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Postmodernism has reconstituted human communication since its arrival in the 1960s. It captures multiple world views through partial snapshots of reality, knowledge, and values. The postmodern project bridges aesthetic, economic, and theoretical discourse built on critiques of modernism. Postmodernists challenge modernist truth claims by exposing inconsistencies in the communication of those very claims. One can affirm postmodernism (e.g., encourage its play) or remain skeptical of its truth potential (e.g., question its mess). Although communication scholars may disagree over whether to call the 21st century postmodern, or even to acknowledge the term at all, others look to appropriate only the theoretical parts that most usefully illuminate reality, knowledge, and values.

Cultural critics dispute whether postmodernism has introduced new styles or recycled modernist tendencies. Although the debate continues unsettled, postmodernists have settled on three ideas: most oppose a totalizing view of reality, objective knowledge construction, and the possibility for neutral values. After introducing premodern and modern systems of thought, this entry will illustrate the key issues of postmodernism across three domains: ontology, epistemology, and axiology. It will conclude with the possibility for an ecstasy of communication.

From Premodernism to Postmodernism

Scholars situate premodernity in the epochs prior to the mid-17th century. A premodernist associated knowledge production with ecclesiastical and governmental institutions of authority. Divine intervention by God or a higher being paved the path for belief, attitude, and value formation. The church and state worked together to shape premodern exchanges. Gutenberg's printing press shook up the definition of authority in the production, distribution, and consumption of knowledge. Modernity began in the mid-17th and lasted until the mid-20th centuries. As a historical period, it witnessed the rise of reason over superstition. Henry Ford's early car manufacturing introduced Fordist terminology into modernism and its industrialization, urbanization, and transmission of new technologies. Whether one tried to fix a mechanical or a relational problem, modernists believed a universal Truth existed out there, awaiting discovery by researchers and implementation by rulers.

Mass culture accompanied the growth of cities and technologies. The term intervenes between modernism and postmodernism because it signifies social change. Critics believed the culture industries discouraged active thought and encouraged passive acceptance of goods and services, burdening bonds of solidarity and communal living. Fashion and record labels qualify as culture industries from Armani to Arista.

Communication scholars have suggested an alternative frame for mass culture's great divide between modernism and postmodernism: Instead of a discontinuous break or a radical rupture, modernism and postmodernism might mutually constitute one another. Consider prior separation of high from low art by elite modernists and their subsequent integration in the postmodern era, evinced in Andy Warhol's pop art. A discussion of whether to label modernism and postmodernism as mutually constitutive remains open.

As postmodernism came of age in the 1960s, activists argued for the abolition of racial, gender, and sexual inequalities. World War II memories simmered in the background as the Cold War came to the forefront. Imperial systems of colonial rule slowly dissolved as indigenous populations spread around the world. Industrial economies declined in the transition to a post-Fordist service model of a new information society. This epoch of late capitalism referred to transnational consumer economies based in global and local trade flows.

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