We live in
simultaneous ages, and sometimes they are only given names when we are dead and
gone. It is peculiar that we should live in a country and never
be told its name.
The Renaissance
historians named the ‘dark ages’ and ‘middle ages’ that had gone
before. Modern historians have their ‘Victorian Age’ or ‘Age of the
Enlightenment’. Most of us think more in terms of
decades. But there are other ages and in some ways they are more
meaningful, because they sum up the prevailing philosophies of life that
dominate the moment in time that is ours.
The great
cultural movements start with a flicker of interest in
the avant garde, reacting against the prevailing
abominations. Then they grow to dominate thinking in politics, the
arts, literature, design, marketing and even economics and
politics. Then they are in turn swept away by the next prevailing
philosophy, and which answer people’s need for direction, frameworks, attitude
and much more.
For those of us
with a short attention span, these great philosophical ages might come and go
unnoticed every half a century or so, perhaps less. They are
heralded and die, unremarked by the mass of humanity. But they are
potent – and much more potent than you would think for the earnest and obscure
debate about them among earnest and obscure academics.
I was born in
1958. It was the year of Sputnik and CND but it was also the time
that modernism had finally emerged from the hothouse of German architecture
salons, arts cafés, and intellectual magazines.
Throughout my
childhood, the transformation of modernism from avant garde obscurity
into a prevailing philosophy for urban living was emerging, and the sounds of
battle were everywhere. There was Jane Jacobs and her fellow New
York mothers challenging city planner Robert Moses and his plan for urban
motorways. There was the poet John Betjeman, defending the doomed
Euston Arch, and whose Collected Poems became a bestseller that year.
The very word ‘progress’ seemed to have been co-opted by the modernist forces,
in unstoppable alliance with the developers and highway planners.
But there came a
point when the challenge became overwhelming, and the architectural critic
Charles Jencks dated that moment very specifically: “Modern architecture
died in St Louis, Missouri on July 15 1972 at 3.32 pm (or thereabouts),”
he wrote.
Jencks was the
prophet of what he called ‘post-modernism’, but it was architecture he was
particularly interested in. The date he chose for the end of one
philosophical age and the start of another was the moment of the planned
explosion that demolished the Pruitt-Igoe Flats in Chicago, one of the most
egregious examples of modernism as prisons for the poor. But that
was back in 1972. It was much clearer a decade after the destruction
of Pruitt-Igue that some new approach was emerging.
I first grasped
what post-modernism might be when I saw the strange pastiche of ancient
Egyptian art that was the new Homebase store in Kensington around
1985. You could see the same underlying objectives in the pastiche
buildings, like Robert Venturi’s Chippendale-style skyscraper. The
modernists regarded this as an outrageous betrayal of their values.
But here is the
question. If post-modernism is the defining frame for our own age, then
what is coming next? Can we see something emerging already? My
answer is that we can, and exactly what it is – and how it will affect our
lives – is in my new ebook The Age to Come: Authenticity, Post-Modernism and How To Survive What Comes Next, published by Endeavour Press, and it
follows up the arguments I made ten years ago in Authenticity.
We are deep
inside the post-modern age now. It is hard to imagine a style that
is somehow different from the Art Deco pastiches, the Tudor pastiches, the
classical pastiches going up in concrete everywhere we look. Or the
novels about sad middle-aged men that take place simultaneously now and in
1848. Or the bizarre inability of the fine arts world to go
beyond épater les bourgeois, when the bourgeois they wanted to shock
have long since packed up and left the stage.
The fine arts
world gives the game away. Modernism reached its zenith when the
money began to follow it. It became no longer a brave critique of
the status quo, but the status quo itself. The same thing has
happened to post-modernism, now that the Brit Art revolution – with its irony
and jokes – has become the establishment.
It is no longer a
brave critique of modernism, an ironic understanding of the social construction
of reality, a response to the linguistic philosophies of Jacques Derrida and
Michel Foucault. It is where the money is, riding the virtual wave,
virtual reality and all the rest. It sits on the throne and
dominates our lives. So the time cannot be too far away when it becomes
a caricature of itself, and – with another great intellectual clash – dissolves
into history, leaving behind the seeds of the next age.
What comes next
will dominate our children’s lives, and maybe our grandchildren’s lives as
well, before it eventually compromises with the prevailing economic orthodoxy
as well, and is swept away in its turn.
The next age, the
coming age, will try to challenge our contemporary conviction that nothing is
true and everything is relative. It will not reach back hopelessly
to previous ages of certainty, though people may accuse it of that: we have
lost our innocence about social reality.
It will not
pretend it is somehow possible to work out unambiguously what is true in this
world. It will not turn its back on the understanding and tolerance
we have generated with the social construction of knowledge. But it
will not be limited by that any more.
We are moving
into an age that will try to satisfy our need for what we have lost, looking
around for something we can be sure of – something we can use to
measure everything else against – and it is beginning to find it in ourselves
and our humanity, and will use that to seek a way out of the paralysis of
post-modernism.
How do I
know? Because although the new age is not yet upon us, the critique
of post-modernism is beginning to emerge that will bring a new project – and
these great ages are, each of them, a project to find directions out of the
dead ends thrown up by the project before.
We can’t know for
sure the parameters of the coming age – the new age of humanism – but we can
begin to glimpse a few features. And, as they say, forewarned is
forearmed...
The Age to
Come is a book of recent essays, and it suggests that the first shoots are
emerging of a new age which looks set to sweep post-modernism away, based on
depth, authenticity and human relationships, which will change the lives of our
children completely. See what you think and let me know...