Modern art is generally understood to be any art created between the late 19th century and the 1970s. Following the emergence of photography, art was no longer needed as direct representation so artists turned to abstraction and experimentation. Modern art is a blanket term for all artistic movements in this period, as well as the avant-garde. Postmodern art is generally believed to be in some way opposed to an aspect of modern art, experimenting with genres, cultures and mediums not previously considered. It is art following modern art, and some areas of contemporary art. It accepts past styles and traditions, unlike modern art, as well as embracing new media. Lyotard did not distinguish modern art and postmodern art in the traditional way described above, he believed that postmodern art was always at work within modern art; it is the avant-garde in all its forms, it is whatever is new and progressive about modern art, forcing it into new territory. He therefore said that something must be postmodern (new and disruptive) before it can become modern (acceptable). Although the postmodern eventually becomes the modern, it never entirely loses its ability to shock and disturb. He believed that modern art showed us that the unpresentable exists, while postmodern art attempted to present it. This paradoxical task leaves in the viewer a mixture of pleasure and pain, known as Kantian sublime. Lyotard thought the ultimate task of art to be presenting the unpresentable, which is fulfilled by the avant-garde, in which matters of taste and public opinion simply aren’t important. The sublime is the feeling when the imagination is pushed to the limit, causing pain as the individual is faced with something beyond them, which they have no control over and are faced with their true position in the world. Pleasure follows this as our reason reasserts itself and we become aware of the superiority of human reason over perception. The mathematical sublime is when we are confronted with an object unbelievably large, so we cannot see and comprehend it as a whole. The dynamical sublime refers to our confrontation with something far more powerful than us, in which case we are aware of our own mortality and insignificance. Having looked at Lyotard’s postmodernism and postmodern art in detail, with both Lyotard’s examples and my own, I will conclude with a brief examination of the works of Anderson and Jameson, as they provide arguments both for and against Lyotard’s work, taking their own examples to illustrate points made.
Tag: postmodernism
My project will focus on the impact of capitalism on education in modern society focusing mainly on the work of Jean-Francois Lyotard. Through his work I look at Lyotard’s attempt to describe the state of knowledge and the problem of its legitimation in developed western societies. • Over the last few hundred year’s education has changed dramatically, especially within the developed world. Gone is the idea that reason alone is a sufficient guide to action. In fact the idea that rational thinking provides us with a universal guide has become increasingly problematic during post-modernity. • With the rise of capitalism as the dominant socio-economic force within the modern world, knowledge has become a commodity which can be bought and sold. For Lyotard, knowledge is now the principal force of production. This commercialisation of knowledge, according to Lyotard could raise serious questions about the nature of ethics and the very relationship between governments and large multinational companies. • My essay will judge the role of what Lyotard calls ‘performativity’ in education and the capitalist system that requires constant re-evaluation in order to generate optimal output. • Using up-to-date education statistics and recent newspaper and TV articles I will attempt to show how education is not simply about educating people. It is instead a means to produce a workforce to meet the demands of capitalism. However that very capitalist system has now infiltrated schools, with the rise of privately funded academies, and new emphasis on league tables and performance related pay. I will discuss how this has impacted on education, positively or negatively? • What impact has this also had on the individual freedom, happiness and identity? Is our culture of working exhaustive hours in order to consume and the desire to consume installed in us through education? Main Sources: Jean Francois Lyotard – The Postmodern Condition: A report on Knowledge and Just Education, Jacques Derrida – Derrida and Education, Jurgen Habermas – The Legitimation Crisis
Project Outline: In our daily lives we experience a huge amount of artistic representation in the things we see and do. This art can take any form, be it adverts, architecture or sculptures; but on the whole it goes unnoticed by the observer. This project is looking to uncover hidden meanings behind these artworks to explain their origins and placement in the urban environment whilst focusing on the implications to the observer. Methods and Sources: Architecture, Advertisements, Film, Street Art, Photography, Sculptures,Television Etc. The Ideas: What is the purpose of art? – Modernity vs. Postmodernity; do they exist?; Why do people create art? – Existentialism in art and the principles of Sartre; What is good art? – Aesthetic qualities from Kant and Hegel.
Territory. I used the corporate world as my territory and looked at it through the role and nature of the individual within this world. Areas of Investigation • I explored the relationship between the corporate world and the individual by looking at the evolution of the corporate structure and its rise to prominence within society. • I also investigated the ethics involved within a corporate structure and the relationships between individuals in this environment. • I looked at the relationship between the individual and the idea of power relations within society. • I also explored what the future of the corporate world could be and the role of the individual within this, with an emphasis on the rise of the postmodern and its impact on this world. Philosophical Ideas. I use the philosophical ideas on the nature of power and the individual from Foucault, and the rise of the corporation as an institution to replace the factory from Deleuze’s thought. When I explore the ethics within a corporate structure I look at the work of Robert Solomon and Robert Jackall on management ethics and their theory on ‘embededness’. In the relation to the future of the corporate world I have looked at the postmodern thought of Gianni Vattimo and Jean-Francois Lyotard to consider the idea that the over-arching structure of the universal narrative is disintegrating to be replaced by a multitude of individual voices. Conclusions. Throughout my project I seek to explore the relationship between the individual and the corporate world and to explain how this has changed as different aspects of the world have developed and the way in which we are propelled towards the postmodern individual
What will be discussed is the elements of form and dissolution, the discrepancies between meaning and manner, between profits of decay and the state of man. However perhaps the most interesting aspect is that of the correlation between Venice’s decline and Ashenbach struggle. This conflict is the same as we see today between the destruction and confusion that Modernism has erupted. Our Postmodern society is frayed with ambiguity and fragmentation. The decline of our own morality and our own purpose is still concurrent with that of our city. The search for truth has become a notion tainted by its own paradoxical character. The question is where does man go from here? Or is it merely that like Ashenbach, we remain struggling within ourselves. Works cited will comprise the question of Lyotard’s Postmodern theory attributed to Nietzsche and the question of Nihilism. As well as Structuralism and Deconstructionalist activity with reference to Derrida Barthes and Foucault.
Aims and Objectives ▪ To begin by establishing the Modern and Postmodern styles and characteristics of Architecture and more importantly, how and why they came about. ▪ To Show how Ouseburn Valley has been affected by the changing styles of Architecture. ▪ To illustrate how and why society’s view of the world has changed with the regeneration of Ouseburn Valley. Intentions. I will progress to evaluate the effects of this change by considering the following questions: ▪ Material change results in special change. Thus, how do our interpretations of space and time alter with the shift from modernism to postmodernism? ▪ Furthermore, how does this affect the way we act with respect to the world? ▪ How does our view of knowledge and reality change as a consequence of Postmodernism? Sources. The key source for my investigation will be David Harvey’s Condition of Postmodernity. In addition to this, I will refer to: Fredric Jameson – Postmodernism, or, the cultural logic of late capitalism. Perry Anderson – The Origins of Postmodernity. Jean-Francois Lyotard – The postmodern condition.
How has art changed since the era of modernity (late 19th century to 1970s)? What evidence is there for these changes in the work of artists like Antony Gormley and Damien Hirst? What is it about contemporary art that makes it ‘postmodern’? Is the postmodern era really a complete break from modernity, or just another state of it? Modern art: broke away from traditional methods and began to experiment. No longer having to paint of draw objects exactly as they appear. More emotion through art. Postmodern art: celebrates and demonstrates chaos of modern life; even more inventive; anything goes; no distinction between higher and lower art; uses features from the past (eg Grayson Perry’s vases). De Duve: nowadays the important question in art is ‘What can be considered art?’. Baudrillard: fashion is what motivates change in art; we want things to be more shocking. Lyotard: importance of profit making when deciding the ‘value’ of a piece of art; idea of ‘the sublime’ coming back into importance in contemporary art. Postmodernity just another state of modernity? From modernity to postmodernity: materials used; methods of presentation; relationship between artist and viewer; media influence; ‘anything goes’; competitive element; purpose/message; historic narratives; concern with current events.
● It has become apparent that a huge increase in those taking part in extreme sports has occurred over the last 40 years. There are currently, across the globe, 168 million participants in activities such as sky-diving, SCUBA diving and snowboarding. It is my contention that this growth is due to more than greater accessibility to facilities for such sports. ● Jean-François Lyotard: maintenance of the death of grand-narratives meaning that we lose our ability to create an identity for ourselves. New methods for self validation must be found in the postmodern society. Text: The Postmodern Condition [2005] ● Friedrich Nietzsche: we must go above and beyond ourselves if we are to escape this mentality. We must adhere to masterly behavior and act as we please. Text: Beyond Good and Evil [1998] ● GWF Hegel: only in pushing to the limits of death do we experience freedom. In risking life we affirm life. Text: The Phenomenology of Spirit [1977] ● By looking at the possible relationships between extreme sports and the three philosophers cited above it should become apparent that whilst the postmodern society encourages individuals to seek new methods of self-identification, of which extreme sports is one, partakers in extreme sports maintain a Hegelian notion of death, in seeking it to affirm life, whilst not going beyond it as Nietzsche would request. In this respect, extreme sports offer a positive method of self-validation in the postmodern climate which pushes but does not exceed boundaries.
I will be using the St. James’ Park football stadium in Newcastle as the territory for my project. What is postmodernism? – Crucial to my work on St. James’ Park will be an understanding of the postmodern condition and its relation to modernity. In my project I will look mainly at the work of David Harvey and Jean-Francois Lyotard on the subject of postmodernism. Is St. James’ Park postmodern? – St. James’ Park is a mix of old and new in design and construction. It stands towering over the city of Newcastle as a symbol of local identity. It is also home to numerous shops and corporate ventures catering for many tastes. I will examine to what extent the stadium could be considered a postmodern building, examining the idea of postmodern architecture. How has the rise in techno-science and increased capitalist penetration affected St. James’ Park? – Identified by Lyotard as key features of postmodernity, techno-science and capitalism are driven by the quest for development through efficiency. I will investigate what effect this has on St. James’ Park as a stadium and as a stage for football in a postmodern age. Key Sources: The Condition of Postmodernity by David Harvey; The Postmodern Condition by Jean-Francois Lyotard; The Inhuman by Jean-Francois Lyotard
Territory: The Jimi Hendrix song Voodoo Chile (Slight Return). Aims and Objective: To analyse 1960’s culture and counterculture movements in terms of their aesthetical and ethical values with reference to Nietzsche’s philosophies. I intend to demonstrate that with the aid of music and the arts people at this time began to turn away from traditional pre-war values and began to experiment with more subjective, postmodern views of the world and humanity’s relation to it. Concepts: The underlying concept of my project is: ‘Ethical redemption through the means of aesthetical values’; this is closely related to Nietzsche’s conception of art as being ‘the highest dignity of mankind’. I am also investigating the concept of ‘slave and master moralities’ as theorised by Nietzsche to analyse the shift away from pre-war traditional values (for example, Christian doctrines) towards a more individual style of ethics, as can be witnessed in hippy communes and in relation to the civil rights movements and the sexual revolution. The ‘will to power’ in relation to these concepts will be the basis of my conclusion as to what extent this era can be said to be one of the defining periods of the shift of humanity towards post-modernism, especially within western culture and society. Sources: I will reference a wide variety of sources both on the structure of 1960’s culture and on Nietzsche’s philosophy as well as on post-modern philosophy. My main texts, however, will be: • Friedrich Nietzsche, The Birth of Tragedy, • Friedrich Nietzsche, On the Genealogy of Morals, • David Henderson, ‘Scuse Me While I Kiss the Sky: The Life of Jimi Hendrix, • John Morton Blum, Years of Discord. American Politics and Society, 1961-1974.
Outline: I will be exploring the different factors that contribute to the formation of identity in a Postmodern society and the idea that too many choices/influences have induced a new desire for singular, primary identities i.e. those based around fundamental religious beliefs/ rooted in a particular locality etc. Aims: • To investigate what ‘identity’ means in the Postmodern age. • To explore how the influence of social institutions such as the Church, state, patriarchal family etc has been eroded by factors such as globalisation and contrast this with the ways in which people were influenced by these things in the past. • To examine the ways we try to construct identity on a daily basis i.e. through consumer culture and provide an exposition of the range of choices available to us. • To show that Postmodernism and the ‘Network Society’ in the ‘Information Age’ may leave the individual feeling detached from any kind of immediate society/community meaning that the chaos and pastiche of postmodernity has led to a need for direction and this is leading to a ‘regrouping’ around primary identities. • To provide an exposition of different types of primary identity such as the American Militia and religious fundamentalist groups. Sources: My key thinker will be Manuel Castells and I will be using his book: ‘The Power of Identity’. Further sources will include:- • David Harvey: The Condition of Postmodernity • Craig Calhoun: Social Theory & The Politics of Identity • Anthony Giddens: Modernity & Self Identity • Charles Lasch: The culture of Narcissism
STAGE ONE. The primary stage of my project entailed research into the Baltic Art Factory and the Tate Modern Gallery. Comprising of multiple visits and enquiry into the intentions of the creators of both spaces. As well as research into the basic of museum and gallery theory. Bibliography includes: Smith, J. Alan, Baltic: The Art Factory. Gateshead: Baltic, 2002; Blazwick, Iwona and Wilson, Simon, Towards the Tate Modern. London: Tate Gallery Publishing, 2000 ;Hooper-Greenhill, Eilean, Museums and the Shaping of Knowledge. London; Routledge, 1992; Serota, Nicholas, Walter Neurath Memorial Lecture 1996: Experience or Interpretation: the Dilemma of Museums of Modern Art. London: Thames and Hudson, 1996. STAGE TWO. The secondary stage evolved from my findings in the first and led to research into personal experience when one encounters and reflects upon a sole work of modern art (that of Rothko). I also investigated the possibility of change in that experience from modern to postmodern society and the bearing of social and educational background on the experience of visual art. Including the theories of Pierre Bourdieu, David Harvey and Arthur C. Danto.
In this project I hope to explore our contemporary urban experience and the postmodern condition, with regards to its arguably revolutionary potential. Is ours truly a time when ‘other worlds’ and ‘other voices’ are able to find expression within society? Has postmodernity witnessed the end of meta-narratives as Lyotard would have us believe, making way for a multiplicity of truths, or is postmodernity the grandest narrative of all? I will be tackling such questions by reflecting upon the Tate Modern Art Gallery, which I believe in many respects is representative of postmodernity and by striking up some kind of dialogue between itself and those world views which have lead to its arrival. I have named it ‘A View from the Bridge’ after the Arthur Miller play, for I appreciate that what I will be attempting to argue is merely expressive of one perspective. There are various ways in which one could understand postmodernity and its consequences and mine is merely one, although I will at intervals offer other options for perception, other ‘views’ so to speak. My thesis will thus unfold as though it were literally my journey to the Tate Modern. For I begin at St. Paul’s Cathedral, which is arguably representative of the Christian world view of the Middle Ages, I then proceed to the Millennium Bridge which functions as the Enlightenment did, ‘bridging the divide’ so to speak between antiquity and Modernity, or Postmodernity even, and then I reach the gallery, which is the embodiment of our contemporary social experience.
Outline: In this project I will be using the Robinson Library as my territory as I feel it is a good example of Modern building which is now essentially a Post Modern centre of knowledge. Aims: o To provide an exposition of Modern and Postmodern architectural styles and why they were introduced. o I will provide additional material about other libraries e.g. some from the baroque period to explore whether Modern architectural styles are detrimental or complementary to a centre of knowledge. o To explore the Postmodern idea of communications leading to a networked society. o To show that the rise of information technologies has led to the dilution of information and knowledge. o To show that computerised communication systems are creating an increasing alienated society. Sources: The key critical thinker I will be examining will be David Harvey and his book ‘The Condition of Postmodernity’. Other sources will include: Lyotard, Jean – Francois: The Postmodern Condition Castells, Manuel: The Rise of the Network Society Jacobs, Jane: The death and life of great American cities McGuigan, Jim: Modernity and Postmodern culture I will be using books from the Robinson Library, internet resources, information from magazines/newspapers and photographs taken in the Robinson Library and around Newcastle city centre to illustrate my project report.
The transformation in our conception of art, time and identity has, according to Lyotard, represented a postmodern break from unity and identity; an opposition to totality. We now reject totalising theories, and seek localised theories that explain the difference of life. Grand theories uniting all disciplines are then impossible. Whereas modernism was concerned with what we could determine, Bergson and Deleuze are concerned with the indeterminacy, the contingency, of Life. To what extent do we trust our preconceived notions of the world? How might this obscure the true nature of time and space, and therefore life? If life does not run along a single line of time, but consists of durations that differ for every being, then how should we try to live life? How can the cinematic affect open our eyes to the true ‘multiplicity’ of the world? Gilles Deleuze questions the grand narratives and conventions of life more radically than many, calling perhaps for a ‘rethinking of philosophy’ in light of the most important artistic development of the century; the cinema. In Chapter 1, I wish to look at the main artistic movements in Cinema, from German expressionism and Soviet montage of the 20’s through to the New Wave in cinema following 1968. I will then explore the capabilities of the cinema to produce new and diverse styles of thought through the movement image that allow us to see time directly, not as we experience it through the ‘human eye’ that is interested and organises. In chapter 2, I wish to look at the writings of Bergson and his philosophy of dynamism and change based on the continuous experience of nature that is falsified with the imposed divisions we divide life with as a means of understanding some underlying reality. The image is instead a simulacra with no foundation in reality. Deleuze believes that, rather than reality being actuality, or based on an ideal model, it is a constant interaction between these two; the actual and the virtual, and this is how difference is created. The impossibility of founding knowledge on structures allows us ‘the opportunity to invent, create and experiment’ with life and its possibilities.
Outline of Investigation. – History of British Newspapers – Statistics of readership – Front Page propaganda – The Sun – Ideology and structuralism – Jean Baudrillard. Special Points of Interest: – Changing language in newspapers – Images in newspapers – Relationship between information media and the masses – The real and the “more than eral”, hyper-realities – Desire and seduction – Passivity versus activity – Obscenity, transparency, pornography – Death of the author and death of the reader. Assertion: The overexposure to media messages, along with the immediacy and quantity of this information has and continues to pacify the individual so that the style and content of British newspapers has to become increasingly simple, accessible and transparent to accommodate for the death of the reader. New Media and Language. What effect has the emergence of media technologies such as radio, the internet and more specifically the television had on the style and content of British Newspapers? Information and communication have never more visible and accessible than in the postmodern era. Media information is everywhere apparent so that it is difficult to imagine life without it and is impossible to avoid. How has this affected the tangible print of newspapers?
Objectives: How much is our present day society increasingly reliant on simulations for its reality? What affect does this have with regards to the individual and society as a whole? Method: I will look at how far society is controlled by mediations with regard to the television for example, as our main source of gaining knowledge about the world, and how this leads to the notion of risk society and the current climate of obsessive individualisation. My main aims are to explore the outcomes of simulations in postmodernity with regard to the importance of the image and the increasing occurrence of territorialisation, particularly in everyday activities such as the foods that we eat and the goods which we consume. Sources: Ulrich Beck, Risk Society, Jean Baudrillard, Simulacra and Simulations, David Harvey, The Condition of Postmodernity, George Ritzer, The McDonaldization Thesis, Don Delillo, White Noise.
Part 1 Using literature by Terry Eagleton, David Harvey and Hal Foster I explore the idea of postmodernism, including its evolution from modernism and its contradictions and definitions. Concluding with an in depth look at works by Jean Baudrillard and Fredric Jameson in preparation for the main body of my argument. Part 2 Looks at house music culture, its origins from Chicago and influences from the rest of Europe. Using knowledge from part one, I explain how through sampling and recycling, house music is a perfect example of a postmodern aesthetic. I also present neo-conservative postmodern arguments written by Steven Redhead, Hillegonda Rietveld and Simon Reynolds that house music is culture of abandonment, disengagement and disappearance. Part 3 Focuses on the growth of raves in the eighties Britain, and legislation introduced by the government to prevent free parties taking place. Researching into the idea of Techno-shamanism and the tribal nature of house culture, I argue against the arguments presented in part two, and with my own argument, contend that house music can be used to escape postmodern society.
Aim To investigate the relationship between human consciousness and text and images. Territory The ‘handwriting on the wall’. Objectives 1. To explore the key concepts of postmodernism, post-structuralism, interpretation, hermeneutics and deconstruction amongst others, as introduced by postmodernists such as Barthes, Derrida, Foucault and Gadamer. 2. To trace some of the patterns in graffiti and explore its explosion since the late 1960’s. To establish if postmodernism has effected the way we view, read and interpret graffiti. To understand how graffiti has changed so much in a relatively small period of time and the world events and cultural variations that have influenced it. To study graffiti’s increased universalism and the proliferation of styles. 3. To make a distinction between humans and the outside events that influence and determine their lives. Does graffiti bridge any gaps? Method Close reading of postmodernist texts such as Derrida’s ‘Of Grammatology’ and Gadamer’s ‘Truth and Method’ as well as analysis of examples of graffiti from ancient Rome to modern contemporary artists such as Banksy.
Explain what modernism is and how philosophers have described modernism and the way it produced post modernism. 2. A conclusion as to what I conclude postmodernism to be after reading and exploring philosopher’s notes. 3. How does modernism and post modernism affect the architecture? 4. Choose examples in and around Newcastle and Gateshead that I can compare and explore as to whether they have been affected by modernism and postmodernism. 5. Visit the few places of interest and explore their history. 6. Conclude as to whether modernism and post modernism has actually affected those areas that I have chosen to explore. SOURCES: Books: The theatres royal in Newcastle upon Tyne – Oswald Capitalism and Modernity – Goody The post modern and the post industrial – M.A Rose Post modernity – Barry Smart Max Weber and Post-modern theory – N.Gane Social and Cultural Forms of Modernity – B. Bocock And K.Thompson Visits: Gateshead Visitor Centre – The Sage, Gulbenkian Theatre, Theatre Royal – Grey Street