Format the following in proper paragraphs while maintain the exact text information as it is written without omitting any information: [Music] finally we come to meta-modernism an interpretive paradigm for post-post-modernism articulated by cultural theorist tim vermeulen philosopher robin vondenker and literary scholar alison gibbons for mulen and vondenker's 2010 essay in the journal of aesthetics and culture titled notes on meta-modernism laid the groundwork for this interpretive model which is without doubt the most comprehensive and wide-reaching one yet proposed writing nearly a decade after linda hutchin first posed her challenge to label post-post-modernism for the 21st century the authors can now take into their scope a variety of proposals both three modernism and performatism among others are thus subsumed into the meta-modernist category indeed part of the contribution of metamodernism is that it attempts an explanatory model that encompasses all of these disparate yet connected movements within a single theoretical framework [Music] what they have in common according to vermeulen and vondenker is quote a typically meta modern oscillation an unsuccessful negotiation between two opposite poles this oscillation refers to the way this new post-postmodern sensibility seems to toggle back and forth between typically postmodern ideas and attitudes which it maintains and more typically modernist ones which it reclaims as they put it ontologically metamodernism oscillates between the modern and the postmodern it oscillates between a modern enthusiasm and a postmodern irony between hope and melancholy between naivete and knowingness empathy and apathy unity and plurality totality and fragmentation purity and ambiguity each time the meta-modern enthusiasm swings toward fanaticism gravity pulls it back toward irony the moment its irony sways toward apathy gravity pulls it back toward enthusiasm [Music] one could liken this oscillation to the way a floating led message clock works if you're familiar with these novelty gadgets you know that the seemingly stable text hovering in the air is actually the product of lights attached to a pendulum which is rapidly oscillating back and forth through this movement something seemingly stable appears though held up by nothing and relying upon though not reducible to the two extremes it shuffles between the result is a sort of paradox stillness in motion unity in and through polarity so is it with metamodernism and its relationship to postmodern and modern attitudes indeed the authors write if simplistically put the modern outlook vis-a-vis idealism and ideals could be characterized as fanatic and or naive and the postmodern mindset is apathetic and or skeptic the current generation's attitude for it is and very much so an attitude tied to a generation can be conceived of as a kind of informed naivete a pragmatic idealism here the work of ihab hassan can be helpful to us again as his chart of modern postmodern dichotomies in some ways maps these antipodes between which the meta-modern sensibility could be said to continually oscillate obvious reasons hassan's final opposition that of modern transcendence and post-modern imminence should strike us here it would seem to suggest that the meta-modern sensibility would work to somehow paradoxically unite through continuous oscillation the imminent and the transcendent a return of dimensionality through a third axis the emergent stable message out of the constitutive extreme polls ramilan has written elsewhere of this return taking jameson's concept of postmodernism's depthlessness as his point of departure he sees a meta-modern return of death a new kind of depth in philosophy and art alike he writes notions of the behind and the beyond the beneath and the inside have re-emerged when i was growing up in the mid-1990s and early 2000s i listened to radiohead and there there they sang just because you feel it doesn't mean it's there a year or so ago while watching the television show girls i was struck by a sentence that was at once reminiscent and completely different from that line from the early 2000s just because it's fake doesn't mean i don't feel it the line from the radiohead song that described our world as a hall of mirrors calls to mind jameson's understanding of depthlessness as the last stage in a particular history of a particular flattening but what the line from girls hints at is that just maybe we are seeing the first stage in another history of another kind of deepening one whose empirical reality lies above the surface even if its performative register floats just below it this isn't just the old kind of depth brought back with all of its discredited metaphysical illusions in short it's not a reactionary move but a progressive step forward into a new territory depth reinvented fear melon writes importantly men of modern philosophers artists and writers each in their own distinct way do not resuscitate depth as much as they resurrected spirit they understand the depth jameson referred to dialectics psychoanalysis existentialism has been flattened or hollowed out what they create instead are personal alternative visions of depth visions they invite us to share many artists today conceive of depth in another sense than their 20th century predecessors many contemporary thinkers and artists leave the dead corpus of depth untouched whilst trying to reanimate its ghost re-modernist artists saw their task as bringing spirit back into art but not as it was performative works meanwhile affect a return of metaphysics through post-metaphysical means and metamodernists are burying depth even as they reanimate its ghost as with re-modernism and performatism this change and sensibility is directly tied to developments in aesthetic strategies and artistic forms because of the shift from a postmodern to a meta-modern structure of feeling vermeulen and vondenker observe new generations of artists increasingly abandoned the aesthetic precepts of deconstruction parataxis and pastiche in favor of ice ethical notions reconstruction myth and metaxes these trends and tendencies can no longer be explained in terms of the postmodern they express a often guarded hopefulness and at times feigned sincerity that hint at another structure of feeling intimating another discourse analyzing trends in early 21st century cultural production they see the emergence of a distinctly neo-romantic sensibility through which quote meta-modernism appears to find its clearest expression for them this makes a lot of sense since quote essentially the romantic attitude can be defined precisely by its oscillation between opposite poles romanticism is about the attempt to turn the finite into the infinite while recognizing that it can never be realized of course the return to older kinds of aesthetic forms should strike us as no surprise at this point it's been a mainstay in the various theoretical post-post-modernisms we've been considering from re-modernism and it's associated movements like kitsch and post-contemporary art to performance shifts to double frame transcendence etc neither should we be surprised to hear that this seeming regression is actually a form of progression albeit in a different mode it's over mulen and vondenker if these artists look back at the romantic it is neither because they simply want to laugh at it parody nor because they wish to cry for it nostalgia they look back instead in order to perceive anew a future that was lost from sight metamodern neo-romanticism should not merely be understood as reappropriation it should be interpreted as re-signification it is the re-signification of the commonplace with significance the ordinary with mystery the familiar with the seemliness of the unfamiliar and the finite with the semblance of the infinite indeed it should be interpreted as novalis as the opening up of new lands in situ of the old one [Music] new lands in situ of the old one metaphysics using post-metaphysical means words like truth trust spirit all uncapitalized clearly something like idealism is returning to cultural visions but an idealism tempered by post-modernism's critical awareness a pragmatic idealism as metamodernism would have it this form of idealism is informing a new generation of thinkers and artists indeed issuing post-modern cynicism and apathy it has already influenced or generated a number of ideological visions and philosophical programs for social change what i call political metamodernism at work that topic i'll reserve for its own video for now we turn to the ultimate task at hand namely an attempt at some interpretive synthesis of all the post-postmodern paradigms we've been exploring