchy, affect human conceptualizations of the world to have important effects on the way knowledge is constructed and used. In contrast to modernism, postmodernist thought often emphasizes constructivism, idealism, pluralism, relativism, and scepticism in its approaches to knowledge and understanding.

Postmodernism is generally considered to have been conceived during the late nineteenth century. Postmodernism gained significant popularity in the 1950s and dominated literature and art by the 1960s.^[1] Postmodernism has influenced many disciplines, including religion, literary criticism, sociology, linguistics, architecture, history, anthropology, visual arts, and music.

Definitional issues[link]

The term "Postmodernism" is often used to refer to different, sometimes contradictory concepts. Conventional definitions include:

• Compact Oxford English Dictionary: "a style and concept in the arts characterized by distrust of theories and ideologies and by the drawing of attention to conventions."^[2]
• Merriam-Webster: Either "of, relating to, or being an era after a modern one", or "of, relating to, or being any of various movements in reaction to modernism that are typically characterized by a return to traditional materials and forms (as in architecture) or by ironic self-reference and absurdity (as in literature)", or, finally "of, relating to, or being a theory that involves a radical reappraisal of modern assumptions about culture, identity, history, or language".^[3]
• American Heritage Dictionary: "Of or relating to art, architecture, or literature that reacts against earlier modernist principles, as by reintroducing traditional or classical elements of style or by carrying modernist styles or practices to extremes: 'It [a roadhouse] is so architecturally interesting ... with its postmodern wooden booths and sculptural clock.'"^[4]

While the term "Postmodern" and its derivatives are freely used, with some uses apparently contradicting others, those outside the academic milieu have described it as merely a buzzword that means nothing. Dick Hebdige, in his text ‘Hiding in the Light’, writes:

When it becomes possible for a people to describe as ‘postmodern’ the décor of a room, the design of a building, the diegesis of a film, the construction of a record, or a ‘scratch’ video, a television commercial, or an arts documentary, or the ‘intertextual’ relations between them, the layout of a page in a fashion magazine or critical journal, an anti-teleological tendency within epistemology, the attack on the ‘metaphysics of presence’, a general attenuation of feeling, the collective chagrin and morbid projections of a post-War generation of baby boomers confronting disillusioned middle-age, the ‘predicament’ of reflexivity, a group of rhetorical tropes, a proliferation of surfaces, a new phase in commodity fetishism, a fascination for images, codes and styles, a process of cultural, political or existential fragmentation and/or crisis, the ‘de-centring’ of the subject, an ‘incredulity towards metanarratives’, the replacement of unitary power axes by a plurality of power/discourse formations, the ‘implosion of meaning’, the collapse of cultural hierarchies, the dread engendered by the threat of nuclear self-destruction, the decline of the university, the functioning and effects of the new miniaturised technologies, broad societal and economic shifts into a ‘media’, ‘consumer’ or ‘multinational’ phase, a sense (depending on who you read) of ‘placelessness’ or the abandonment of placelessness (‘critical regionalism’) or (even) a generalised substitution of spatial for temporal coordinates - when it becomes possible to describe all these things as ‘Postmodern’ (or more simply using a current abbreviation as ‘post’ or ‘very post’) then it’s clear we are in the presence of a buzzword.^[5]

British historian Perry Anderson's history of the term and its understanding, 'The Origins of Postmodernity', explains these apparent contradictions, and demonstrates the importance of "Postmodernism" as a category and a phenomenon in the analysis of contemporary culture.^[6]

In addition to the possible terms given, Kaya Yilmaz presents the idea that when studying this theory one must remember that there is not one definition, hence the multiple provided. The term itself does not allow it to own one specific definition, rather it contains specific attributes and characteristics that can be agreed upon. Yamaz also acknowledges the very important idea that this idea of postmodernism can and does alter depending on the location on the globe. There are three reasons behind the lack of concrete definition. One being that the disposition itself, is that the theory is “anti-essentialist and anti-foundationalist”. The idea of postmodernism in its entirety is not to be clearly defined or predictable. The second reason is that it is a theory that is contrasting and does not have a specific way of presenting or explaining itself. Finally, the theory is not even clearly defined by its inventors and researchers. Those scholars who first founded this ideal intentionally did not give it a clear, concrete diagnosis.^[7]

Theories and derivatives[link]

Deconstruction[link]

One of the most popular postmodernist tendencies within aesthetics is deconstruction. As it is currently used, "deconstruction" is a Derridean approach to textual analysis (typically literary critique, but variously applied). Deconstructions work entirely within the studied text to expose and undermine the frame of reference, assumptions, and ideological underpinnings of the text. Although deconstructions can be developed using different methods and techniques, the process typically involves demonstrating the multiple possible readings of a text and their resulting internal conflicts, and undermining binary oppositions (e.g. masculine/feminine, old/new). Deconstruction is fundamental to many different fields of postmodernist thought, including postcolonialism, as demonstrated through the writings of Gayatri Spivak.^{[citation needed]}

Structuralism and post-structuralism[link]

Structuralism was a broad philosophical movement that developed particularly in France in the 1950s, partly in response to French Existentialism, but is considered by many to be an exponent of High-Modernism,^{[by whom?]} though its categorization as either a Modernist or Postmodernist trend is contested. Many Structuralists later moved away from the most strict interpretations and applications of "structure", and are thus called "Post-structuralists" in the United States (the term is uncommon in Europe). Though many Post-structuralists were referred to as Postmodern in their lifetimes, many explicitly rejected the term. Notwithstanding, Post-structuralism in much American academic literature in the Humanities is very strongly associated with the broader and more nebulous movement of Postmodernism. Thinkers most typically linked with Structuralism include anthropologist Claude Lévi-Strauss, linguist Ferdinand de Saussure, Marxist philosopher Louis Althusser, the early writings of psychoanalyst Jacques Lacan, the early writings of literary theorist Roland Barthes, and the semiotician Algirdas Greimas. Philosophers commonly referred to as Post-structuralists include Michel Foucault, Roland Barthes, Jean Baudrillard, Gilles Deleuze (all of whom began their careers within a Structuralist framework), Jacques Derrida, Pierre Bourdieu, Jean-François Lyotard, Julia Kristeva, Hélène Cixous, Luce Irigaray and, sometimes, the American cultural theorists, critics and intellectuals they influenced (e.g. Judith Butler, Jonathan Crary, John Fiske, Rosalind Krauss, Hayden White).

Though by no means a unified movement with a set of shared axioms or methodologies, Post-structuralism emphasizes the ways in which different aspects of a cultural order, from its most banal material details to its most abstract theoretical exponents, determine one another (rather than espousing a series of strict, uni-directional, cause and effect relationships – see Reductionism – or resorting to Epiphenomenalism). Like Structuralism, it places particular focus on the determination of identities, values and economies in relation to one another, rather than assuming intrinsic properties or essences of signs or components as starting points.^[8] In this limited sense, there is a nascent Relativism and Constructionism within the French Structuralists that was consciously addressed by them but never examined to the point of dismantling their reductionist tendencies. Unlike Structuralists, however, the Post-structuralists questioned the division between relation and component and, correspondingly, did not attempt to reduce the subjects of their study to an essential set of relations that could be portrayed with abstract, functional schemes or mathematical symbols (as in Claude Lévi-Strauss's algebraic formulation of mythological transformation in "The Structural Study of Myth"^[9]).

Post-Structuralists tended to reject such formulations of “essential relations” in primitive cultures, languages or descriptions of psychological phenomena as subtle forms of Aristotelianism, Rationalism or Idealism, all philosophies they rejected. Another common trend among thinkers associated with the Post-Structural movement is the criticism of the absolutist, quasi-scientific claims of Structuralist theorists as more reflective of the mechanistic bias^[10] inspired by bureaucratization and industrialization than of the inner-workings of actual primitive cultures, languages or psyches. Generally, Post-structuralists emphasized the inter-determination and contingency of social and historical phenomena with each other and with the cultural values and biases of perspective. Such realities were not to be dissected, in the manner of some Structuralists, as a system of facts that could exist independently from values and paradigms (either those of the analysts or the subjects themselves), but to be understood as both causes and effects of each other.^[11] For this reason, most Post-structuralists held a more open-ended view of function within systems than did Structuralists and were sometimes accused of circularity and ambiguity. Post-structuralists countered that, when closely examined, all formalized claims describing phenomena, reality or truth, rely on some form or circular reasoning and self-referential logic that is often paradoxical in nature. Thus, it was important to uncover the hidden patterns of circularity, self-reference and paradox within a given set of statements rather that feign objectivity, as such an investigation might allow new perspectives to have influence and new practices to be sanctioned or adopted. In this latter respect, Post-structuralists were, as a group, continuing the philosophical project initiated by Martin Heidegger, who saw himself as extending the implications of Friedrich Nietzsche's work.

As would be expected, Post-structuralist writing tends to connect observations and references from many, widely varying disciplines into a synthetic view of knowledge and its relationship to experience, the body, society and economy - a synthesis in which it sees itself as participating. Structuralists, while also somewhat inter-disciplinary, were more comfortable within departmental boundaries and often maintained the autonomy of their analytical methods over the objects they analyzed. Post-structuralists, unlike Structuralists, did not privilege a system of (abstract) "relations" over the specifics to which such relations were applied, but tended to see the notion of “the relation” or of systemization itself as part-and-parcel of any stated conclusion rather than a reflection of reality as an independent, self-contained state or object. If anything, if a part of objective reality, theorization and systemization to Post-structuralists was an exponent of larger, more nebulous patterns of control in social orders – patterns that could not be encapsulated in theory without simultaneously conditioning it. For this reason, certain Post-structural thinkers were also criticized by more Realist, Naturalist or Essentialist thinkers of anti-intellectualism or anti-Philosophy. In short, Post-structuralists, unlike Structuralists, tended to place a great deal of skepticism on the independence of theoretical premises from collective bias and the influence of power, and rejected the notion of a "pure" or "scientific" methodology in social analysis, semiotics or philosophical speculation. No theory, they said – especially when concerning human society or psychology – was capable of reducing phenomena to elemental systems or abstract patterns, nor could abstract systems be dismissed as secondary derivatives of a fundamental nature: systemization, phenomena and values were part of each other.

While many of the so-called Post-structuralists vehemently disagreed on the specifics of such fundamental categories as "the real", "society", "totality", "desire" and "history", many also shared, in contrast to their so-called Structuralist predecessors, the traits mentioned. Furthermore, a good number of them engaged in a re-assessment (positive or negative) of the philosophical traditions associated with Hegel, Marx, Nietzsche, and Freud. Because of its general skepticism of analytical objectivity and mutually exclusive oppositions in logic, its emphasis on the social production of knowledge and of knowledge paradigms, and its portrayal of the sometimes ambiguous inter-determination of material culture, values, physical practices and socio-economic life, Post-structuralism is often linked to Postmodernism.

Elements of Post-Modern Society[link]

Aside from the philosophy of post-Modernism is the emerging group within the world population who considers themself to be born into the Post-Modern Era. These world citizens can choose to model their activity from any documented stage of any period in history. Likewise, people are documenting their doings better than their parents ever could in the past. Therefore, the Post-Modern world is confounded with options. She, the post-Modernist, can choose her calling from any set of individual or collective identities. The overwhelming trait of the post-Modernist is the sense of fatalism, in that she must utilize the offerings of history and society. She fits in with a more classless and clanless culture than ever before.

Post-postmodernism[link]

Recently the notions of metamodernism, Post-postmodernism and the "death of postmodernism" have been increasingly widely debated: in 2007 Andrew Hoborek noted in his introduction to a special issue of the journal Twentieth Century Literature titled "After Postmodernism" that "declarations of postmodernism's demise have become a critical commonplace". A small group of critics has put forth a range of theories that aim to describe culture and/or society in the alleged aftermath of postmodernism, most notably Raoul Eshelman (performatism), Gilles Lipovetsky (hypermodernity), Nicolas Bourriaud (Altermodern), and Alan Kirby (digimodernism, formerly called pseudo-modernism). None of these new theories and labels have so far gained very widespread acceptance. The exhibition Postmodernism - Style and Subversion 1970-1990 at the Victoria and Albert Museum (London, 24 September 2011 - 15 January 2012) was billed as the first show ever to document postmodernism as a historical movement.

History[link]

The term "Postmodern" was first used around the 1870s. John Watkins Chapman suggested "a Postmodern style of painting" as a way to move beyond French Impressionism.^[12] J. M. Thompson, in his 1914 article in The Hibbert Journal (a quarterly philosophical review), used it to describe changes in attitudes and beliefs in the critique of religion: "The raison d'etre of Post-Modernism is to escape from the double-mindedness of Modernism by being thorough in its criticism by extending it to religion as well as theology, to Catholic feeling as well as to Catholic tradition."^[13]

In 1917, Rudolf Pannwitz used the term to describe a philosophically-oriented culture. His idea of post-modernism drew from Friedrich Nietzsche's analysis of modernity and its end results of decadence and nihilism. Pannwitz's post-human would be able to overcome these predicaments of the modern human. Contrary to Nietzsche, Pannwitz also included nationalist and mythical elements in his use of the term.^[14]

In 1921 and 1925, Postmodernism had been used to describe new forms of art and music. In 1942 H. R. Hays described it as a new literary form. However, as a general theory for a historical movement it was first used in 1939 by Arnold J. Toynbee: "Our own Post-Modern Age has been inaugurated by the general war of 1914-1918."^[15]

Portland Building, an example of Postmodern architecture

In 1949 the term was used to describe a dissatisfaction with modern architecture, and led to the postmodern architecture movement,^[16] perhaps also a response to the modernist architectural movement known as the International Style. Postmodernism in architecture is marked by the re-emergence of surface ornament, reference to surrounding buildings in urban architecture, historical reference in decorative forms, and non-orthogonal angles.

After that, Postmodernism was applied to a whole host of movements, many in art, music, and literature, that reacted against tendencies in the imperialist phase of capitalism called "modernism," and are typically marked by revival of historical elements and techniques.^[17] Walter Truett Anderson identifies Postmodernism as one of four typological world views. These four world views are the Postmodern-ironist, which sees truth as socially constructed; the scientific-rational, in which truth is found through methodical, disciplined inquiry; the social-traditional, in which truth is found in the heritage of American and Western civilization; and the neo-romantic, in which truth is found through attaining harmony with nature and/or spiritual exploration of the inner self.^[18]

Postmodernist ideas in philosophy and the analysis of culture and society expanded the importance of critical theory and has been the point of departure for works of literature, architecture, and design, as well as being visible in marketing/business and the interpretation of history, law and culture, starting in the late 20th century. These developments—re-evaluation of the entire Western value system (love, marriage, popular culture, shift from industrial to service economy) that took place since the 1950s and 1960s, with a peak in the Social Revolution of 1968—are described with the term Postmodernity, Influences on postmodern thought, Paul Lützeler (St. Louis) as opposed to Postmodernism, a term referring to an opinion or movement. Postmodernism has also be used interchangeably with the term post-structuralism out of which postmodernism grew, a proper understanding of postmodernism or doing justice to the postmodernist thought demands an understanding of the poststructuralist movement and the ideas of its advocates. Post-structuralism resulted similarly to postmodernism by following a time of structuralism. It is characterized by new ways of thinking through structuralism, contrary to the original form.^[19] "Postmodernist" describes part of a movement; "Postmodern" places it in the period of time since the 1950s, making it a part of contemporary history.

Influence on art[link]

Architecture[link]

Detail of the postmodern Abteiberg Museum in Germany.

The movement of Postmodernism began with architecture, as a response to the perceived blandness, hostility, and Utopianism of the Modern movement. Modern Architecture, as established and developed by people such as Walter Gropius, Le Corbusier, and Philip Johnson, was focused on the pursuit of a perceived ideal perfection, and attempted harmony of form and function,^[20] and dismissal of "frivolous ornament."^[21][22] Critics of modernism argued that the attributes of perfection and minimalism themselves were subjective, and pointed out anachronisms in modern thought and questioned the benefits of its philosophy.^[23] Definitive postmodern architecture such as the work of Michael Graves and Robert Venturi reject the notion of a 'pure' form or 'perfect' architectonic detail, instead conspicuously drawing from all methods, materials, forms and colors available to architects.

Modernist Ludwig Mies van der Rohe is associated with the phrase "less is more"; in contrast Venturi famously said, "Less is a bore." Postmodernist architecture was one of the first aesthetic movements to openly challenge Modernism as antiquated and "totalitarian", favoring personal preferences and variety over objective, ultimate truths or principles.

It is this atmosphere of criticism, skepticism, and emphasis on difference over and against unity that distinguishes the postmodernism aesthetic. Among writers defining the terms of this discourse is Charles Jencks, described by Architectural Design Magazine as "the definer of Post-Modernism for thirty years" and the "internationally acclaimed critic..., whose name became synonymous with Post-modernism in the 80s".^[24]

Urban Planning[link]

Postmodernism is a rejection of 'totality', of the notion that planning could be 'comprehensive', widely applied regardless of context, and rational. In this sense, Postmodernism is a rejection of its predecesor; Modernism. From the 1920s onwards, the Modern movement sought to design and plan cities which followed the logic of the new model of industrial mass production; reverting to large-scale solutions, aesthetic standardisation and prefabricated design solutions (Goodchild 1990). Postmodern also brought a break from the notion that planning and architecture could result in social reform, which was an integral dimension of the plans of Modernism (Simonsen 1990). Furthermore, Modernism eroded urban living by its failure to recognise differences and aim towards homogenous landscapes (Simonsen 1990, 57). Within Modernism, urban planning represented a 20th Century move towards establishing something stable, structured, and rationalised within what had become a world of chaos, flux and change (Irving 1993, 475). The role of planners predating Postmodernism was one of the 'qualified professional' who believed they could find and implement one single 'right way' of planning new urban establishments (Irving 1993). In fact, after 1945, urban planning became one of the methods through which capitalism could be managed and the interests of developers and corporations could be administered (Irving 1993, 479). Considering Modernism inclined urban planning to treat buildings and developments as isolated, unrelated parts of the overall urban ecosystems created fragmented, isolated, and homogeous urban landscapes (Goodchild, 1990). One of the greater problems with Modernist-style of planning was the disregard of resident or public opinion, which resulted in planning being forced upon the majority by a minority consisting of affluent professionals with little to no knowledge of real 'urban' problems characteristic of post-Second World War urban environments; slums, overcrowding, deteriorated infrastructure, pollution and disease, among others (Irving 1993). These were precisely the 'urban ills' Modernism was meant to 'solve', but more often than not, the types of 'comprehensive', 'one size fits all' approaches to planning made things worse., and residents began to show interest in becoming involved in decisions which had once been solely entrusted to professionals of the built environment. Advocacy planning and participatory models of planning emerged in the 1960s to counter these traditional elitist and technocratic approaches to urban planning (Irving 1993; Hatuka & D'Hooghe 2007). Furthermore, an assessment of the 'ills' of Modernism among planners during the 1960s, fuelled development of a participatory model that aimed to expand the range of participants in urban interventions (Hatuka & D'Hooghe 2007, 21). Jane Jacobs's The Death and Life of Great American Cities published in 1961 was a sustained critique of urban planning as it had developed within Modernism and marked a transition from modernity to postmodernity in thinking about urban planning (Irving 1993, 479). However, the transition from Modernism to Postmodernism is often said to have happened at 3:32pm on the 15th of July in 1972, when Pruitt Igoe; a housing development for low-income people in St. Louis, which had been a prize winning version of le Corbusier's 'machine for modern living' was deemed uninhabitable and was torn down (Irving 1993, 480). Since then, Postmodernism has involved theories that embrace and aim to create diversity, and it exhaults uncertainty, flexibility and change (Hatuka & D'Hooghe 2007). Postmodern planning aims to accept pluralism and heighten awareness of social differences in order to accept and bring to light the claims of minority and disadvantaged groups (Goodchild 1990). It is important to note that urban planning discourse within Modernity and Postmodernity has developed in different contexts, even though they both grew within a capitalist culture. Modernity was shaped by a capitalist ethic of Fordist-Keynesian paradigm of mass, standardised production and consumption, while Postmodernity was created out of a more flexible form of capital accumulation, labor markets and organisations (Irving 1993, 60). Also, there is a distinction between a postmodernism of 'reaction' and one of 'resistance'. A postmodernism of 'reaction' rejects Modernism and seeks to return to the lost traditions and history in order to create a new cultural synthesis, while Postmodernity of 'resistance' seeks to deconstruct Modernism and is a critique of the origins without necessarily returning to them (Irving 1993, 60). As a result of Postmodernism, planners are much less inclined to lay a firm or steady claim to there being one single 'right way' of engaging in urban planning and are more open to different styles and ideas of 'how to plan' (Irving 474).

References (Urban Planning section)[link]

Goodchild, B 1990, 'Planning and the Modern'Postmodern Debate', in The Town Planning Review, vol. 61, no. 2, pp. 119-137. Hatuka, T & D'Hooghe, A 2007, 'After Postmodernism: readdressing the Role of Utopia in Urban Design and Planning', in Places: Forum of Design for the Public Realm, vol. 19, Issue 2, pp. 20-27/ Irving, A 1993, 'The Modern/Postmodern Divide and Urban Planning', in The University of Toronto Quareterly, vol. 62, no. 4, pp. 474-487. Simonsen, K 1990, 'Planning on 'Postmodern' Conditions', in Acta Sociologica, vol. 33, no. 1, pp. 51-62.

Literature[link]

Orhan Pamuk, winner of the 2006 Nobel Prize in Literature.

Literary postmodernism was officially inaugurated in the United States with the first issue of boundary 2, subtitled "Journal of Postmodern Literature and Culture", which appeared in 1972. David Antin, Charles Olson, John Cage, and the Black Mountain College school of poetry and the arts were integral figures in the intellectual and artistic exposition of postmodernism at the time.^[25] boundary 2 remains an influential journal in postmodernist circles today.^[26]

Jorge Luis Borges's (1939) short story Pierre Menard, Author of the Quixote, is often considered as predicting postmodernism^[27] and conceiving the ideal of the ultimate parody.^[28] Samuel Beckett is also sometimes seen as an important precursor and influences. Novelists who are commonly counted to postmodern literature include Vladimir Nabokov, William Gaddis, John Hawkes, William Burroughs, Giannina Braschi, Kurt Vonnegut, John Barth, Donald Barthelme, E.L. Doctorow, Jerzy Kosinski, Don DeLillo, Thomas Pynchon, Ishmael Reed, Kathy Acker, Ana Lydia Vega, and Paul Auster.

In 1971, the Arab-American scholar Ihab Hassan published The Dismemberment of Orpheus: Toward a Postmodern Literature, an early work of literary criticism from a postmodern perspective, in which the author traces the development of what he calls "literature of silence" through Marquis de Sade, Franz Kafka, Ernest Hemingway, Beckett, and many others, including developments such as the Theatre of the Absurd and the nouveau roman. In 'Postmodernist Fiction' (1987), Brian McHale details the shift from modernism to postmodernism, arguing that the former is characterized by an epistemological dominant, and that postmodern works have developed out of modernism and are primarily concerned with questions of ontology. In Constructing Postmodernism (1992), McHale's second book, he provides readings of postmodern fiction and of some of the contemporary writers who go under the label of cyberpunk. McHale's "What Was Postmodernism?" (2007)[1], follows Raymond Federman's lead in now using the past tense when discussing postmodernism.

Music[link]

Composer Henryk Górecki.

Postmodern music is either music of the postmodern era, or music that follows aesthetic and philosophical trends of postmodernism. As the name suggests, the postmodernist movement formed partly in reaction to the ideals of the modernist. Because of this, Postmodern music is mostly defined in opposition to modernist music, and a work can either be modernist, or postmodern, but not both. Jonathan Kramer posits the idea (following Umberto Eco and Jean-François Lyotard) that postmodernism (including musical postmodernism) is less a surface style or historical period (i.e., condition) than an attitude.

The postmodern impulse in classical music arose in the 1960s with the advent of musical minimalism. Composers such as Terry Riley, Krzysztof Penderecki, György Ligeti, Henryk Górecki, Bradley Joseph, John Adams, George Crumb, Steve Reich, Phillip Glass, Michael Nyman, and Lou Harrison reacted to the perceived elitism and dissonant sound of atonal academic modernism by producing music with simple textures and relatively consonant harmonies, whilst others, most notably John Cage challenged the prevailing Narratives of beauty and objectivity common to Modernism. Some composers have been openly influenced by popular music and world ethnic musical traditions.

Postmodern Classical music as well is not a musical style, but rather refers to music of the postmodern era. It bears the same relationship to postmodernist music that postmodernity bears to postmodernism. Postmodern music, on the other hand, shares characteristics with postmodernist art—that is, art that comes after and reacts against modernism (see Modernism in Music).

Though representing a general return to certain notions of music-making that are often considered to be classical or romantic^{[citation needed]}, not all postmodern composers have eschewed the experimentalist or academic tenets of modernism. The works of Dutch composer Louis Andriessen, for example, exhibit experimentalist preoccupation that is decidedly anti-romantic. Eclecticism and freedom of expression, in reaction to the rigidity and aesthetic limitations of modernism, are the hallmarks of the postmodern influence in musical composition.

Influential postmodernist philosophers[link]

Douglas Kellner (born 1943)

In "Analysis of the Journey," a journal birthed from postmodernism, Kellner insists that the "assumptions and procedures of modern theory" must be forgotten. His terms defined in the depth of postmodernism is based off of advancement, innovation, and adaptation. Extensively, Kellner analyzes the terms of this theory in real life experiences and examples. Kellner used science and technology studies as a major part of his analysis; he urged that the theory is incomplete without it. The scale was larger than just postmodernism alone, it must be interpreted through cultural studies where science and technology studies play a huge role. The reality of the September Eleventh attacks on the United States of America is the catalyst for his explanation. This catalyst is used as a great representation due to the mere fact of the planned ambush and destruction of "symbols of globalization", insinuating the World Trade Centers. One of the numerous, yet appropriate definitions of postmodernism and the qualm aspect aids this attribute to seem perfectly accurate. In response, Kellner continues to examine the repercussions of understanding the affects of the September Eleventh attacks. He questions if the attacks are only able to be understood in a limited form of postmodern theory due to the level of irony. ^[29] In further studies, he enhances the idea of semiotics in alignment with the theory. Similar to the act of September Eleventh and the symbols that were interpreted through this postmodern ideal, he continues to even describe this as "semiotic systems" that people use to make sense of their lives and the events that occur in them. Kellner's adamancy that signs are necessary to understand one's culture is what he analyzes from the evidence that most cultures have used signs in place of existence. Finally, he recognizes that many theorists of postmodernism are trapped by their own cogitations. He finds strength in theorist Baudrillard and his idea of Marxism. Kellner cannot deny Marxism's end and lack of importance to his theory.

The conclusion he depicts is simple: postmodernism, as most utilize it today, will decide what experiences and signs in one's reality will be one's reality as they know it.^[30]

Martin Heidegger (1889–1976)

Rejected the philosophical basis of the concepts of "subjectivity" and "objectivity" and asserted that similar grounding oppositions in logic ultimately refer to one another. Instead of resisting the admission of this paradox in the search for understanding, Heidegger requires that we embrace it through an active process of elucidation he called the "Hermeneutic Circle". He stressed the historicity and cultural construction of concepts while simultaneously advocating the necessity of an atemporal and immanent apprehension of them. In this vein, he asserted that it was the task of contemporary philosophy to recover the original question of (or "openness to") Dasein (translated as Being or Being-in-the-World) present in the Presocratic philosophers but normalized, neutered and standardized since Plato. This was to be done, in part, by tracing the record of Dasein's sublimation or forgetfulness through the history of philosophy which meant that we were to ask again what constituted the grounding conditions in ourselves and in the World for the affinity between beings and between the many usages of the term "being" in philosophy. To do this, however, a non-historical and, to a degree, self-referential engagement with whatever set of ideas, feelings or practices would permit (both the non-fixed concept and reality of) such a continuity was required - a continuity permitting the possible experience, possible existence indeed not only of beings but of all differences as they appeared and tended to develop. Such a conclusion led Heidegger to depart from the Phenomenology of his teacher Husserl and prompt instead an (ironically anachronistic) return to the yet-unasked questions of Ontology, a return that in general did not acknowledge an intrinsic distinction between phenomena and noumena or between things in themselves (de re) and things as they appear (see qualia): Being-in-the-world, or rather, the openness to the process of Dasein's/Being's becoming was to bridge the age-old gap between these two. In this latter premise, Heidegger shares an affinity with the late Romantic philosopher, Friedrich Nietzsche, another principal forerunner of Post-structuralist and Postmodernist thought. Influential to thinkers associated with Postmodernism are Heidegger's critique of the subject-object or sense-knowledge division implicit in Rationalism, Empiricism and Methodological Naturalism, his repudiation of the idea that facts exist outside or separately from the process of thinking and speaking them (however, Heidegger is not specifically a Nominalist), his related admission that the possibilities of philosophical and scientific discourse are wrapped up in the practices and expectations of a society and that concepts and fundamental constructs are the expression of a lived, historical exercise rather than simple derivations of external, apriori conditions independent from historical mind and changing experience (see Johann Gottlieb Fichte, Heinrich von Kleist, Weltanschauung and Social Constructionism), and his Instrumentalist and Negativist notion that Being (and, by extension, reality) is an action, method, tendency, possibility and question rather than a discreet, positive, identifiable state, answer or entity (see also Process Philosophy, Dynamism, Instrumentalism, Pragmatism and Vitalism).

Thomas Samuel Kuhn (1922–1996)

Argued that there was a rapid change of the basis of scientific knowledge to a provisional consensus among scientists; coined the term "paradigm shift" in The Structure of Scientific Revolutions and in general contributed to the debate over the presumed neutrality and objectivity of empirical methodology in the Natural Sciences from disciplinarian or cultural bias.

Jacques Derrida (1930–2004)

Re-examined the fundamentals of writing and its consequences on philosophy in general; sought to undermine the language of 'presence' or metaphysics in an analytical technique which, beginning as a point of departure from Heidegger's notion of Destruktion, came to be known as Deconstruction. Derrida utilized, like Heidegger, references to Greek philosophical notions associated with the Skeptics and the Presocratics, such as Epoché and Aporia to articulate his notion of implicit circularity between premises and conclusions, origins and manifestations, but - in a manner analogous in certain respects to Gilles Deleuze - presented a radical re-reading of canonical philosophical figures such as Plato, Aristotle and Descartes as themselves being informed by such "destabilizing" notions.

Michel Foucault (1926–1984)

Introduced concepts such as 'discursive regime', or re-invoked those of older philosophers like 'episteme' and 'genealogy' in order to explain the relationship among meaning, power, and social behavior within social orders (see The Order of Things, The Archaeology of Knowledge, Discipline and Punish and The History of Sexuality). In direct contradiction to what have been typified as Modernist perspectives on epistemology, Foucault asserted that rational judgment, social practice and what he called 'biopower' are not only inseparable but co-determinant. While Foucault himself was deeply involved in a number of progressive political causes and maintained close personal ties with members of the far-Left, he was also controversial with Leftist thinkers of his day, including those associated with various strains of Marxism, proponents of Left libertarianism (e.g. Noam Chomsky) and Humanism (e.g. Jürgen Habermas), for his rejection of what he deemed to be Enlightenment-derived concepts of freedom, liberation, self-determination and human nature. Instead, Foucault focused on the ways in which such constructs can foster cultural hegemony, violence and exclusion. In line with his rejection of such 'positive' tenets of Enlightenment-era Humanism, he was active, with Gilles Deleuze and Félix Guattari, in the Anti-Psychiatry Movement, considering much of institutionalized psychiatry and, in particular, Freud's concept of repression central to Psychoanalysis (which was still very influential in France during the 1960s and 70s), to be both harmful and misplaced. Foucault was known for his controversial aphorisms, such as "language is oppression", meaning that language functions in such a way as to render nonsensical, false or silent tendencies that might otherwise threaten or undermine the distributions of power backing a society's conventions - even when such distributions purport to celebrate liberation and expression or value minority groups and perspectives. His writings have had a major influence on the larger body of Postmodern academic literature.

Jean-François Lyotard (1924–1998)

Identified in The Postmodern Condition a crisis in the 'discourses of the Human Sciences' latent in Modernism but catapulted to the fore by the advent of the "computerized" or "telematic" era (see Information Revolution). This crisis, insofar as it pertains to academia, concerns both the motivations and justification procedures for making research claims: unstated givens or values that have validated the basic efforts of academic research since the late 18th Century might no longer be valid (particularly, in Social Science & Humanities research, though examples from Mathematics are given by Lyotard as well). As formal conjecture about real-world issues becomes inextricably linked to automated calculation, information storage and retrieval, such knowledge becomes increasingly "exteriorised" from its knowers in the form of information. Knowledge is materialized and made into a commodity exchanged between producers and consumers; it ceases to be either an idealistic end-in-itself or a tool capable of bringing about liberty or social benefit; it is stripped of its humanistic and spiritual associations, its connection with education, teaching and human development, being simply rendered as "data" - omnipresent, material, unending and without any contexts or pre-requisites.^[31] Furthermore, the 'diversity' of claims made by various disciplines begins to lack any unifying principle or intuition as objects of study become more and more specialized due to the emphasis on specificity, precision and uniformity of reference that competitive, database-oriented research implies. The value-premises upholding academic research have been maintained by what Lyotard considers to be quasi-mythological beliefs about human purpose, human reason and human progress - large, background constructs he calls "Metanarratives". These Metanarratives still remain in Western society but are now being undermined by rapid Informatization and the commercialization of the University and its functions. The shift of authority from the presence and intuition of knowers - from the good-faith of Reason to seek diverse knowledge integrated for human benefit or truth fidelity - to the automated database and the market had, in Lyotard's view, the power to unravel the very idea of 'justification' or 'legitimation' and, with it, the rationale for research altogether - esp. in disciplines pertaining to human life, society and meaning. We are now controlled not by binding extra-linguistic value paradigms defining notions of collective identity and ultimate purpose, but rather by our automatic responses to different species of "language games" (a concept Lyotard imports from JL Austin's theory of Speech Acts). In his vision of a solution to this "vertigo," Lyotard opposes the assumptions of universality, consensus, and generality that he identified within the thought of Humanistic, Neo-Kantian philosophers like Jürgen Habermas and proposes a continuation of experimentation and diversity to be assessed pragmatically in the context of language games rather than via appeal to a resurrected series of transcendentals and metaphysical unities.

Richard Rorty (1931–2007)

Argues in Philosophy and the Mirror of Nature that contemporary Analytic philosophy mistakenly imitates scientific methods. In addition, he denounces the traditional epistemological perspectives of Representationalism and Correspondence theory that rely upon the independence of knowers and observers from phenomena and the passivity of natural phenomena in relation to consciousness. As a proponent of anti-foundationalism and anti-essentialism within a Pragmatist framework, he echoes Postmodern strains of Conventionalism and Philosophical Relativism, but opposes much Postmodern thinking with his commitment to Social Liberalism.

Jean Baudrillard (1929–2007),

In Simulacra and Simulation, introduced the concept that reality or the principle of the "real" is short-circuited by the interchangeability of signs in an era whose communicative and semantic acts are dominated by electronic media and digital technologies. Baudrillard proposes the notion that, in such a state, where subjects are detached from the outcomes of events (political, literary, artistic, personal, or otherwise), events no longer hold any particular sway on the subject nor have any identifiable context; they therefore have the effect of producing widespread indifference, detachment, and passivity in industrialized populations. He claimed that a constant stream of appearances and references without any direct consequences to viewers or readers could eventually render the division between appearance and object indiscernible, resulting, ironically, in the "disappearance" of mankind in what is, in effect, a virtual or holographic state, composed only of appearances.

Fredric Jameson (born 1934)

set forth one of the first expansive theoretical treatments of Postmodernism as a historical period, intellectual trend and social phenomenon in a series of lectures at the Whitney Museum, later expanded as Postmodernism, or The Cultural Logic of Late Capitalism (1991). Eclectic in his methodology, Jameson has continued a sustained examination of the role that Periodization continues to play as a grounding assumption of critical methodologies in Humanities disciplines. He has contributed extensive effort to explicating the importance of concepts of Utopianism and Utopia as driving forces in the cultural and intellectual movements of Modernity, and outlining the political and existential uncertainties that may result from the decline or suspension of this trend in the theorized state of Postmodernity. Like Susan Sontag, Jameson served to introduce a wide audience of American readers to key figures of the 20th Century Continental European intellectual Left, particularly those associated with the Frankfurt School, Structuralism and Post-Structuralism. Thus, his importance as a 'translator' of their ideas to the common vocabularies of a variety of disciplines in the Anglo-American academic complex is equally as important as his own critical engagement with them.

Criticisms[link]

Criticisms of postmodernism are intellectually diverse, including the assertions that postmodernism is meaningless and promotes obscurantism.^[32]

See also[link]

Theory

• Transmodernism
• Critical race theory
• Hypermodernity
• Media studies
• Post scarcity
• Recursionism
• Integral Theory

Culture and politics

• Decentralization
• Defamiliarization
• Remodernism
• Syncretism
• Sokal Affair

Law

• Critical legal studies

Philosophy

• Ontological pluralism
• Physical ontology
• Postmaterialism

Politics

• Post-realism

Psychology

• Postmodern psychology

Religion

• Postmodern Religion

Opposed by

• Altermodern
• Remodernism
• Remodernist film
• Stuckism

References[link]

Further reading[link]

External links[link]

Look up postmodernism in Wiktionary, the free dictionary.

Wikimedia Commons has media related to: Postmodernism

• “Love and Hatred of ‘French Theory’ in America., Borderlands e journal. Rolando Pérez. 4.1.2005.
• WSWS philosophy archives – incl. critiques of postmodernist thought
• Stanford Encyclopedia of Philosophy's entry on postmodernism
• The Christian Cadre's Postmodernism Page
• Discourses of Postmodernism. Multilingual Bibliography by Janusz Przychodzen (PDF file)
• Modernity, postmodernism and the tradition of dissent, by Lloyd Spencer (1998)
• Dueling Paradigms: Modernist v. Postmodernist Thought * Characterizing a Fogbank: What Is Postmodernism, and Why Do I Take Such a Dim View of it?
• Postmodernism and truth by philosopher Daniel Dennett
• Postmodernism is the new black: How the shape of modern retailing was both predicted and influenced by some unlikely seers (The Economist December 19, 2006)
• Gaining clarity: after postmodernism, Eretz Acheret Magazine
• Postmodernism, Style and Subversion 1970 to 1990 V&A survey exhibition on Postmodern art and design
• Would the last postmodernist please turn out the lights?, Irish Times, 29/1/12

Links to related articles v t e Sub-fields of and approaches to Human geography Sub-fields Cultural · Development · Economic · Health · Historical · Language · Marketing · Military · Political · Population · Religion · Social · Strategic · Time · Tourism · Transportation · Urban Approaches Behavioral · Critical · Culture theory · Feminist · Marxist · Non-representational theory Modernism (Structuralism • Semiotics) · Postmodernism (Post-structuralism • Deconstruction) v t e Aesthetics Philosophers Theodor W. Adorno Hans Urs von Balthasar Alexander Gottlieb Baumgarten Clive Bell Bernard Bosanquet Edward Bullough R. G. Collingwood Arthur Danto John Dewey Hubert Dreyfus Curt John Ducasse Thierry de Duve Roger Fry Nelson Goodman Georg Hegel Martin Heidegger David Hume Immanuel Kant Paul Klee Susanne Langer Theodor Lipps György Lukács Jean-François Lyotard Joseph Margolis Jacques Maritain Thomas Munro Friedrich Nietzsche José Ortega y Gasset Dewitt H. Parker Stephen Pepper David Prall I. A. Richards George Santayana Friedrich Schiller Arthur Schopenhauer Irving Singer Richard Wollheim more... Theories Classicism Historicism Modernism Postmodernism Psychoanalytic theory Romanticism Symbolism Evolutionary aesthetics more... Concepts Aesthetic emotions Aesthetic interpretation Art manifesto Avant-garde Beauty Boredom Camp Comedy Creativity Cuteness Disgust Ecstasy Elegance Entertainment Eroticism Gaze Harmony Judgement Kitsch Life imitating art Magnificence Mimesis Perception Quality Rasa Reverence Style Sublime Taste Work of art more... Related topics Aesthetics of music Applied aesthetics Architecture Art Arts criticism Gastronomy History of painting Humour Japanese aesthetics Literary merit Mathematical beauty Mathematics and art Painting Philosophy of design Philosophy of film Philosophy of music Poetry Sculpture Theory of painting Tragedy Category Discussion Portal Stubs Task Force v t e Continental philosophy Contemporary philosophy analytic continental Philosophers Theodor W. Adorno Giorgio Agamben Louis Althusser Hannah Arendt Alain Badiou Jean Baudrillard Zygmunt Bauman Henri Bergson Albert Camus Ernst Cassirer Gilles Deleuze Jacques Derrida Johann Fichte Michel Foucault Frankfurt School Hans-Georg Gadamer Antonio Gramsci Jürgen Habermas Georg Hegel Martin Heidegger Edmund Husserl Roman Ingarden Karl Jaspers Immanuel Kant Søren Kierkegaard Alexandre Kojève Leszek Kołakowski Jacques Lacan Claude Lévi-Strauss Emmanuel Levinas Gabriel Marcel Maurice Merleau-Ponty Friedrich Nietzsche Paul Ricœur Jean-Paul Sartre Friedrich Schelling Carl Schmitt Arthur Schopenhauer Władysław Tatarkiewicz Slavoj Žižek more... Theories German idealism Hegelianism Critical theory Psychoanalytic theory Existentialism Structuralism Postmodernism Poststructuralism Concepts Angst Authenticity Being in itself Boredom Dasein Différance Difference Existential crisis Facticity Intersubjectivity Ontic Other Self-deception Trace more... Related articles Kantianism Phenomenology Hermeneutics Deconstruction Category Task Force Stubs Discussion

The Bedroom Philosopher aka Justin Heazlewood is an Australian comedian, author, actor and songwriter. Most known for his writing and musical comedy works, The Bedroom Philosopher has released several albums, performed at many arts festivals, been nominated for an ARIA Award, published a book of tour diaries and is a regular guest on several Australian radio shows.

Recording career[link]

[edit] 2002-2005 Living on the Edge of My Bed

The Bedroom Philosopher began in 2002, when Heazlewood became a regular guest on Triple J's The Morning Show.^[1] He also filmed two pilot episodes of The Bedroom Philosopher Show for ABC Fly TV, a now defunct digital youth television station.^[2] He also secured his first major musical gig, playing support for Bodyjar and The Bumblebeez at Triple J's Unearthed concert later that year.

The Bedroom Philosopher has performed in past years at the Big Day Out,^[3] Falls Festival,^[4] Melbourne Fringe Festival,^[5] Adelaide Fringe Festival,^[6] National Folk Festival, Perth International Arts Festival^[7] and Melbourne International Comedy Festival. His first three Melbourne Comedy Festival Shows included Living on the Edge of My Bed (2003),^[8] In Bed with My Doona (2004), and Pyjamarama (2005). In 2006 he teamed up with Josh Earl to form The Renegades of Folk, performing a Melbourne Comedy Festival show of the same name.^[9]

The Bedroom Philosopher's first album, Living on the Edge of My Bed' featured tracks which had earlier been played on The Morning Show, and was released in 2003. This un-mastered collection was only sold at live shows.

2005-2008 "I'm So Post Modern"[link]

In 2005 the Bedroom Philosopher released his first retail and studio album, In Bed with My Doona,^[10] produced by his uncle Ken Heazlewood. This release was taken to strongly by Triple J's audience, with the first single "I'm So Post Modern" becoming a high-rotation hit, reaching number 72 in the Hottest 100.^[11] The Bedroom Philosopher was the only unsigned artist to make the list in 2005.^[12] His self-produced film clip of "I'm So Post Modern" (by Dan Ilic) also featured on the Hottest 100 DVD.^[13]

2007 saw the introduction of 'The Awkwardstra', composed of Andy Hazel on bass and Hugh Rabinovici on drums. Late 2008 saw the addition of Jamie Power on percussion and Gordon Blake on sitar.^[14] This coincided with the release of second single "Wow Wow's Song (La La La)" which quickly became a Youtube hit garnering 20 000 plays in its first 5 days of being posted,^[15] and featured popular comedy trio Tripod featuring as backing vocalists. This was released as a precursor to his second album 'Brown and Orange'.

[edit] 2008-2009 Brown and Orange

After performing at Perth International Arts Festival The Bedroom Philosopher completed his second album Brown and Orange with producers Chris Scallan and Martin "Moose" Lubran, released in February 2009.^[14] The first single from this was "The Happiest Boy", released in October 2007.^[16] The video clip of "The Happiest Boy" was made by David Blumenstein at Nakedfella Productions.^[17]

The album was promoted with a national tour.

[edit] 2009-2010 Songs from the 86 Tram

April 2009 saw The Bedroom Philosopher debuting his show Songs from the 86 Tram in the Melbourne Comedy Festival.^[18] He won the Director's Choice award for outstanding show and reprised it in the 2009 Melbourne Fringe Festival. Songs from this show comprise his third album Songs from the 86 Tram, recorded in August and September 2009. The show was nominated for three 2009 Green Room Awards winning for best cabaret production.^[19] The show was revised for a sold-out run at the 2010 Melbourne International Comedy Festival.

Heazlewood appeared as "Re-enactment John" in the ABCTV series John Safran's Race Relations in late 2009.^[20]

Songs from the 86 Tram album was presaged by the single Northcote (So Hungover), released to radio in February 2010. The single peaked at number 12 in the Australian Independent Singles charts and received high rotation on Triple J. The album was released 16 April 2010.

An accompanying Australian national tour to promote the album ran from 12 August until 5 September 2010.

On 28 September 2010 the album was nominated for an ARIA Award for Best Comedy Release.^[21]

Northcote (So Hungover) Film Clip[link]

The music video for song 'Northcote (So Hungover)' was created by director Craig Melville and produced by David Curry. The video satirises hipster culture which is currently popular in inner-city Melbourne, with humorous stereotypes and pretension thought to be present in neo-hipsterism, and has received over 320 000 views on YouTube. The Bedroom Philosopher has since recorded a version of the song composed entirely of comments made on the film clip's YouTube page.

On 23 September 2010 the clip won the Australian Director Guild award in the music video category.^[22] On 20 November 2010 it won a silver Australian Cinematographers Society music video award,^[23] Best Independent Production Award at the St Kilda Film Festival^[24] and Best Music Video Award at the 15 Minutes of Fame Festival in Florida.^[25] The filmclip was also voted in Rage's Top 50 film clips of 2010,^[26] and the song in the Triple J Hottest 100 in 2011.^[27]

[edit] 2011-2012 Wit Bix

2011 saw the release of the songs 'Leaving My Hairdresser' and 'Tram Inspector', the film clip for the latter charting at 19 in Rage's Top 100 Filmclips of 2011. The Bedroom Philosopher embarked on several solo tours, including opening for The Dresden Dolls on their national tour, had a successful run at the Melbourne Comedy Festival with the show Wit Bix, and published the book The Bedroom Philosopher Tour Diaries. A Very Beddy Christmas EP was released in November, with the radio single 12 Days of Christmas achieving moderate play. In early 2012, a release of Northcote (YouTube Comments) was released online and on national radio.

Discography[link]

Singles[link]

• "Folkstar/I'm So Post Modern" (2006) Maxi-single
• "The Happiest Boy" (2007) iTunes single
• "Wow Wow's Song (La La La)" (2008) iTunes single
• "Party In My Head" (2009) Radio single
• "Northcote (So Hungover)" (2010) iTunes single
• "Tram Inspector" (2011) iTunes single
• "Leaving My Hairdresser" (2011) iTunes single
• "12 Days of Christmas" (2011) Radio single
• "Northcote (YouTube Comments)" (2012) Radio single

Albums[link]

• Living on the Edge of My Bed (2003)
• In Bed with My Doona (2005)
• Brown and Orange (2009)
• Songs from the 86 Tram (2010)

EP[link]

• "A Very Beddy Christmas" (2011)

Writing[link]

Under his real name, Justin Heazlewood frequently writes for a number of Australian publications.

Since 2002, Heazlewood has written a fortnightly column for Canberra streetpress BMA called "Struth Be Told".^[28] More recently, Heazlewood has written regular contributions for national Australian magazines Frankie Magazine, JMag and The Big Issue. His works have also appeared in Australian publications Sleepers Magazine,^[29] Rattapallax,^[30] Going Down Swinging,^[31] The Sex Mook^[32] and The Death Mook.

From 1999 to 2005, Heazlewood was a regular contributor and editorial committee member for Voiceworks.^[33]

From 2005 to 2006, Heazlewood was a full-time writer for the Network Ten sketch comedy program The Ronnie Johns Half Hour.^[34]

As The Bedroom Philosopher, Heazlewood has written a monthly Ezine LapTopping since 2002.^[35]

In 2009 Heazlewood created the sketch radio show 'Lime Champions' on Melbourne community radio Triple R. He co-hosted it with Melbourne comedians Damien Lawlor, Josh Earl and Eva Johansen. He left the show in 2010.

Heazlewood is also a regular contributor to Scrivener's Fancy.|url=http://thescrivenersfancy.com/visiting-scrivener/2011/03/23/me-versus-front-row-guy.aspx

World records[link]

• Longest continuous performance of Daryl Braithwaite's "The Horses" while riding on a horse carousel on Melbourne Cup day in Canberra - (30 minutes).^[36]
• Longest continuous performance of John Farnham's "You're The Voice" in Melbourne - (9 hours).^[37]
• Longest demonstration of 'BoonRapping' (reading David Boon's autobiography in a hip hop style) in Hobart - (12.5 minutes).^[2]
• Artist with the most performances at the venue 'Stage Door: The Cafe' in Burnie, Tasmania.

Chart statistics[link]

• "I'm So Post Modern" voted number 72 in Triple J Hottest 100, 2005. (lyrics)^[38]
• "Northcote (So Hungover)" charted at number 12 on the Australian Independent Singles chart 3 March.
• "Northcote (So Hungover)" charted at number 91 on the Triple J Hottest 100, 2010.
• "Northcote (So Hungover)" charted at number 3 on Rage's Top 50 Videos of 2010
• "Tram Inspector" charted at number 19 on Rage's Top 50 Videos of 2011

References[link]

External links[link]

• The Bedroom Philosopher official site
• The Bedroom Philosopher's MySpace page.
• Wikiquote has a collection of quotations related to: Justin Heazlewood q:Justin Heazlewood

Stephen Ronald Craig Hicks (born 1960 in Toronto, Ontario, Canada) is professor of philosophy at Rockford College, Illinois, where he also directs the Center for Ethics and Entrepreneurship.