Alison Gibbons

Moreover, since the turn of the millennium, we have seen the emergence of various ‘new’, often overlapping, aesthetic phenomena such as the New Romanticism in the arts (Vermeulen and van den Akker 2010), the New Mannerism in crafts (van Tuinen, this volume), the New Aesthetic in design (Sterling 2012), the New Sincerity in literature (Konstantinou 2009, 2016a), the New Weird or Nu-Folk in music (Poecke 2014), Quirky Cinema and Quality Television (MacDowell 2012; Vermeulen and Rustad 2013), as well as the discovery of a new terrain for architecture (Allen and McQuade 2011), each of them characterised by an attempt to incorporate postmodern stylistic

‘Postmodernism is dead, but something altogether weirder has taken its place’ (2009

emphasis on three particular strategies that for her defy postmodernism: ‘connectionism (as a mode of thinking), bootstrapping (as a way of identifying connections) and the principle of theory overlapping’ which, she argues, ‘are but aspects of metamodernism’ (2007