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Internet culture

Internet culture is a quasi-underground culture developed and maintained among frequent and active users of the Internet (also known as netizens) who primarily communicate with one another as members of online communities; that is, a culture whose influence is "mediated by computer screens" and information communication technology, specifically the Internet. Internet culture arises from the frequent interactions between members within various online communities and the use of these communities for communication, entertainment, business, and recreation. The earliest online communities of this kind were centered around the interests and hobbies of anonymous and pseudonymous early adopters, typically those with academic, technological, niche, criminal, or even subversive interests. Studied aspects of Internet culture include anonymity/pseudonymity, social media, gaming and specific communities, such as fandoms, and has also raised questions about online identity and Internet privacy. The impact of Internet culture on predominately offline societies and cultures has been extensive, and elements of Internet culture increasingly impact everyday life. Likewise, increasingly widespread Internet adoption has influenced Internet culture; frequently provoking enforcing norms via shaming, censuring and censorship while pressuring other cultural expressions underground. Elements While Internet subcultures differ, subcultures those emerged in the environment of the early Internet maintain noticeably similar values. Values Enlightenment principles are prominent in Internet culture, from which many other elements of the culture derive.. These principles can be attributed to the Internet's origins in Western, and specifically American, cultural contexts and the significant influence of academic culture, the hacker ethic and gamer culture, which to varying degrees embrace and amplify cultural values such as curious playfulness, competitiveness and collaborative self-actualization commonly pursued through community application of empirical rationalism via debate, competition and creative expression. Concern for privacy is another discernable value. Internet culture reifies the right to privacy in order to protect freedom of expression, personal liberty and social equality, thus making anonymity or pseudonymity a valued feature of online services for netizens. This is especially the case for freethinkers, social deviants, political dissidents, journalists, hacktivists/activists and members of hacker, (cyber)punk or other underground subcultures, where an absence of privacy may put an individual in danger. Originally the result of technical limitations, the prevalence of anonymity or pseudonymity is an integral part of Internet culture. Playful curiosity is an additional value derived from the Internet's roots in both creative hacker culture and gamer culture, where a desire to understand complex problems and systems for their own sake, or to exploit for trivial, amusing or irrelevant ends, flourishes. Disregard of authority mostly came by way of hackers who routinely broke/ignored laws and regulations in their Internet pursuits. It may have originated with hackers who discovered how to defeat telecom dialtone-based security in the 1970s to make phone calls without paying. The value of competence was a fundamental requirement in the Internet's early days when many tasks were less than user-friendly and technical skill was required to accomplish anything. This was reinforced by Otaku and gaming cultures, where obsessive commitment and sometimes technical/mental skills are essential in order to excel in such hobbies. Freedom of information (i.e. sharing and unlimited information access) was declared early to be a fundamental aspect of the Internet, underlined by the phrase "Information wants to be free". Coffee Coffee is more common than tea in Internet culture, especially within hacking subculture and technical communities. Coffee's higher caffeine content is attracted those in technical who spend long hours on high-focus tasks. A coffee pot was the subject of the first webcam stream on the Internet and the stream was used to monitor when it was time to make more coffee for the computer science lab that hosted the stream. Automating office coffee production was the subject of an April Fool's Day Internet standard called the Hyper Text Coffee Pot Control Protocol. Preoccupations Provocative humor that is witty, dry, dark, macabre, self-deprecating, misanthropic and/or politically incorrect is arguably the most recognizable manifestation of Internet culture and its subcultures. Copypasta, Dank Memes, and Shitposting showcase this emphasis. This humor often includes heavy satire and/or parody of mainstream culture, and the "playful, irreverent attitude" which it inherits from its parent subcultures. Trolling is another preoccupation on the Internet. Starting with the presumption that nothing online should be taken seriously, a recipient's response to trolling (and not the act) functions as a shibboleth. Otaku (sometimes Weeaboo) sensibilities became popular via anonymous imageboards modelled after Japanese imageboards that hosted anime, manga and other Japanese popular culture materials.. Dissemination and spread Over the years, Internet users have interacted via a host of different online and offline protocols. Earlier ones such as Usenet and bulletin boards were later superseded by others such as social media. These include: Blog Bulletin board systems Chatrooms Cybersex E-Commerce Games Internet forums Internet memes Microblogs Online videos Peer-to-peer file sharing Social networks Usenet Virtual worlds Wikis Internet subcultures As with other cultures, the Internet quickly fragmented into numerous subcultures, which continued to spawn descendants thereafter. Early Academic culture Hacker culture Military and Intelligence culture Anonymous culture Hacker culture Hacktivist/Cyberhacker culture Meme culture Gamer and video game culture Otaku culture Newer Content creator/influencer culture Incel culture Manosphere Dirtbag left Cancel culture Fediverse Rationality community Effective altruism Battleboarders Brogrammer History The cultural history of the Internet is a story of rapid change. The Internet developed in parallel with rapid and sustained technological advances in computing and data communication. Widespread access to the Internet emerged as the cost of infrastructure dropped by several orders of magnitude with consecutive technological improvements. Though Internet culture originated during the creation and development of early online communities – such as those found on bulletin board systems before the Internet reached mainstream adoption in developed countries – many cultural elements have roots in other previously existing offline cultures and subcultures which predate the Internet. Specifically, Internet culture includes many elements of telegraphy culture (especially amateur radio culture), gaming culture and hacker culture. Initially, digital culture tilted toward the Anglosphere. As a consequence of computer technology's early reliance on textual coding systems that were mainly adapted to the English language, Anglophone societies—followed by other societies with languages based on Latin script—enjoyed privileged access to digital culture. However, other languages have gradually increased in prominence. In specific, the proportion of content on the Internet that is in English has dropped from roughly 80% in the 1990s to around 52.9% in 2018. As technology advances, Internet Culture continues to change. The introduction of smartphones and tablet computers and the growing computer network infrastructure around the world have increased the number of Internet users and have likewise resulted in the proliferation and expansion of online communities. While Internet culture continues to evolve among active and frequent Internet users, it remains distinct from other previously offline cultures and subcultures which now have a presence online, even those cultures and subcultures from which Internet Culture borrows many elements. One cultural antecedent of Internet culture was amateur radio (commonly known as ham radio). By connecting over great distances, ham operators were able to form a distinct cultural community with a strong technocratic foundation, as the radio gear involved was finicky and prone to failure. The area that later became Silicon Valley, where much of modern Internet technology originates, had been an early locus of radio engineering. Alongside the original mandate for robustness and resiliency, the renegade spirit of the early ham radio community later infused the cultural value of decentralization and near-total rejection of regulation and political control that characterized the Internet's original growth era, with strong undercurrents of the Wild West spirit of the American frontier. At its inception in the early 1970s as part of ARPANET, digital networks were small, institutional, arcane, and slow, which confined the majority of use to the exchange of textual information, such as interpersonal messages and source code. Access to these networks was largely limited to a technological elite based at a small number of prestigious universities; the original American network connected one computer in Utah with three in California. Text on these digital networks usually encoded in the ASCII character set, which was minimalistic even for established English typography, barely suited to other European languages sharing a Latin script (but with an additional requirement to support accented characters), and entirely unsuitable to any language not based on a Latin script, such as Mandarin, Arabic, or Hindi. Interactive use was discouraged except for high value activities. Hence a store and forward architecture was employed for many message systems, functioning more like a post office than modern instant messaging; however, by the standards of postal mail, the system (when it worked) was stunningly fast and cheap. Among the heaviest users were those actively involved in advancing the technology, most of whom implicitly shared much the same base of arcane knowledge, effectively forming a technological priesthood. The origins of social media predate the Internet proper. The first bulletin board system was created in 1978, GEnie was created by General Electric in 1985, the mailing list Listserv appeared in 1986, and Internet Relay Chat was created in 1988. The first official social media site, SixDegrees launched in 1997. In the 1980s, the network grew to encompass most universities and many corporations, especially those involved with technology, including heavy but segregated participation within the American military–industrial complex. Use of interactivity grew, and the user base became less dominated by programmers, computer scientists and hawkish industrialists, but it remained largely an academic culture centered around institutions of higher learning. It was observed that each September, with an intake of new students, standards of productive discourse would plummet until the established user base brought the influx up to speed on cultural etiquette. Commercial Internet service providers (ISPs) emerged in 1989 in the United States and Australia, opening the door for public participation. Soon the network was no longer dominated by academic culture, and the term eternal September, initially referring to September 1993, was coined as Internet slang for the endless intake of cultural newbies. Commercial use became established alongside academic and professional use, beginning with a sharp rise in unsolicited commercial e-mail commonly called spam. Around this same time, the network transitioned to support the burgeoning World Wide Web. Multimedia formats such as audio, graphics, and video become commonplace and began to displace plain text, but multimedia remained painfully slow for dial-up users. Also around this time the Internet also began to internationalize, supporting most of the world's major languages, but support for many languages remained patchy and incomplete into the 2010s. On the arrival of broadband access, file sharing services grew rapidly, especially of digital audio (with a prevalence of bootlegged commercial music) with the arrival of Napster in 1999 and similar projects which effectively catered to music enthusiasts, especially teenagers and young adults, soon becoming established as a prototype for rapid evolution into modern social media. Alongside ongoing challenges to traditional norms of intellectual property, business models of many of the largest Internet corporations evolved into what Shoshana Zuboff terms surveillance capitalism. Not only is social media a novel form of social culture, but also a novel form of economic culture where sharing is frictionless, but personal privacy has become a scarce good. In 1998, there was Hampster Dance, the first successful Internet meme. In 1999, Aaron Peckham created Urban Dictionary, an online, crowdsourced dictionary of slang. He had kept the server for Urban Dictionary under his bed. In 2000, there was great demand for images of a dress that Jennifer Lopez wore. As a result, Google's co-founders created Google Images. In 2001, Wikipedia was created. In 2004, Encyclopedia Dramatica, a wiki archive of Internet culture, was founded. In 2005, YouTube was created because people wanted to find videos of Janet Jackson's wardrobe malfunction at the Super Bowl in 2004. YouTube was later acquired by Google in 2006. In 2009, Bitcoin was created. Since 2020, Internet culture has been affected by the COVID-19 pandemic. Since 2021, there has been an unprecedented surge of interest in the concept of the metaverse. In particular, Facebook Inc. renamed itself to Meta Platforms in October 2021, amid the crisis of the Facebook Papers. Criticism One dark aspect of Internet culture is that it has allowed promoters of unhealthy behaviors such as cutting, anorexia, pedophilia, and even organized theft to gain prominence and establish online subcultures. As people spend more time on social media, this could lead to acting excessively and neglecting behaviors. This action may result in the perpetration of cyberbullying, social anxiety, depression, and exposure to inappropriate content that is not suitable for one's age. Rude comments on posts can lower an individual's self-esteem, making them feel unworthy and may lead to depression. Social interaction online may also substitute face-to-face interactions for some people instead of acting as a supplement. This can negatively impact people's social skills and cause one to have feelings of loneliness. People may also face the chance of being cyberbullied when using online applications. Cyberbullying may include harassment, video shaming, impersonating, and much more. A concept described as "cyberbullying theory" is now being used to suggest that children who use social networking more frequently are more likely to become victims of cyberbullying. Additionally, some evidence shows that too much Internet use can stunt memory and attention development in children. The ease of access to information which the Internet provides discourages information retention. However, the cognitive consequences are not yet fully known. The staggering amount of available information online can lead to feelings of information overload. Some effects of this phenomenon include reduced comprehension, decision making, and behavior control. Identity – "architectures of credibility" One early study, conducted from 1998 to 1999, found that the participants view information obtained online as slightly more credible than information from magazines, radio, and television, information obtained from newspapers was the most credible. Credibility online is established in much the same way that it is established in the offline world. Lawrence Lessig claimed that the architecture of a given online community may be the most important factor in establishing credibility. Factors include:, anonymity, connection to physical identity, comment rating system, feedback type (positve vs positive/negative), moderation. Anonymity Many sites allow anonymous commentary, where the user-id attached to the comment is something like "guest". In an architecture that allows anonymous commentary, credibility attaches only to the object of the comment. Sites that require some link to an identity may require only a nickname that is sufficient to allow comment readers to rate the commenter, either explicitly, or by informal reputation. Connection to physical identity Architectures can require that physical identity be associated with commentary, as in Lessig's example of Counsel Connect. However, to require linkage to a physical identity, sensitive information about a user must be collected and safeguards for that collected information must be established – users must place sufficient trust in the site. Irrespective of safeguards, as with Counsel Connect, use of physical identities links credibility across the frames of the Internet and real space, influencing the behaviors of those who contribute in those spaces. However, even purely online identities can establish credibility. Even though nothing inherently links a person or group to their Internet-based persona, credibility can be earned, because of the time required. Comment rating system In some architectures, commenters can, in turn, be rated by other users, potentially encouraging more responsible commentary, although the profusion of popular sh*tposters belies this. Feedback type Architectures can be oriented around positive feedback or allow both positive and negative feedback. While a particular user may be able to equate fewer stars with a "negative" rating, the semantic difference is potentially important. The ability to actively downrate an identify may violate laws or norms. Moderation Architectures can give editorial control to a group or individual not employed by the site (e.g., Reddit), termed moderators. Moderation may take be either proactive (previewing contents) or reactive (punishing violators). The moderator's credibility can be damaged by overly aggressive behavior. Digital culture Memes Internet culture is full of memes and other content that spreads rapidly. Memes (humorous images) . Communities Internet culture thrives on online communities. These communities can be found on specialized forums, social media, or proprietary applications (e.g., Slack, Salesforce). They cater to specific hobbies, fandoms, or professions, creating spaces where individuals with similar interests can connect. Examples of such communities include the passionate "K-pop fandom" or tech enthusiasts. Jargon Internet culture has a rapidly changing set of slang, acronyms, and jargon. These terms serve as recognizable ways to identify members and foster solidarity. Successful jargon often spreads beyond the initiating community. Examples of internet slang and jargon include "LOL" (laugh out loud) and "FTW" (for the win). Gaming Gaming is a distinct facet of internet culture, with dedicated communities and supportive platforms such as Twitch. Competitive gaming and live streaming encompasses various subcultures is the basis of this community. Social media Social media platforms such as Instagram, YouTube, and TikTok have become fundamental support systems for Internet culture. These platforms support influencers, content creators, and celebrities. Influencers play a crucial role in shaping trends, promoting products, and engaging with their audiences. Other content creators cover every subject: eating, war, fitness, politics, etc. Activism Internet culture is an important ecosystem for activism and social movements. Hashtags, petitions, and organizing have built and exploited online communities. Movements such as BlackLivesMatter and MeToo built strong online presences that increased their impact. See also Anonymous Cicada 3301 Cyber law Cyberdelic Cyberpunk Digitalism Information ethics Infosphere Internet trolls Netnography Postliterate society Rules of the Internet r/wallstreetbets Technology and society Techno-progressivism Technocriticism Technolibertarianism Technorealism References Further reading David Gunkel (2001) Hacking Cyberspace, Westview Press, Clemens Apprich (2017) Technotopia: A Media Genealogy of Net Cultures, Rowman & Littlefield International, London Sandrine Baranski (2010) La musique en réseau, une musique de la complexité ?, Éditions universitaires européennes La musique en réseau David J. Bell, Brian D Loader, Nicholas Pleace, Douglas Schuler (2004) Cyberculture: The Key Concepts, Routledge: London. Donna Haraway (1991) Simians, Cyborgs and Women: The Reinvention of Nature, Routledge, New York, NY Donna Haraway (1997) Modest Witness Second Millennium FemaleMan Meets OncoMouse, Routledge, New York, NY N. Katherine Hayles (1999) How We Became Posthuman: Virtual Bodies in Cybernetics, Literature and Informatics, Chicago University Press, Chicago, IL Jarzombek, Mark (2016) Digital Stockholm Syndrome in the Post-Ontological Age, University of Minnesota Press, Minneapolis, MN Sherry Turkle (1997) Life on the Screen: Identity in the Age of the Internet, Simon & Schuster Inc, New York, NY Cyberspace Computer folklore Subcultures

Modernism

Modernism was an early 20th-century movement in literature, visual arts, and music that emphasized experimentation, abstraction, and subjective experience. Philosophy, politics, architecture, and social issues were all aspects of this movement. Modernism centered around beliefs in a "growing alienation" from prevailing "morality, optimism, and convention" and a desire to change how "human beings in a society interact and live together". The modernist movement emerged during the late 19th century in response to significant changes in Western culture, including secularization and the growing influence of science. It is characterized by a self-conscious rejection of tradition and the search for newer means of cultural expression. Modernism was influenced by widespread technological innovation, industrialization, and urbanization, as well as the cultural and geopolitical shifts that occurred after World War I. Artistic movements and techniques associated with modernism include abstract art, literary stream-of-consciousness, cinematic montage, musical atonality and twelve-tonality, modernist architecture, and urban planning. Modernism took a critical stance towards the Enlightenment concept of rationalism. The movement also rejected the concept of absolute originality — the idea of "creation from nothingness" — upheld in the 19th century by both realism and Romanticism, replacing it with techniques of collage, reprise, incorporation, rewriting, recapitulation, revision, and parody. Another feature of modernism was reflexivity about artistic and social convention, which led to experimentation highlighting how works of art are made as well as the material from which they are created. Debate about the timeline of modernism continues, with some scholars arguing that it evolved into late modernism or high modernism. Postmodernism, meanwhile, rejects many of the principles of modernism. Overview and definition Modernism was a cultural movement that impacted the arts as well as the broader Zeitgeist. It is commonly described as a system of thought and behavior marked by self-consciousness or self-reference, prevalent within the avant-garde of various arts and disciplines. It is also often perceived, especially in the West, as a socially progressive movement that affirms the power of human beings to create, improve, and reshape their environment with the aid of practical experimentation, scientific knowledge, or technology. From this perspective, modernism encourages the re-examination of every aspect of existence. Modernists analyze topics to find the ones they believe to be holding back progress, replacing them with new ways of reaching the same end. According to historian Roger Griffin, modernism can be defined as a broad cultural, social, or political initiative sustained by the ethos of "the temporality of the new". Griffin believed that modernism aspired to restore a "sense of sublime order and purpose to the contemporary world, thereby counteracting the (perceived) erosion of an overarching 'nomos', or 'sacred canopy', under the fragmenting and secularizing impact of modernity". Therefore, phenomena apparently unrelated to each other such as "Expressionism, Futurism, Vitalism, Theosophy, Psychoanalysis, Nudism, Eugenics, Utopian town planning and architecture, modern dance, Bolshevism, Organic Nationalism — and even the cult of self-sacrifice that sustained the Hecatomb of the First World War — disclose a common cause and psychological matrix in the fight against (perceived) decadence." All of them embody bids to access a "supra-personal experience of reality" in which individuals believed they could transcend their mortality and eventually that they would cease to be victims of history to instead become its creators. Modernism, Romanticism, Philosophy and Symbol Literary modernism is often summed up in a line from W. B. Yeats: "Things fall apart; the centre cannot hold" (in 'The Second Coming'). Modernists often search for a metaphysical 'centre' but experience its collapse. (Postmodernism, by way of contrast, celebrates that collapse, exposing the failure of metaphysics, such as Jacques Derrida's deconstruction of metaphysical claims.) Philosophically, the collapse of metaphysics can be traced back to the Scottish philosopher David Hume (1711–1776), who argued that we never actually perceive one event causing another. We only experience the 'constant conjunction' of events, and do not perceive a metaphysical 'cause'. Similarly, Hume argued that we never know the self as object, only the self as subject, and we are thus blind to our true natures. Moreover, if we only 'know' through sensory experience—such as sight, touch and feeling—then we cannot 'know' and neither can we make metaphysical claims. Thus, modernism can be driven emotionally by the desire for metaphysical truths, while understanding their impossibility. Some modernist novels, for instance, feature characters like Marlow in Heart of Darkness or Nick Carraway in The Great Gatsby who believe that they have encountered some great truth about nature or character, truths that the novels themselves treat ironically while offering more mundane explanations. Similarly, many poems of Wallace Stevens convey a struggle with the sense of nature's significance, falling under two headings: poems in which the speaker denies that nature has meaning, only for nature to loom up by the end of the poem; and poems in which the speaker claims nature has meaning, only for that meaning to collapse by the end of the poem. Modernism often rejects nineteenth century realism, if the latter is understood as focusing on the embodiment of meaning within a naturalistic representation. At the same time, some modernists aim at a more 'real' realism, one that is uncentered. Picasso's proto-cubist painting, Les Demoiselles d'Avignon of 1907 (see picture above), does not present its subjects from a single point of view (that of a single viewer), but instead presents a flat, two-dimensional picture plane. 'The Poet' of 1911 is similarly decentred, presenting the body from multiple points of view. As the Peggy Guggenheim Collection website puts it, 'Picasso presents multiple views of each object, as if he had moved around it, and synthesizes them into a single compound image'. Modernism, with its sense that 'things fall apart,' can be seen as the apotheosis of romanticism, if romanticism is the (often frustrated) quest for metaphysical truths about character, nature, a higher power and meaning in the world. Modernism often yearns for a romantic or metaphysical centre, but later finds its collapse. This distinction between modernism and romanticism extends to their respective treatments of 'symbol'. The romantics at times see an essential relation (the 'ground') between the symbol (or the 'vehicle', in I.A. Richards's terms) and its 'tenor' (its meaning)—for example in Coleridge's description of nature as 'that eternal language which thy God / Utters'. But while some romantics may have perceived nature and its symbols as God's language, for other romantic theorists it remains inscrutable. As Goethe (not himself a romantic) said, ‘the idea [or meaning] remains eternally and infinitely active and inaccessible in the image’. This was extended in modernist theory which, drawing on its symbolist precursors, often emphasizes the inscrutability and failure of symbol and metaphor. For example, Wallace Stevens seeks and fails to find meaning in nature, even if he at times seems to sense such a meaning. As such, symbolists and modernists at times adopt a mystical approach to suggest a non-rational sense of meaning. For these reasons, modernist metaphors may be unnatural, as for instance in T.S. Eliot's description of an evening 'spread out against the sky / Like a patient etherized upon a table'. Similarly, for many later modernist poets nature is unnaturalized and at times mechanized, as for example in Stephen Oliver's image of the moon busily 'hoisting' itself into consciousness. Origins and early history Romanticism and realism Modernism developed out of Romanticism's revolt against the effects of the Industrial Revolution and bourgeois values. Literary scholar Gerald Graff, argues that, "The ground motive of modernism was criticism of the 19th-century bourgeois social order and its world view; the modernists, carrying the torch of Romanticism." While J. M. W. Turner (1775–1851), one of the most notable landscape painters of the 19th century, was a member of the Romantic movement, his pioneering work in the study of light, color, and atmosphere "anticipated the French Impressionists" and therefore modernism "in breaking down conventional formulas of representation; though unlike them, he believed that his works should always express significant historical, mythological, literary, or other narrative themes." However, the modernists were critical of the Romantics' belief that art serves as a window into the nature of reality. They argued that since each viewer interprets art through their own subjective perspective, it can never convey the ultimate metaphysical truth that the Romantics sought. Nonetheless, the modernists did not completely reject the idea of art as a means of understanding the world. To them, it was a tool for challenging and disrupting the viewer's point of view, rather than as a direct means of accessing a higher reality. Modernism often rejects 19th-century realism when the latter is understood as focusing on the embodiment of meaning within a naturalistic representation. Instead, some modernists aim at a more 'real' realism, one that is uncentered. For instance, Picasso's 1907 Proto-Cubist painting Les Demoiselles d'Avignon does not present its subjects from a single point of view, instead presenting a flat, two-dimensional picture plane. The Poet of 1911 is similarly decentered, presenting the body from multiple points of view. As the Peggy Guggenheim Collection comments, "Picasso presents multiple views of each object, as if he had moved around it, and synthesizes them into a single compound image." Modernism, with its sense that "things fall apart," is often seen as the apotheosis of Romanticism. As August Wilhelm Schlegel, an early German Romantic, described it, while Romanticism searches for metaphysical truths about character, nature, higher power, and meaning in the world, modernism, although yearning for such a metaphysical center, only finds its collapse. The early 19th century In the context of the Industrial Revolution (~1760–1840), influential innovations included steam-powered industrialization, especially the development of railways starting in Britain in the 1830s, and the subsequent advancements in physics, engineering, and architecture they led to. A major 19th-century engineering achievement was the Crystal Palace, the huge cast-iron and plate-glass exhibition hall built for the Great Exhibition of 1851 in London. Glass and iron were used in a similar monumental style in the construction of major railway terminals throughout the city, including King's Cross station (1852) and Paddington Station (1854). These technological advances spread abroad, leading to later structures such as the Brooklyn Bridge (1883) and the Eiffel Tower (1889), the latter of which broke all previous limitations on how tall man-made objects could be. While such engineering feats radically altered the 19th-century urban environment and the daily lives of people, the human experience of time itself was altered with the development of the electric telegraph in 1837, as well as the adoption of "standard time" by British railway companies from 1845, a concept which would be adopted throughout the rest of the world over the next fifty years. Despite continuing technological advances, the ideas that history and civilization were inherently progressive and that such advances were always good came under increasing attack in the 19th century. Arguments arose that the values of the artist and those of society were not merely different, but in fact oftentimes opposed, and that society's current values were antithetical to further progress; therefore, civilization could not move forward in its present form. Early in the century, the philosopher Schopenhauer (1788–1860) (The World as Will and Representation, 1819/20) called into question previous optimism. His ideas had an important influence on later thinkers, including Friedrich Nietzsche (1844–1900). Similarly, Søren Kierkegaard (1813–1855) and Nietzsche both later rejected the idea that reality could be understood through a purely objective lens, a rejection that had a significant influence on the development of existentialism and nihilism. Around 1850, the Pre-Raphaelite Brotherhood (a group of English poets, painters, and art critics) began to challenge the dominant trends of industrial Victorian England in "opposition to technical skill without inspiration." They were influenced by the writings of the art critic John Ruskin (1819–1900), who had strong feelings about the role of art in helping to improve the lives of the urban working classes in the rapidly expanding industrial cities of Britain. Art critic Clement Greenberg described the Pre-Raphaelite Brotherhood as proto-modernists: "There the proto-modernists were, of all people, the Pre-Raphaelites (and even before them, as proto-proto-modernists, the German Nazarenes). The Pre-Raphaelites foreshadowed Manet (1832–1883), with whom modernist painting most definitely begins. They acted on a dissatisfaction with painting as practiced in their time, holding that its realism wasn't truthful enough." Two of the most significant thinkers of the mid-19th century were biologist Charles Darwin (1809–1882), author of On the Origin of Species through Natural Selection (1859), and political scientist Karl Marx (1818–1883), author of Das Kapital (1867). Despite coming from different fields, both of their theories threatened the established order. Darwin's theory of evolution by natural selection undermined religious certainty and the idea of human uniqueness; in particular, the notion that human beings are driven by the same impulses as "lower animals" proved to be difficult to reconcile with the idea of an ennobling spirituality. Meanwhile, Marx's arguments that there are fundamental contradictions within the capitalist system and that workers are anything but free led to the formulation of Marxist theory. The late 19th century Art historians have suggested various dates as starting points for modernism. Historian William Everdell argued that modernism began in the 1870s when metaphorical (or ontological) continuity began to yield to the discrete with mathematician Richard Dedekind's (1831–1916) Dedekind cut and Ludwig Boltzmann's (1844–1906) statistical thermodynamics. Everdell also believed modernism in painting began in 1885–1886 with post-Impressionist artist Georges Seurat's development of Divisionism, the "dots" used to paint A Sunday Afternoon on the Island of La Grande Jatte. On the other hand, visual art critic Clement Greenberg called German philosopher Immanuel Kant (1724–1804) "the first real modernist", although he also wrote, "What can be safely called modernism emerged in the middle of the last century—and rather locally, in France, with Charles Baudelaire (1821–1867) in literature and Manet in painting, and perhaps with Gustave Flaubert (1821–1880), too, in prose fiction. (It was a while later, and not so locally, that modernism appeared in music and architecture)." The poet Baudelaire's Les Fleurs du mal (The Flowers of Evil) and the author Flaubert's Madame Bovary were both published in 1857. Baudelaire's essay "The Painter of Modern Life" (1863) inspired young artists to break away from tradition and innovate new ways of portraying their world in art. Beginning in the 1860s, two approaches in the arts and letters developed separately in France. The first was Impressionism, a school of painting that initially focused on work done not in studios, but outdoors (en plein air). Impressionist paintings attempted to convey that human beings do not see objects, but instead see light itself. The school gathered adherents despite internal divisions among its leading practitioners and became increasingly influential. Initially rejected from the most important commercial show of the time, the government-sponsored Paris Salon, the Impressionists organized yearly group exhibitions in commercial venues during the 1870s and 1880s, timing them to coincide with the official Salon. In 1863, the Salon des Refusés, created by Emperor Napoleon III, displayed all of the paintings rejected by the Paris Salon. While most were in standard styles, but by inferior artists, the work of Manet attracted attention and opened commercial doors to the movement. The second French school was symbolism, which literary historians see beginning with Charles Baudelaire and including the later poets Arthur Rimbaud (1854–1891) with Une Saison en Enfer (A Season in Hell, 1873), Paul Verlaine (1844–1896), Stéphane Mallarmé (1842–1898), and Paul Valéry (1871–1945). The symbolists "stressed the priority of suggestion and evocation over direct description and explicit analogy," and were especially interested in "the musical properties of language." Cabaret, which gave birth to so many of the arts of modernism, including the immediate precursors of film, may be said to have begun in France in 1881 with the opening of the Black Cat in Montmartre, the beginning of the ironic monologue, and the founding of the Society of Incoherent Arts. The theories of Sigmund Freud (1856–1939), Krafft-Ebing and other sexologists were influential in the early days of modernism. Freud's first major work was Studies on Hysteria (with Josef Breuer, 1895). Central to Freud's thinking is the idea "of the primacy of the unconscious mind in mental life", so that all subjective reality was based on the interactions between basic drives and instincts, through which the outside world was perceived. Freud's description of subjective states involved an unconscious mind full of primal impulses, and counterbalancing self-imposed restrictions derived from social values. The works of Friedrich Nietzsche (1844–1900) were another major precursor of modernism, with a philosophy in which psychological drives, specifically the "will to power" (Wille zur macht), were of central importance: "Nietzsche often identified life itself with 'will to power', that is, with an instinct for growth and durability." Henri Bergson (1859–1941), on the other hand, emphasized the difference between scientific, clock time and the direct, subjective human experience of time. His work on time and consciousness "had a great influence on 20th-century novelists" especially those modernists who used the "stream of consciousness" technique, such as Dorothy Richardson, James Joyce, and Virginia Woolf (1882–1941). Also important in Bergson's philosophy was the idea of élan vital, the life force, which "brings about the creative evolution of everything." His philosophy also placed a high value on intuition, though without rejecting the importance of the intellect. Important literary precursors of modernism included esteemed writers such as Fyodor Dostoevsky (1821–1881), whose novels include Crime and Punishment (1866) and The Brothers Karamazov (1880); Walt Whitman (1819–1892), who published the poetry collection Leaves of Grass (1855–1891); and August Strindberg (1849–1912), especially his later plays, including the trilogy To Damascus 1898–1901,A Dream Play (1902) and The Ghost Sonata (1907). Henry James has also been suggested as a significant precursor to modernism in works as early as The Portrait of a Lady (1881). Modernism emerges 1901 to 1930 Out of the collision of ideals derived from Romanticism and an attempt to find a way for knowledge to explain that which was as yet unknown, came the first wave of modernist works in the opening decade of the 20th century. Although their authors considered them to be extensions of existing trends in art, these works broke the implicit understanding the general public had of art: that artists were the interpreters and representatives of bourgeois culture and ideas. These "modernist" landmarks include the atonal ending of Arnold Schoenberg's Second String Quartet in 1908, the Expressionist paintings of Wassily Kandinsky starting in 1903, and culminating with his first abstract painting and the founding of the Blue Rider group in Munich in 1911, and the rise of fauvism and the inventions of Cubism from the studios of Henri Matisse, Pablo Picasso, Georges Braque, and others, in the years between 1900 and 1910. An important aspect of modernism is how it relates to tradition through its adoption of techniques like reprise, incorporation, rewriting, recapitulation, revision, and parody in new forms. T. S. Eliot made significant comments on the relation of the artist to tradition, including: "[W]e shall often find that not only the best, but the most individual parts of [a poet's] work, may be those in which the dead poets, his ancestors, assert their immortality most vigorously." However, the relationship of modernism with tradition was complex, as literary scholar Peter Child's indicates: "There were paradoxical if not opposed trends towards revolutionary and reactionary positions, fear of the new and delight at the disappearance of the old, nihilism and fanatical enthusiasm, creativity, and despair." An example of how modernist art can apply older traditions while also incorporating new techniques can be found within the music of the composer Arnold Schoenberg. On the one hand, he rejected traditional tonal harmony, the hierarchical system of organizing works of music that had guided musical composition for at least a century and a half. Schoenberg believed he had discovered a wholly new way of organizing sound based on the use of twelve-note rows. Yet, while this was indeed a wholly new technique, its origins can be traced back to the work of earlier composers such as Franz Liszt, Richard Wagner, Gustav Mahler, Richard Strauss, and Max Reger. In the world of art, in the first decade of the 20th century, young painters such as Pablo Picasso and Henri Matisse caused much controversy and attracted great criticism with their rejection of traditional perspective as the means of structuring paintings, though the Impressionist Claude Monet had already been innovative in his use of perspective. In 1907, as Picasso was painting , Oskar Kokoschka was writing Mörder, Hoffnung der Frauen (Murderer, Hope of Women), the first Expressionist play (produced with scandal in 1909), and Arnold Schoenberg was composing his String Quartet No.2 in F sharp minor (1908), his first composition without a tonal center. A primary influence that led to Cubism was the representation of three-dimensional form in the late works of Paul Cézanne, which were displayed in a retrospective at the 1907 Salon d'Automne. In Cubist artwork, objects are analyzed, broken up, and reassembled in an abstract form; instead of depicting objects from one viewpoint, the artist depicts the subject from a multitude of viewpoints to represent the subject in a greater context. Cubism was brought to the attention of the general public for the first time in 1911 at the Salon des Indépendants in Paris (held 21 April – 13 June). Jean Metzinger, Albert Gleizes, Henri Le Fauconnier, Robert Delaunay, Fernand Léger and Roger de La Fresnaye were shown together in Room 41, provoking a 'scandal' out of which Cubism emerged and spread throughout Paris and beyond. Also in 1911, Kandinsky painted Bild mit Kreis (Picture with a Circle), which he later called the first abstract painting. In 1912, Metzinger and Gleizes wrote the first (and only) major Cubist manifesto, Du "Cubisme", published in time for the Salon de la Section d'Or, the largest Cubist exhibition to date. In 1912 Metzinger painted and exhibited his enchanting La Femme au Cheval (Woman with a Horse) and Danseuse au Café (Dancer in a Café). Albert Gleizes painted and exhibited his Les Baigneuses (The Bathers) and his monumental Le Dépiquage des Moissons (Harvest Threshing). This work, along with La Ville de Paris (City of Paris) by Robert Delaunay, was the largest and most ambitious Cubist painting undertaken during the pre-war Cubist period. In 1905, a group of four German artists, led by Ernst Ludwig Kirchner, formed Die Brücke (The Bridge) in the city of Dresden. This was arguably the founding organization for the German Expressionist movement, though they did not use the word itself. A few years later, in 1911, a like-minded group of young artists formed Der Blaue Reiter (The Blue Rider) in Munich. The name came from Wassily Kandinsky's Der Blaue Reiter painting of 1903. Among their members were Kandinsky, Franz Marc, Paul Klee, and August Macke. However, the term "Expressionism" did not firmly establish itself until 1913. Though initially mainly a German artistic movement, most predominant in painting, poetry and the theatre between 1910 and 1930, most precursors of the movement were not German. Furthermore, there have been Expressionist writers of prose fiction, as well as non-German speaking Expressionist writers, and, while the movement had declined in Germany with the rise of Adolf Hitler in the 1930s, there were subsequent Expressionist works. Expressionism is notoriously difficult to define, in part because it "overlapped with other major 'isms' of the modernist period: with Futurism, Vorticism, Cubism, Surrealism and Dada." Richard Murphy also comments: "[The] search for an all-inclusive definition is problematic to the extent that the most challenging Expressionists," such as the novelist Franz Kafka, poet Gottfried Benn, and novelist Alfred Döblin were simultaneously the most vociferous anti-Expressionists. What, however, can be said, is that it was a movement that developed in the early 20th century mainly in Germany in reaction to the dehumanizing effect of industrialization and the growth of cities, and that "one of the central means by which Expressionism identifies itself as an avant-garde movement, and by which it marks its distance to traditions and the cultural institution as a whole is through its relationship to realism and the dominant conventions of representation." More explicitly: the Expressionists rejected the ideology of realism. There was a concentrated Expressionist movement in early 20th-century German theater, of which Georg Kaiser and Ernst Toller were the most famous playwrights. Other notable Expressionist dramatists included Reinhard Sorge, Walter Hasenclever, Hans Henny Jahnn, and Arnolt Bronnen. They looked back to Swedish playwright August Strindberg and German actor and dramatist Frank Wedekind as precursors of their dramaturgical experiments. Oskar Kokoschka's Murderer, the Hope of Women was the first fully Expressionist work for the theater, which opened on 4 July 1909 in Vienna. The extreme simplification of characters to mythic types, choral effects, declamatory dialogue and heightened intensity would become characteristic of later Expressionist plays. The first full-length Expressionist play was The Son by Walter Hasenclever, which was published in 1914 and first performed in 1916. Futurism is another modernist movement. In 1909, the Parisian newspaper Le Figaro published F. T. Marinetti's first manifesto. Soon afterward, a group of painters (Giacomo Balla, Umberto Boccioni, Carlo Carrà, Luigi Russolo, and Gino Severini) co-signed the Futurist Manifesto. Modeled on Marx and Engels' famous "Communist Manifesto" (1848), such manifestos put forward ideas that were meant to provoke and to gather followers. However, arguments in favor of geometric or purely abstract painting were, at this time, largely confined to "little magazines" which had only tiny circulations. Modernist primitivism and pessimism were controversial, and the mainstream in the first decade of the 20th century was still inclined towards a faith in progress and liberal optimism. Abstract artists, taking as their examples the Impressionists, as well as Paul Cézanne (1839–1906) and Edvard Munch (1863–1944), began with the assumption that color and shape, not the depiction of the natural world, formed the essential characteristics of art. Western art had been, from the Renaissance up to the middle of the 19th century, underpinned by the logic of perspective and an attempt to reproduce an illusion of visible reality. The arts of cultures other than the European had become accessible and showed alternative ways of describing visual experience to the artist. By the end of the 19th century, many artists felt a need to create a new kind of art that encompassed the fundamental changes taking place in technology, science and philosophy. The sources from which individual artists drew their theoretical arguments were diverse and reflected the social and intellectual preoccupations in all areas of Western culture at that time. Wassily Kandinsky, Piet Mondrian, and Kazimir Malevich all believed in redefining art as the arrangement of pure color. The use of photography, which had rendered much of the representational function of visual art obsolete, strongly affected this aspect of modernism. Modernist architects and designers, such as Frank Lloyd Wright and Le Corbusier, believed that new technology rendered old styles of building obsolete. Le Corbusier thought that buildings should function as "machines for living in", analogous to cars, which he saw as machines for traveling in. Just as cars had replaced the horse, so modernist design should reject the old styles and structures inherited from Ancient Greece or the Middle Ages. Following this machine aesthetic, modernist designers typically rejected decorative motifs in design, preferring to emphasize the materials used and pure geometrical forms. The skyscraper is the archetypal modernist building, and the Wainwright Building, a 10-story office building completed in 1891 in St. Louis, Missouri, United States, is among the first skyscrapers in the world. Ludwig Mies van der Rohe's Seagram Building in New York (1956–1958) is often regarded as the pinnacle of this modernist high-rise architecture. Many aspects of modernist design persist within the mainstream of contemporary architecture, though previous dogmatism has given way to a more playful use of decoration, historical quotation, and spatial drama. In 1913—which was the year of philosopher Edmund Husserl's Ideas, physicist Niels Bohr's quantized atom, Ezra Pound's founding of imagism, the Armory Show in New York, and in Saint Petersburg the "first futurist opera", Mikhail Matyushin's Victory over the Sun—another Russian composer, Igor Stravinsky, composed The Rite of Spring, a ballet that depicts human sacrifice and has a musical score full of dissonance and primitive rhythm. This caused an uproar on its first performance in Paris. At this time, though modernism was still "progressive", it increasingly saw traditional forms and social arrangements as hindering progress and recast the artist as a revolutionary, engaged in overthrowing rather than enlightening society. Also in 1913, a less violent event occurred in France with the publication of the first volume of Marcel Proust's important novel sequence À la recherche du temps perdu (1913–1927) (In Search of Lost Time). This is often presented as an early example of a writer using the stream-of-consciousness technique, but Robert Humphrey comments that Proust "is concerned only with the reminiscent aspect of consciousness" and that he "was deliberately recapturing the past for the purpose of communicating; hence he did not write a stream-of-consciousness novel." Stream of consciousness was an important modernist literary innovation, and it has been suggested that Arthur Schnitzler (1862–1931) was the first to make full use of it in his short story "Leutnant Gustl" ("None but the brave") (1900). Dorothy Richardson was the first English writer to use it, in the early volumes of her novel sequence Pilgrimage (1915–1967). Other modernist novelists that are associated with the use of this narrative technique include James Joyce in Ulysses (1922) and Italo Svevo in La coscienza di Zeno (1923). However, with the coming of the Great War of 1914–1918 (World War I) and the Russian Revolution of 1917, the world was drastically changed, and doubt was cast on the beliefs and institutions of the past. The failure of the previous status quo seemed self-evident to a generation that had seen millions die fighting over scraps of earth: before 1914, it had been argued that no one would fight such a war, since the cost was too high. The birth of a machine age, which had made major changes in the conditions of daily life in the 19th century had now radically changed the nature of warfare. The traumatic nature of recent experience altered basic assumptions, and a realistic depiction of life in the arts seemed inadequate when faced with the fantastically surreal nature of trench warfare. The view that mankind was making steady moral progress now seemed ridiculous in the face of the senseless slaughter, described in works such as Erich Maria Remarque's novel All Quiet on the Western Front (1929). Therefore, modernism's view of reality, which had been a minority taste before the war, became more generally accepted in the 1920s. In literature and visual art, some modernists sought to defy expectations mainly to make their art more vivid or to force the audience to take the trouble to question their own preconceptions. This aspect of modernism has often seemed a reaction to consumer culture, which developed in Europe and North America in the late 19th century. Whereas most manufacturers try to make products that will be marketable by appealing to preferences and prejudices, high modernists reject such consumerist attitudes to undermine conventional thinking. The art critic Clement Greenberg expounded this theory of modernism in his essay Avant-Garde and Kitsch. Greenberg labeled the products of consumer culture "kitsch", because their design aimed simply to have maximum appeal, with any difficult features removed. For Greenberg, modernism thus formed a reaction against the development of such examples of modern consumer culture as commercial popular music, Hollywood, and advertising. Greenberg associated this with the revolutionary rejection of capitalism. Some modernists saw themselves as part of a revolutionary culture that included political revolution. In Russia after the 1917 Revolution, there was indeed initially a burgeoning of avant-garde cultural activity, which included Russian Futurism. However, others rejected conventional politics as well as artistic conventions, believing that a revolution of political consciousness had greater importance than a change in political structures. But many modernists saw themselves as apolitical. Others, such as T. S. Eliot, rejected mass popular culture from a conservative position. Some even argue that Modernism in literature and art functioned to sustain an elite culture that excluded the majority of the population. Surrealism, which originated in the early 1920s, came to be regarded by the public as the most extreme form of modernism, or "the avant-garde of modernism". The word "surrealist" was coined by Guillaume Apollinaire and first appeared in the preface to his play Les Mamelles de Tirésias, which was written in 1903 and first performed in 1917. Major surrealists include Paul Éluard, Robert Desnos, Max Ernst, Hans Arp, Antonin Artaud, Raymond Queneau, Joan Miró, and Marcel Duchamp. By 1930, modernism had won a place in the political and artistic establishment, although by this time modernism itself had changed. Modernism continues: 1930–1945 Modernism continued to evolve during the 1930s. Between 1930 and 1932 composer Arnold Schoenberg worked on Moses und Aron, one of the first operas to make use of the twelve-tone technique, Pablo Picasso painted in 1937 Guernica, his cubist condemnation of fascism, while in 1939 James Joyce pushed the boundaries of the modern novel further with Finnegans Wake. Also by 1930 modernism began to influence mainstream culture, so that, for example, The New Yorker magazine began publishing work, influenced by modernism, by young writers and humorists like Dorothy Parker, Robert Benchley, E. B. White, S. J. Perelman, and James Thurber, amongst others. Perelman is highly regarded for his humorous short stories that he published in magazines in the 1930s and 1940s, most often in The New Yorker, which are considered to be the first examples of surrealist humor in America. Modern ideas in art also began to appear more frequently in commercials and logos, an early example of which, from 1916, is the famous London Underground logo designed by Edward Johnston. One of the most visible changes of this period was the adoption of new technologies into the daily lives of ordinary people in Western Europe and North America. Electricity, the telephone, the radio, the automobile—and the need to work with them, repair them and live with them—created social change. The kind of disruptive moment that only a few knew in the 1880s became a common occurrence. For example, the speed of communication reserved for the stock brokers of 1890 became part of family life, at least in middle class North America. Associated with urbanization and changing social mores also came smaller families and changed relationships between parents and their children. Another strong influence at this time was Marxism. After the generally primitivistic/irrationalism aspect of pre-World War I modernism (which for many modernists precluded any attachment to merely political solutions) and the neoclassicism of the 1920s (as represented most famously by T. S. Eliot and Igor Stravinsky—which rejected popular solutions to modern problems), the rise of fascism, the Great Depression, and the march to war helped to radicalize a generation. Bertolt Brecht, W. H. Auden, André Breton, Louis Aragon, and the philosophers Antonio Gramsci and Walter Benjamin are perhaps the most famous exemplars of this modernist form of Marxism. There were, however, also modernists explicitly of 'the right', including Salvador Dalí, Wyndham Lewis, T. S. Eliot, Ezra Pound, the Dutch author Menno ter Braak and others. Significant modernist literary works continued to be created in the 1920s and 1930s, including further novels by Marcel Proust, Virginia Woolf, Robert Musil, and Dorothy Richardson. The American modernist dramatist Eugene O'Neill's career began in 1914, but his major works appeared in the 1920s, 1930s and early 1940s. Two other significant modernist dramatists writing in the 1920s and 1930s were Bertolt Brecht and Federico García Lorca. D. H. Lawrence's Lady Chatterley's Lover was privately published in 1928, while another important landmark for the history of the modern novel came with the publication of William Faulkner's The Sound and the Fury in 1929. In the 1930s, in addition to further major works by Faulkner, Samuel Beckett published his first major work, the novel Murphy (1938). Then in 1939 James Joyce's Finnegans Wake appeared. This is written in a largely idiosyncratic language, consisting of a mixture of standard English lexical items and neologistic multilingual puns and portmanteau words, which attempts to recreate the experience of sleep and dreams. In poetry T. S. Eliot, E. E. Cummings, and Wallace Stevens were writing from the 1920s until the 1950s. While modernist poetry in English is often viewed as an American phenomenon, with leading exponents including Ezra Pound, T. S. Eliot, Marianne Moore, William Carlos Williams, H.D., and Louis Zukofsky, there were important British modernist poets, including David Jones, Hugh MacDiarmid, Basil Bunting, and W. H. Auden. European modernist poets include Federico García Lorca, Anna Akhmatova, Constantine Cavafy, and Paul Valéry. The modernist movement continued during this period in Soviet Russia. In 1930 composer Dimitri Shostakovich's (1906–1975) opera The Nose was premiered, in which he uses a montage of different styles, including folk music, popular song and atonality. Among his influences was Alban Berg's (1885–1935) opera Wozzeck (1925), which "had made a tremendous impression on Shostakovich when it was staged in Leningrad." However, from 1932 socialist realism began to oust modernism in the Soviet Union, and in 1936 Shostakovich was attacked and forced to withdraw his 4th Symphony. Alban Berg wrote another significant, though incomplete, modernist opera, Lulu, which premiered in 1937. Berg's Violin Concerto was first performed in 1935. Like Shostakovich, other composers faced difficulties in this period. In Germany Arnold Schoenberg (1874–1951) was forced to flee to the U.S. when Hitler came to power in 1933, because of his modernist atonal style as well as his Jewish ancestry. His major works from this period are a Violin Concerto, Op. 36 (1934/36), and a Piano Concerto, Op. 42 (1942). Schoenberg also wrote tonal music in this period with the Suite for Strings in G major (1935) and the Chamber Symphony No. 2 in E minor, Op. 38 (begun in 1906, completed in 1939). During this time Hungarian modernist Béla Bartók (1881–1945) produced a number of major works, including Music for Strings, Percussion and Celesta (1936) and the Divertimento for String Orchestra (1939), String Quartet No. 5 (1934), and No. 6 (his last, 1939). But he too left for the US in 1940, because of the rise of fascism in Hungary. Igor Stravinsky (1882–1971) continued writing in his neoclassical style during the 1930s and 1940s, writing works like the Symphony of Psalms (1930), Symphony in C (1940), and Symphony in Three Movements (1945). He also emigrated to the US because of World War II. Olivier Messiaen (1908–1992), however, served in the French army during the war and was imprisoned at Stalag VIII-A by the Germans, where he composed his famous Quatuor pour la fin du temps ("Quartet for the End of Time"). The quartet was first performed in January 1941 to an audience of prisoners and prison guards. In painting, during the 1920s and 1930s and the Great Depression, modernism was defined by Surrealism, late Cubism, Bauhaus, De Stijl, Dada, German Expressionism, and modernist and masterful color painters like Henri Matisse and Pierre Bonnard as well as the abstractions of artists like Piet Mondrian and Wassily Kandinsky which characterized the European art scene. In Germany, Max Beckmann, Otto Dix, George Grosz and others politicized their paintings, foreshadowing the coming of World War II, while in America, modernism is seen in the form of American Scene painting and the social realism and Regionalism movements that contained both political and social commentary dominated the art world. Artists like Ben Shahn, Thomas Hart Benton, Grant Wood, George Tooker, John Steuart Curry, Reginald Marsh, and others became prominent. Modernism is defined in Latin America by painters Joaquín Torres-García from Uruguay and Rufino Tamayo from Mexico, while the muralist movement with Diego Rivera, David Siqueiros, José Clemente Orozco, Pedro Nel Gómez and Santiago Martínez Delgado, and Symbolist paintings by Frida Kahlo, began a renaissance of the arts for the region, characterized by a freer use of color and an emphasis on political messages. Diego Rivera is perhaps best known by the public world for his 1933 mural, Man at the Crossroads, in the lobby of the RCA Building at Rockefeller Center. When his patron Nelson Rockefeller discovered that the mural included a portrait of Vladimir Lenin and other communist imagery, he fired Rivera, and the unfinished work was eventually destroyed by Rockefeller's staff. Frida Kahlo's works are often characterized by their stark portrayals of pain. Kahlo was deeply influenced by indigenous Mexican culture, which is apparent in her paintings' bright colors and dramatic symbolism. Christian and Jewish themes are often depicted in her work as well; she combined elements of the classic religious Mexican tradition, which were often bloody and violent. Frida Kahlo's Symbolist works relate strongly to surrealism and to the magic realism movement in literature. Political activism was an important piece of David Siqueiros' life, and frequently inspired him to set aside his artistic career. His art was deeply rooted in the Mexican Revolution. The period from the 1920s to the 1950s is known as the Mexican Renaissance, and Siqueiros was active in the attempt to create an art that was at once Mexican and universal. The young Jackson Pollock attended the workshop and helped build floats for the parade. During the 1930s, radical leftist politics characterized many of the artists connected to surrealism, including Pablo Picasso. On 26 April 1937, during the Spanish Civil War, the Basque town of Gernika was bombed by Nazi Germany's Luftwaffe. The Germans were attacking to support the efforts of Francisco Franco to overthrow the Basque government and the Spanish Republican government. Pablo Picasso painted his mural-sized Guernica to commemorate the horrors of the bombing. During the Great Depression of the 1930s and through the years of World War II, American art was characterized by social realism and American Scene painting, in the work of Grant Wood, Edward Hopper, Ben Shahn, Thomas Hart Benton, and several others. Nighthawks (1942) is a painting by Edward Hopper that portrays people sitting in a downtown diner late at night. It is not only Hopper's most famous painting, but one of the most recognizable in American art. The scene was inspired by a diner in Greenwich Village. Hopper began painting it immediately after the attack on Pearl Harbor. After this event there was a large feeling of gloominess over the country, a feeling that is portrayed in the painting. The urban street is empty outside the diner, and inside none of the three patrons is apparently looking or talking to the others but instead is lost in their own thoughts. This portrayal of modern urban life as empty or lonely is a common theme throughout Hopper's work. American Gothic is a painting by Grant Wood from 1930 portraying a pitchfork-holding farmer and a younger woman in front of a house of Carpenter Gothic style, it is one of the most familiar images in 20th-century American art. Art critics had favorable opinions about the painting; like Gertrude Stein and Christopher Morley, they assumed the painting was meant to be a satire of rural small-town life. It was thus seen as part of the trend towards increasingly critical depictions of rural America, along the lines of Sherwood Anderson's 1919 Winesburg, Ohio, Sinclair Lewis's 1920 Main Street, and Carl Van Vechten's The Tattooed Countess in literature. However, with the onset of the Great Depression, the painting came to be seen as a depiction of steadfast American pioneer spirit. The situation for artists in Europe during the 1930s deteriorated rapidly as the Nazis' power in Germany and across Eastern Europe increased. Degenerate art was a term adopted by the Nazi regime in Germany for virtually all modern art. Such art was banned because it was un-German or Jewish Bolshevist in nature, and those identified as degenerate artists were subjected to sanctions. These included being dismissed from teaching positions, being forbidden to exhibit or to sell their art, and in some cases being forbidden to produce art entirely. Degenerate Art was also the title of an exhibition, mounted by the Nazis in Munich in 1937. The climate became so hostile for artists and art associated with modernism and abstraction that many left for the Americas. German artist Max Beckmann and scores of others fled Europe for New York. In New York City a new generation of young and exciting modernist painters led by Arshile Gorky, Willem de Kooning, and others were just beginning to come of age. Arshile Gorky's portrait of someone who might be Willem de Kooning is an example of the evolution of Abstract Expressionism from the context of figure painting, Cubism and Surrealism. Along with his friends de Kooning and John D. Graham, Gorky created bio morphically shaped and abstracted figurative compositions that by the 1940s evolved into totally abstract paintings. Gorky's work seems to be a careful analysis of memory, emotion and shape, using line and color to express feeling and nature. Attacks on early modernism Modernism's stress on freedom of expression, experimentation, radicalism, and primitivism disregards conventional expectations. In many art forms this often meant startling and alienating audiences with bizarre and unpredictable effects, as in the strange and disturbing combinations of motifs in Surrealism or the use of extreme dissonance and atonality in modernist music. In literature this often involved the rejection of intelligible plots or characterization in novels, or the creation of poetry that defied clear interpretation. Within the Catholic Church, the specter of Protestantism and Martin Luther was at play in anxieties over modernism and the notion that doctrine develops and changes over time. From 1932, socialist realism began to oust modernism in the Soviet Union, where it had previously endorsed Russian Futurism and Constructivism, primarily under the homegrown philosophy of Suprematism. The Nazi government of Germany deemed modernism narcissistic and nonsensical, as well as "Jewish" (see Antisemitism) and "Negro". The Nazis exhibited modernist paintings alongside works by the mentally ill in an exhibition entitled "Degenerate Art". Accusations of "formalism" could lead to the end of a career, or worse. For this reason, many modernists of the post-war generation felt that they were the most important bulwark against totalitarianism, the "canary in the coal mine", whose repression by a government or other group with supposed authority represented a warning that individual liberties were being threatened. Louis A. Sass compared madness, specifically schizophrenia, and modernism in a less fascist manner by noting their shared disjunctive narratives, surreal images, and incoherence. After 1945 While The Oxford Encyclopedia of British Literature states that modernism ended by c. 1939 with regard to British and American literature, "When (if) modernism petered out and postmodernism began has been contested almost as hotly as when the transition from Victorianism to modernism occurred." Clement Greenberg sees modernism ending in the 1930s, with the exception of the visual and performing arts, but with regard to music, Paul Griffiths notes that, while modernism "seemed to be a spent force" by the late 1920s, after World War II, "a new generation of composers—Boulez, Barraqué, Babbitt, Nono, Stockhausen, Xenakis" revived modernism". In fact, many literary modernists lived into the 1950s and 1960s, though generally they were no longer producing major works. The term "late modernism" is also sometimes applied to modernist works published after 1930. Among the modernists (or late modernists) still publishing after 1945 were Wallace Stevens, Gottfried Benn, T. S. Eliot, Anna Akhmatova, William Faulkner, Dorothy Richardson, John Cowper Powys, and Ezra Pound. Basil Bunting, born in 1901, published his most important modernist poem, Briggflatts in 1965. In addition, Hermann Broch's The Death of Virgil was published in 1945 and Thomas Mann's Doctor Faustus in 1947. Samuel Beckett, who died in 1989, has been described as a "later modernist". Beckett is a writer with roots in the Expressionist tradition of modernism, who produced works from the 1930s until the 1980s, including Molloy (1951), Waiting for Godot (1953), Happy Days (1961), and Rockaby (1981). The terms "minimalist" and "post-modernist" have also been applied to his later works. The poets Charles Olson (1910–1970) and J. H. Prynne (born 1936) are among the writers in the second half of the 20th century who have been described as late modernists. More recently, the term "late modernism" has been redefined by at least one critic and used to refer to works written after 1945, rather than 1930. With this usage goes the idea that the ideology of modernism was significantly re-shaped by the events of World War II, especially the Holocaust and the dropping of the atom bomb. The post-war period left the capitals of Europe in upheaval, with an urgency to economically and physically rebuild and to politically regroup. In Paris (the former center of European culture and the former capital of the art world), the climate for art was a disaster. Important collectors, dealers, and modernist artists, writers, and poets fled Europe for New York and America. The surrealists and modern artists from every cultural center of Europe had fled the onslaught of the Nazis for safe haven in the United States. Many of those who did not flee perished. A few artists, notably Pablo Picasso, Henri Matisse, and Pierre Bonnard, remained in France and survived. The 1940s in New York City heralded the triumph of American Abstract Expressionism, a modernist movement that combined lessons learned from Henri Matisse, Pablo Picasso, Surrealism, Joan Miró, Cubism, Fauvism, and early modernism via great teachers in America like Hans Hofmann and John D. Graham. American artists benefited from the presence of Piet Mondrian, Fernand Léger, Max Ernst and the André Breton group, Pierre Matisse's gallery, and Peggy Guggenheim's gallery The Art of This Century, as well as other factors. Paris, moreover, recaptured much of its luster in the 1950s and 1960s as the center of a machine art florescence, with both of the leading machine art sculptors Jean Tinguely and Nicolas Schöffer having moved there to launch their careers—and which florescence, in light of the technocentric character of modern life, may well have a particularly long-lasting influence. Theatre of the Absurd The term "Theatre of the Absurd" is applied to plays, written primarily by Europeans, that express the belief that human existence has no meaning or purpose and therefore all communication breaks down. Logical construction and argument gives way to irrational and illogical speech and to its ultimate conclusion, silence. While there are significant precursors, including Alfred Jarry (1873–1907), the Theatre of the Absurd is generally seen as beginning in the 1950s with the plays of Samuel Beckett. Critic Martin Esslin coined the term in his 1960 essay "Theatre of the Absurd". He related these plays based on a broad theme of the absurd, similar to the way Albert Camus uses the term in his 1942 essay, The Myth of Sisyphus. The Absurd in these plays takes the form of man's reaction to a world apparently without meaning, and/or man as a puppet controlled or menaced by invisible outside forces. Though the term is applied to a wide range of plays, some characteristics coincide in many of the plays: broad comedy, often similar to vaudeville, mixed with horrific or tragic images; characters caught in hopeless situations forced to do repetitive or meaningless actions; dialogue full of clichés, wordplay, and nonsense; plots that are cyclical or absurdly expansive; either a parody or dismissal of realism and the concept of the "well-made play". Playwrights commonly associated with the Theatre of the Absurd include Samuel Beckett (1906–1989), Eugène Ionesco (1909–1994), Jean Genet (1910–1986), Harold Pinter (1930–2008), Tom Stoppard (born 1937), Alexander Vvedensky (1904–1941), Daniil Kharms (1905–1942), Friedrich Dürrenmatt (1921–1990), Alejandro Jodorowsky (born 1929), Fernando Arrabal (born 1932), Václav Havel (1936–2011) and Edward Albee (1928–2016). Pollock and abstract influences During the late 1940s, Jackson Pollock's radical approach to painting revolutionized the potential for all contemporary art that followed him. To some extent, Pollock realized that the journey toward making a work of art was as important as the work of art itself. Like Pablo Picasso's innovative reinventions of painting and sculpture in the early 20th century via Cubism and constructed sculpture, Pollock redefined the way art is made. His move away from easel painting and conventionality was a liberating signal to the artists of his era and to all who came after. Artists realized that Jackson Pollock's process—placing unstretched raw canvas on the floor where it could be attacked from all four sides using artistic and industrial materials; dripping and throwing linear skeins of paint; drawing, staining, and brushing; using imagery and non-imagery—essentially blasted art-making beyond any prior boundary. Abstract Expressionism generally expanded and developed the definitions and possibilities available to artists for the creation of new works of art. The other Abstract Expressionists followed Pollock's breakthrough with new breakthroughs of their own. In a sense the innovations of Jackson Pollock, Willem de Kooning, Franz Kline, Mark Rothko, Philip Guston, Hans Hofmann, Clyfford Still, Barnett Newman, Ad Reinhardt, Robert Motherwell, Peter Voulkos and others opened the floodgates to the diversity and scope of all the art that followed them. Re-readings into abstract art by art historians such as Linda Nochlin, Griselda Pollock and Catherine de Zegher critically show, however, that pioneering women artists who produced major innovations in modern art had been ignored by official accounts of its history. International figures from British art Henry Moore (1898–1986) emerged after World War II as Britain's leading sculptor. He was best known for his semi-abstract monumental bronze sculptures which are located around the world as public works of art. His forms are usually abstractions of the human figure, typically depicting mother-and-child or reclining figures, usually suggestive of the female body, apart from a phase in the 1950s when he sculpted family groups. His forms are generally pierced or contain hollow spaces. In the 1950s, Moore began to receive increasingly significant commissions, including a reclining figure for the UNESCO building in Paris in 1958. With many more public works of art, the scale of Moore's sculptures grew significantly. The last three decades of Moore's life continued in a similar vein, with several major retrospectives taking place around the world, notably a prominent exhibition in the summer of 1972 in the grounds of the Forte di Belvedere overlooking Florence. By the end of the 1970s, there were some 40 exhibitions a year featuring his work. On the campus of the University of Chicago in December 1967, 25 years to the minute after the team of physicists led by Enrico Fermi achieved the first controlled, self-sustaining nuclear chain reaction, Moore's Nuclear Energy was unveiled. Also in Chicago, Moore commemorated science with a large bronze sundial, locally named Man Enters the Cosmos (1980), which was commissioned to recognize the space exploration program. The "London School" of figurative painters, including Francis Bacon (1909–1992), Lucian Freud (1922–2011), Frank Auerbach (born 1931), Leon Kossoff (born 1926), and Michael Andrews (1928–1995), have received widespread international recognition. Francis Bacon was an Irish-born British figurative painter known for his bold, graphic and emotionally raw imagery. His painterly but abstracted figures typically appear isolated in glass or steel geometrical cages set against flat, nondescript backgrounds. Bacon began painting during his early 20s but worked only sporadically until his mid-30s. His breakthrough came with the 1944 triptych Three Studies for Figures at the Base of a Crucifixion which sealed his reputation as a uniquely bleak chronicler of the human condition. His output can be crudely described as consisting of sequences or variations on a single motif; beginning with the 1940s male heads isolated in rooms, the early 1950s screaming popes, and mid to late 1950s animals and lone figures suspended in geometric structures. These were followed by his early 1960s modern variations of the crucifixion in the triptych format. From the mid-1960s to early 1970s, Bacon mainly produced strikingly compassionate portraits of friends. Following the suicide of his lover George Dyer in 1971, his art became more personal, inward-looking, and preoccupied with themes and motifs of death. During his lifetime, Bacon was equally reviled and acclaimed. Lucian Freud was a German-born British painter, known chiefly for his thickly impastoed portrait and figure paintings, who was widely considered the pre-eminent British artist of his time. His works are noted for their psychological penetration, and for their often discomforting examination of the relationship between artist and model. According to William Grimes of The New York Times, "Lucien Freud and his contemporaries transformed figure painting in the 20th century. In paintings like Girl with a White Dog (1951–1952), Freud put the pictorial language of traditional European painting in the service of an anti-romantic, confrontational style of portraiture that stripped bare the sitter's social facade. Ordinary people—many of them his friends—stared wide-eyed from the canvas, vulnerable to the artist's ruthless inspection." After Abstract Expressionism In abstract painting during the 1950s and 1960s, several new directions like hard-edge painting and other forms of geometric abstraction began to appear in artist studios and in radical avant-garde circles as a reaction against the subjectivism of Abstract Expressionism. Clement Greenberg became the voice of post-painterly abstraction when he curated an influential exhibition of new painting that toured important art museums throughout the United States in 1964. Color field painting, hard-edge painting, and lyrical abstraction emerged as radical new directions. By the late 1960s however, postminimalism, process art and Arte Povera also emerged as revolutionary concepts and movements that encompassed both painting and sculpture, via lyrical abstraction and the post-minimalist movement, and in early conceptual art. Process art, as inspired by Pollock enabled artists to experiment with and make use of a diverse encyclopaedia of style, content, material, placement, sense of time, aplastic, and real space. Nancy Graves, Ronald Davis, Howard Hodgkin, Larry Poons, Jannis Kounellis, Brice Marden, Colin McCahon, Bruce Nauman, Richard Tuttle, Alan Saret, Walter Darby Bannard, Lynda Benglis, Dan Christensen, Larry Zox, Ronnie Landfield, Eva Hesse, Keith Sonnier, Richard Serra, Pat Lipsky, Sam Gilliam, Mario Merz and Peter Reginato were some of the younger artists who emerged during the era of late modernism that spawned the heyday of the art of the late 1960s. Pop art In 1962, the Sidney Janis Gallery mounted The New Realists, the first major pop art group exhibition in an uptown art gallery in New York City. Janis mounted the exhibition in a 57th Street storefront near his gallery. The show had a great impact on the New York School as well as the greater worldwide art scene. Earlier in England in 1958 the term "Pop Art" was used by Lawrence Alloway to describe paintings associated with the consumerism of the post World War II era. This movement rejected Abstract Expressionism and its focus on the hermeneutic and psychological interior in favor of art that depicted material consumer culture, advertising, and the iconography of the mass production age. The early works of David Hockney and the works of Richard Hamilton and Eduardo Paolozzi (who created the ground-breaking I was a Rich Man's Plaything, 1947) are considered seminal examples in the movement. Meanwhile, in the downtown scene in New York's East Village 10th Street galleries, artists were formulating an American version of pop art. Claes Oldenburg had his storefront, and the Green Gallery on 57th Street began to show the works of Tom Wesselmann and James Rosenquist. Later Leo Castelli exhibited the works of other American artists, including those of Andy Warhol and Roy Lichtenstein for most of their careers. There is a connection between the radical works of Marcel Duchamp and Man Ray, the rebellious Dadaists with a sense of humor, and pop artists like Claes Oldenburg, Andy Warhol, and Roy Lichtenstein, whose paintings reproduce the look of Ben-Day dots, a technique used in commercial reproduction . Minimalism Minimalism describes movements in various forms of art and design, especially visual art and music, wherein artists intend to expose the essence or identity of a subject through eliminating all nonessential forms, features, or concepts. Minimalism is any design or style wherein the simplest and fewest elements are used to create the maximum effect. As a specific movement in the arts, it is identified with developments in post–World War II Western art, most strongly with American visual arts in the 1960s and early 1970s. Prominent artists associated with this movement include Donald Judd, John McCracken, Agnes Martin, Dan Flavin, Robert Morris, Ronald Bladen, Anne Truitt, and Frank Stella. It derives from the reductive aspects of modernism and is often interpreted as a reaction against Abstract Expressionism and a bridge to Post minimal art practices. By the early 1960s, minimalism emerged as an abstract movement in art (with roots in the geometric abstraction of Kazimir Malevich, the Bauhaus and Piet Mondrian) that rejected the idea of relational and subjective painting, the complexity of Abstract Expressionist surfaces, and the emotional zeitgeist and polemics present in the arena of action painting. Minimalism argued that extreme simplicity could capture all of the sublime representation needed in art. Minimalism is variously construed either as a precursor to postmodernism, or as a postmodern movement itself. In the latter perspective, early Minimalism yielded advanced modernist works, but the movement partially abandoned this direction when some artists like Robert Morris changed direction in favor of the anti-form movement. Hal Foster, in his essay The Crux of Minimalism, examines the extent to which Donald Judd and Robert Morris both acknowledge and exceed Greenbergian modernism in their published definitions of minimalism. He argues that minimalism is not a "dead end" of modernism, but a "paradigm shift toward postmodern practices that continue to be elaborated today." Minimal music The terms have expanded to encompass a movement in music that features such repetition and iteration as those of the compositions of La Monte Young, Terry Riley, Steve Reich, Philip Glass, and John Adams. Minimalist compositions are sometimes known as systems music. The term 'minimal music' is generally used to describe a style of music that developed in America in the late 1960s and 1970s; and that was initially connected with the composers. The minimalism movement originally involved some composers, and other lesser known pioneers included Pauline Oliveros, Phill Niblock, and Richard Maxfield. In Europe, the music of Louis Andriessen, Karel Goeyvaerts, Michael Nyman, Howard Skempton, Eliane Radigue, Gavin Bryars, Steve Martland, Henryk Górecki, Arvo Pärt and John Tavener. Postminimalism In the late 1960s, Robert Pincus-Witten coined the term "postminimalism" to describe minimalist-derived art which had content and contextual overtones that minimalism rejected. The term was applied by Pincus-Witten to the work of Eva Hesse, Keith Sonnier, Richard Serra and new work by former minimalists Robert Smithson, Robert Morris, Sol LeWitt, Barry Le Va, and others. Other minimalists, including Donald Judd, Dan Flavin, Carl Andre, Agnes Martin, John McCracken and others, continued to produce late modernist paintings and sculpture for the remainder of their careers. Since then, many artists have embraced minimal or post-minimal styles, and the label "postmodern" has been attached to them. Collage, assemblage, installations Related to Abstract Expressionism was the emergence of combining manufactured items with artist materials, moving away from previous conventions of painting and sculpture. The work of Robert Rauschenberg exemplifies this trend. His "combines" of the 1950s were forerunners of pop art and installation art, and used assemblages of large physical objects, including stuffed animals, birds and commercial photographs. Rauschenberg, Jasper Johns, Larry Rivers, John Chamberlain, Claes Oldenburg, George Segal, Jim Dine, and Edward Kienholz were among important pioneers of both abstraction and pop art. Creating new conventions of art-making, they made acceptable in serious contemporary art circles the radical inclusion in their works of unlikely materials. Another pioneer of collage was Joseph Cornell, whose more intimately scaled works were seen as radical because of both his personal iconography and his use of found objects. Neo-Dada In 1917, Marcel Duchamp submitted a urinal as a sculpture for the inaugural exhibition of the Society of Independent Artists, which was to be staged at the Grand Central Palace in New York. He professed his intent that people look at the urinal as if it were a work of art because he said it was a work of art. This urinal, named Fountain was signed with the pseudonym "R. Mutt". It is also an example of what Duchamp would later call "readymades". This and Duchamp's other works are generally labelled as Dada. Duchamp can be seen as a precursor to conceptual art, other famous examples being John Cage's 4′33″, which is four minutes and thirty three seconds of silence, and Rauschenberg's Erased de Kooning Drawing. Many conceptual works take the position that art is the result of the viewer viewing an object or act as art, not of the intrinsic qualities of the work itself. In choosing "an ordinary article of life" and creating "a new thought for that object", Duchamp invited onlookers to view Fountain as a sculpture. Marcel Duchamp famously gave up "art" in favor of chess. Avant-garde composer David Tudor created a piece, Reunion (1968), written jointly with Lowell Cross, that features a chess game in which each move triggers a lighting effect or projection. Duchamp and Cage played the game at the work's premier. Steven Best and Douglas Kellner identify Rauschenberg and Jasper Johns as part of the transitional phase, influenced by Duchamp, between modernism and postmodernism. Both used images of ordinary objects, or the objects themselves, in their work, while retaining the abstraction and painterly gestures of high modernism. Performance and happenings During the late 1950s and 1960s artists with a wide range of interests began to push the boundaries of contemporary art. Yves Klein in France, Carolee Schneemann, Yayoi Kusama, Charlotte Moorman and Yoko Ono in New York City, and Joseph Beuys, Wolf Vostell and Nam June Paik in Germany were pioneers of performance-based works of art. Groups like The Living Theatre with Julian Beck and Judith Malina collaborated with sculptors and painters to create environments, radically changing the relationship between audience and performer, especially in their piece Paradise Now. The Judson Dance Theater, located at the Judson Memorial Church, New York; and the Judson dancers, notably Yvonne Rainer, Trisha Brown, Elaine Summers, Sally Gross, Simonne Forti, Deborah Hay, Lucinda Childs, Steve Paxton and others; collaborated with artists Robert Morris, Robert Whitman, John Cage, Robert Rauschenberg, and engineers like Billy Klüver. Park Place Gallery was a center for musical performances by electronic composers Steve Reich, Philip Glass, and other notable performance artists, including Joan Jonas. These performances were intended as works of a new art form combining sculpture, dance, and music or sound, often with audience participation. They were characterized by the reductive philosophies of Minimalism and the spontaneous improvisation and expressivity of Abstract Expressionism. Images of Schneemann's performances of pieces meant to create shock within the audience are occasionally used to illustrate these kinds of art, and she is often photographed while performing her piece Interior Scroll. However, according to modernist philosophy surrounding performance art, it is cross-purposes to publish images of her performing this piece, for performance artists reject publication entirely: the performance itself is the medium. Thus, other media cannot illustrate performance art; performance is momentary, evanescent, and personal, not for capturing; representations of performance art in other media, whether by image, video, narrative or, otherwise, select certain points of view in space or time or otherwise involve the inherent limitations of each medium. The artists deny that recordings illustrate the medium of performance as art. During the same period, various avant-garde artists created Happenings, mysterious and often spontaneous and unscripted gatherings of artists and their friends and relatives in various specified locations, often incorporating exercises in absurdity, physicality, costuming, spontaneous nudity, and various random or seemingly disconnected acts. Notable creators of happenings included Allan Kaprow—who first used the term in 1958, Claes Oldenburg, Jim Dine, Red Grooms, and Robert Whitman. Intermedia, multi-media Another trend in art which has been associated with the term postmodern is the use of a number of different media together. Intermedia is a term coined by Dick Higgins and meant to convey new art forms along the lines of Fluxus, concrete poetry, found objects, performance art, and computer art. Higgins was the publisher of the Something Else Press, a concrete poet married to artist Alison Knowles and an admirer of Marcel Duchamp. Ihab Hassan includes "Intermedia, the fusion of forms, the confusion of realms," in his list of the characteristics of postmodern art. One of the most common forms of "multi-media art" is the use of video-tape and CRT monitors, termed video art. While the theory of combining multiple arts into one art is quite old, and has been revived periodically, the postmodern manifestation is often in combination with performance art, where the dramatic subtext is removed, and what is left is the specific statements of the artist in question or the conceptual statement of their action. Fluxus Fluxus was named and loosely organized in 1962 by George Maciunas (1931–1978), a Lithuanian-born American artist. Fluxus traces its beginnings to John Cage's 1957 to 1959 Experimental Composition classes at The New School for Social Research in New York City. Many of his students were artists working in other media with little or no background in music. Cage's students included Fluxus founding members Jackson Mac Low, Al Hansen, George Brecht and Dick Higgins. Fluxus encouraged a do-it-yourself aesthetic and valued simplicity over complexity. Like Dada before it, Fluxus included a strong current of anti-commercialism and an anti-art sensibility, disparaging the conventional market-driven art world in favor of an artist-centered creative practice. Fluxus artists preferred to work with whatever materials were at hand, and either created their own work or collaborated in the creation process with their colleagues. Andreas Huyssen criticizes attempts to claim Fluxus for postmodernism as "either the master-code of postmodernism or the ultimately unrepresentable art movement—as it were, postmodernism's sublime." Instead he sees Fluxus as a major Neo-Dadaist phenomenon within the avant-garde tradition. It did not represent a major advance in the development of artistic strategies, though it did express a rebellion against "the administered culture of the 1950s, in which a moderate, domesticated modernism served as ideological prop to the Cold War." Avant-garde popular music Modernism had an uneasy relationship with popular forms of music (both in form and aesthetic) while rejecting popular culture. Despite this, Stravinsky used jazz idioms on his pieces like "Ragtime" from his 1918 theatrical work Histoire du Soldat and 1945's Ebony Concerto. In the 1960s, as popular music began to gain cultural importance and question its status as commercial entertainment, musicians began to look to the post-war avant-garde for inspiration. In 1959, music producer Joe Meek recorded I Hear a New World (1960), which Tiny Mix Tapes Jonathan Patrick calls a "seminal moment in both electronic music and avant-pop history [...] a collection of dreamy pop vignettes, adorned with dubby echoes and tape-warped sonic tendrils" which would be largely ignored at the time. Other early Avant-pop productions included the Beatles's 1966 song "Tomorrow Never Knows", which incorporated techniques from musique concrète, avant-garde composition, Indian music, and electro-acoustic sound manipulation into a 3-minute pop format, and the Velvet Underground's integration of La Monte Young's minimalist and drone music ideas, beat poetry, and 1960s pop art. Late period The continuation of Abstract Expressionism, color field painting, lyrical abstraction, geometric abstraction, minimalism, abstract illusionism, process art, pop art, postminimalism, and other late 20th-century modernist movements in both painting and sculpture continued through the first decade of the 21st century and constitute radical new directions in those mediums. At the turn of the 21st century, well-established artists such as Sir Anthony Caro, Lucian Freud, Cy Twombly, Robert Rauschenberg, Jasper Johns, Agnes Martin, Al Held, Ellsworth Kelly, Helen Frankenthaler, Frank Stella, Kenneth Noland, Jules Olitski, Claes Oldenburg, Jim Dine, James Rosenquist, Alex Katz, Philip Pearlstein, and younger artists including Brice Marden, Chuck Close, Sam Gilliam, Isaac Witkin, Sean Scully, Mahirwan Mamtani, Joseph Nechvatal, Elizabeth Murray, Larry Poons, Richard Serra, Walter Darby Bannard, Larry Zox, Ronnie Landfield, Ronald Davis, Dan Christensen, Pat Lipsky, Joel Shapiro, Tom Otterness, Joan Snyder, Ross Bleckner, Archie Rand, Susan Crile, and others continued to produce vital and influential paintings and sculpture. Modern architecture Many skyscrapers in Hong Kong and Frankfurt have been inspired by Le Corbusier and modernist architecture, and his style is still used as influence for buildings worldwide. Modernism in Asia The terms "modernism" and "modernist", according to scholar William J. Tyler, "have only recently become part of the standard discourse in English on modern Japanese literature and doubts concerning their authenticity vis-à-vis Western European modernism remain". Tyler finds this odd, given "the decidedly modern prose" of such "well-known Japanese writers as Kawabata Yasunari, Nagai Kafu, and Jun'ichirō Tanizaki". However, "scholars in the visual and fine arts, architecture, and poetry readily embraced "modanizumu" as a key concept for describing and analysing Japanese culture in the 1920s and 1930s". In 1924, various young Japanese writers, including Kawabata and Riichi Yokomitsu started a literary journal Bungei Jidai ("The Artistic Age"). This journal was "part of an 'art for art's sake' movement, influenced by European Cubism, Expressionism, Dada, and other modernist styles". Japanese modernist architect Kenzō Tange (1913–2005) was one of the most significant architects of the 20th century, combining traditional Japanese styles with modernism, and designing major buildings on five continents. Tange was also an influential patron of the Metabolist movement. He said: "It was, I believe, around 1959 or at the beginning of the sixties that I began to think about what I was later to call structuralism", He was influenced from an early age by the Swiss modernist, Le Corbusier, Tange gained international recognition in 1949 when he won the competition for the design of Hiroshima Peace Memorial Park. In China, the "New Sensationists" (新感觉派, Xīn Gǎnjué Pài) were a group of writers based in Shanghai who in the 1930s and 1940s, were influenced, to varying degrees, by Western and Japanese modernism. They wrote fiction that was more concerned with the unconscious and with aesthetics than with politics or social problems. Among these writers were Mu Shiying and Shi Zhecun. In India, the Progressive Artists' Group was a group of modern artists, mainly based in Mumbai, India formed in 1947. Though it lacked any particular style, it synthesized Indian art with European and North America influences from the first half of the 20th century, including Post-Impressionism, Cubism and Expressionism. Modernism in Africa Peter Kalliney suggests that "Modernist concepts, especially aesthetic autonomy, were fundamental to the literature of decolonization in anglophone Africa." In his opinion, Rajat Neogy, Christopher Okigbo, and Wole Soyinka, were among the writers who "repurposed modernist versions of aesthetic autonomy to declare their freedom from colonial bondage, from systems of racial discrimination, and even from the new postcolonial state". Relationship with postmodernism By the early 1980s, the postmodern movement in art and architecture began to establish its position through various conceptual and intermedia formats. Postmodernism in music and literature began to take hold earlier. In music, postmodernism is described in one reference work as a "term introduced in the 1970s", while in British literature, The Oxford Encyclopaedia of British Literature sees modernism "ceding its predominance to postmodernism" as early as 1939. However, dates are highly debatable, especially as, according to Andreas Huyssen: "one critic's postmodernism is another critic's modernism." This includes those who are critical of the division between the two, see them as two aspects of the same movement, and believe that late modernism continues. Modernism is an all-encompassing label for a wide variety of cultural movements. Postmodernism is essentially a centralized movement that named itself, based on socio-political theory, although the term is now used in a wider sense to refer to activities from the 20th century onwards which exhibit awareness of and reinterpret the modern. Postmodern theory asserts that the attempt to canonize modernism "after the fact" is doomed to unresolvable contradictions. And since the crux of postmodernism critiques any claim to a single discernible truth, postmodernism and modernism conflict on the existence of truth. Where modernists approach the issue of 'truth' with different theories (correspondence, coherence, pragmatist, semantic, etc.), postmodernists approach the issue of truth negatively by disproving the very existence of an accessible truth. In a narrower sense, what was modernist was not necessarily also postmodernist. Those elements of modernism which accentuated the benefits of rationality and socio-technological progress were only modernist. Modernist reactions against postmodernism include remodernism, which rejects the cynicism and deconstruction of postmodern art in favor of reviving early modernist aesthetic currents. Criticism of late modernity Although artistic modernism tended to reject capitalist values such as consumerism, 20th century civil society embraced global mass production and the proliferation of cheap and accessible commodities. This period of social development is known as "late or high modernity" and originates in advanced in Western societies. The German sociologist Jürgen Habermas, in The Theory of Communicative Action (1981), developed the first substantive critique of the culture of late modernity. Another important early critique of late modernity is the American sociologist George Ritzer's The McDonaldization of Society (1993). Ritzer describes how late modernity became saturated with fast food consumer culture. Other authors have demonstrated how modernist devices appeared in popular cinema, and later on in music videos. Modernist design has entered the mainstream of popular culture, as simplified and stylized forms became popular, often associated with dreams of a space age high-tech future. In 2008, Janet Bennett published Modernity and Its Critics through The Oxford Handbook of Political Theory. Merging of consumer and high -end versions of modernist culture led to a radical transformation of the meaning of "modernism". First, it implied that a movement based on the rejection of tradition had become a tradition of its own. Second, it demonstrated that the distinction between elite modernist and mass consumerist culture had lost its precision. Modernism had become so institutionalized that it was now "post avant-garde", indicating that it had lost its power as a revolutionary movement. Many have interpreted this transformation as the beginning of the phase that became known as postmodernism. For others, such as art critic Robert Hughes, postmodernism represents an extension of modernism. "Anti-Modern" or "Counter-Modern" movements seek to emphasize holism, connection and spirituality as remedies or antidotes to modernism. Such movements see modernism as reductionist, and therefore subject to an inability to see systemic and emergent effects. Some traditionalist artists like Alexander Stoddart reject modernism generally as the product of "an epoch of false money allied with false culture". In some fields, the effects of modernism have remained stronger and more persistent than in others. Visual art has made the most complete break with its past. Most major capital cities have museums devoted to modern art as distinct from post-Renaissance art ( to ). Examples include the Museum of Modern Art in New York, the Tate Modern in London, and the Centre Pompidou in Paris. These galleries make no distinction between modernist and postmodernist phases, seeing both as developments within modern art. See also Footnotes References Sources John Barth (1979) The Literature of Replenishment, later republished in The Friday Book (1984). Eco, Umberto (1990) Interpreting Serials in The limits of interpretation, pp. 83–100, excerpt Everdell, William R. (1997) The First Moderns: Profiles in the Origins of Twentieth Century Thought (Chicago: University of Chicago Press). Orton, Fred and Pollock, Griselda (1996) Avant-Gardes and Partisans Reviewed, Manchester University. Steiner, George (1998) After Babel, ch.6 Topologies of culture, 3rd revised edition Art Berman (1994) Preface to Modernism, University of Illinois Press. Further reading Robert Archambeau. "The Avant-Garde in Babel. Two or Three Notes on Four or Five Words", Action-Yes vol. 1, issue 8 Autumn 2008. Armstrong, Carol and de Zegher, Catherine (eds.), Women Artists as the Millennium, Cambridge, MA: October Books, MIT Press, 2006. . Aspray, William & Philip Kitcher, eds., History and Philosophy of Modern Mathematics, Minnesota Studies in the Philosophy of Science vol. XI, Minneapolis: University of Minnesota Press, 1988 Bäckström, Per (ed.), Centre-Periphery. The Avant-Garde and the Other , Nordlit. University of Tromsø, no. 21, 2007. Bäckström, Per. "One Earth, Four or Five Words. The Peripheral Concept of 'Avant-Garde'" , Action-Yes vol. 1, issue 12 Winter 2010 Bäckström, Per & Bodil Børset (eds.), Norsk avantgarde (Norwegian Avant-Garde), Oslo: Novus, 2011. Bäckström, Per & Benedikt Hjartarson (eds.), Decentring the Avant-Garde , Amsterdam & New York: Rodopi, Avantgarde Critical Studies, 2014. Bäckström, Per and Benedikt Hjartarson. "Rethinking the Topography of the International Avant-Garde", in Decentring the Avant-Garde , Per Bäckström & Benedikt Hjartarson (eds.), Amsterdam & New York: Rodopi, Avantgarde Critical Studies, 2014. Baker, Houston A. Jr., Modernism and the Harlem Renaissance, Chicago: University of Chicago Press, 1987 Berman, Marshall, All That Is Solid Melts into Air: The Experience of Modernity. Second ed. London: Penguin, 1982. . Bradbury, Malcolm, & James McFarlane (eds.), Modernism: A Guide to European Literature 1890–1930 (Penguin "Penguin Literary Criticism" series, 1978, ). Brush, Stephen G., The History of Modern Science: A Guide to the Second Scientific Revolution, 1800–1950, Ames, IA: Iowa State University Press, 1988 Centre Georges Pompidou, Face a l'Histoire, 1933–1996. Flammarion, 1996. . Crouch, Christopher, Modernism in art design and architecture, New York: St. Martin's Press, 2000 Eysteinsson, Astradur, The Concept of Modernism, Ithaca, NY: Cornell University Press, 1992 Friedman, Julia . Beyond Symbolism and Surrealism: Alexei Remizov's Synthetic Art, Northwestern University Press, 2010. (Trade Cloth) Frascina, Francis, and Charles Harrison (eds.). Modern Art and Modernism: A Critical Anthology. Published in association with The Open University. London: Harper and Row, Ltd. Reprinted, London: Paul Chapman Publishing, Ltd., 1982. Gates, Henry Louis. The Norton Anthology of African American Literature. W.W. Norton & Company, Inc., 2004. Hughes, Robert, The Shock of the New: Art and the Century of Change (Gardners Books, 1991, ). Kenner, Hugh, The Pound Era (1971), Berkeley, CA: University of California Press, 1973 Kern, Stephen, The Culture of Time and Space, Cambridge, MA: Harvard University Press, 1983 Klein, Jürgen, On Modernism, Berlin, Bruxelles, Lausanne, New York Oxford: Peter Lang, 2022 ISBN 978-3-631-87869-9. Kolocotroni, Vassiliki et al., ed.,Modernism: An Anthology of Sources and Documents (Edinburgh: Edinburgh University Press, 1998). Levenson, Michael, (ed.), The Cambridge Companion to Modernism (Cambridge University Press, "Cambridge Companions to Literature" series, 1999, ). Lewis, Pericles. The Cambridge Introduction to Modernism (Cambridge: Cambridge University Press, 2007). Nicholls, Peter, Modernisms: A Literary Guide (Hampshire and London: Macmillan, 1995). Pevsner, Nikolaus, Pioneers of Modern Design: From William Morris to Walter Gropius (New Haven, CT: Yale University Press, 2005, ). The Sources of Modern Architecture and Design (Thames & Hudson, "World of Art" series, 1985, ). Pollock, Griselda, Generations and Geographies in the Visual Arts. (Routledge, London, 1996. ). Pollock, Griselda, and Florence, Penny, Looking Back to the Future: Essays by Griselda Pollock from the 1990s. (New York: G&B New Arts Press, 2001. ) Sass, Louis A. (1992). Madness and Modernism: Insanity in the Light of Modern Art, Literature, and Thought. New York: Basic Books. Cited in Bauer, Amy (2004). "Cognition, Constraints, and Conceptual Blends in Modernist Music", in The Pleasure of Modernist Music. . Schorske, Carl. Fin-de-Siècle Vienna: Politics and Culture. Vintage, 1980. . Schwartz, Sanford, The Matrix of Modernism: Pound, Eliot, and Early Twentieth Century Thought, Princeton, NJ: Princeton University Press, 1985 Tyler, William J., ed. Modanizumu: Modernist Fiction from Japan, 1913–1938. University of Hawai'i Press, 2008. Van Loo, Sofie (ed.), Gorge(l). Royal Museum of Fine Arts, Antwerp, 2006. . Weir, David, Decadence and the Making of Modernism, 1995, University of Massachusetts Press, . Weston, Richard, Modernism (Phaidon Press, 2001, ). de Zegher, Catherine, Inside the Visible. (Cambridge, MA: MIT Press, 1996). External links Ballard, J. G., on Modernism. Denzer, Anthony S., PhD, Masters of Modernism. Hoppé, E. O., photographer, Edwardian Modernists. Malady of Writing. Modernism you can dance to An online radio show that presents a humorous version of Modernism Modernism Lab @ Yale University Modernism/Modernity , official publication of the Modernist Studies Association Modernism vs. Postmodernism Aesthetics Architectural styles Art movements Modernism Theories of aesthetics

Cultural identity

Cultural identity is a part of a person's identity, or their self-conception and self-perception, and is related to nationality, ethnicity, religion, social class, generation, locality, gender, or any kind of social group that has its own distinct culture. In this way, cultural identity is both characteristic of the individual but also of the culturally identical group of members sharing the same cultural identity or upbringing. Cultural identity is an unfixed process that is continually evolving within the discourses of social, cultural, and historical experiences. Some people undergo more cultural identity changes as opposed to others, those who change less often have a clear cultural identity. This means that they have a dynamic yet stable integration of their culture. There are three pieces that make up a person's cultural identity: cultural knowledge, category label, and social connections. Cultural knowledge refers to a person's connection to their identity through understanding their culture's core characteristics. Category label refers to a person's connection to their identity through indirect membership of said culture. Social connections refers to a person's connection to their identity through their social relationships. Cultural identity is developed through a series of steps. First, a person comes to understand a culture through being immersed in those values, beliefs, and practices. Second, the person then identifies as a member of that culture dependent on their rank within that community. Third, they develop relationships such as immediate family, close friends, coworkers, and neighbors. Culture is a term that is highly complex and often contested with academics recording about 160 variations in meaning. Underpinning the notion of culture is that it is dynamic and changes over time and in different contexts resulting in many people today identifying with one or more cultures and many different ways. It is a defining feature of a person's identity, contributing to how they see themselves and the groups with which they identify. A person's understanding of their own and other's identities develops from birth and is shaped by the values and attitudes prevalent at home and in the surrounding community. Description Various modern cultural studies and social theories have investigated cultural identity and understanding. In recent decades, a new form of identification has emerged that breaks down the understanding of the individual as a coherent whole subject into a collection of various cultural identifiers. These cultural identifiers may be the result of various conditions including: location, sex, race, history, nationality, language, sexuality, religious beliefs, ethnicity, aesthetics, and food. As one author writes: When talking about identity, we generally define this word as the series of physical features that differentiate a person. Thus at birth, our parents declare us and give us a name with which they will identify us based on whether we are a boy or a girl. Identity is not only a right that declares the name, sex, time, and place that one is born; the word identity goes beyond what we define it. Identity is a function of elements that portrays one in a dynamic way, in constant evolution, throughout the stages of life identity develops based on personal experiences, tastes, and choices of a sexual and religious nature, as well as the social environment, these being some of the main parameters that influence and transform the day to day and allow us to discover a new part of ourselves. The divisions between cultures can be very fine in some parts of the world, especially in rapidly changing cities where the population is ethnically diverse and social unity is based primarily on locational contiguity. As a "historical reservoir," culture is an important factor in shaping identity. Since one of the main characteristics of a culture is its "historical reservoir," many if not all groups entertain revisions, either consciously or unconsciously, in their historical record in order to either bolster the strength of their cultural identity or to forge one which gives them precedent for actual reform or change. Some critics of cultural identity argue that the preservation of cultural identity, being based upon difference, is a divisive force in society and that cosmopolitanism gives individuals a greater sense of shared citizenship. When considering practical association in international society, states may share an inherent part of their 'make up' that gives common ground and an alternative means of identifying with each other. Nations provide the framework for cultural identities called external cultural reality, which influences the unique internal cultural realities of the individuals within the nation. There is a relationship between cultural identity and new media. Rather than necessarily representing an individual's interaction within a certain group, cultural identity may be defined by the social network of people imitating and following the social norms as presented by the media. Accordingly, instead of learning behavior and knowledge from cultural/religious groups, individuals may be learning these social norms from the media to build on their cultural identity. A range of cultural complexities structures the way individuals operate with the cultural realities in their lives. Nation is a large factor of the cultural complexity, as it constructs the foundation for an individual's identity, but it may contrast with one's cultural reality. Cultural identities are influenced by several different factors such as ones religion, ancestry, skin color, language, class, education, profession, skill, family and political attitudes. These factors contribute to the development of one's identity. History The history of cultural identity develops out of the observations of a number of social scientists. A history of cultural identity is important because it outlines the understanding of how our identities provide a way to see ourselves in relation to the world in which we live. "Cultural identities...are the natural, and most fundamental, constitutive elements of individual and collective identity." Franz Boas is an important figure in the creation of the idea of cultural identity. Boas is known for challenging ideas about culture. Boas promoted the importance of viewing a culture from within its own perspective and understanding, not from the outsider's view point. This was a somewhat radical perspective at the time. Additionally, Myron Lustig is credited with contributing the concept of cultural identity theory. A number of contemporary theorists continue to contribute to the concept of cultural identity. For instance, contemporary work completed by Stuart Hall is considered essential to understand cultural identity. According to Hall, identity is defined by at least two specific actions, which are similarity and difference. Specifically, in settings of slavery and colonization, identity provides a connection to the past as well as disintegration from a shared origination. Theorists' questions about identity include “whether identity is to be understood as something internal that persists through change or as something ascribed from without that changes according to circumstance." Whatever the case may be, Gleason advocates for “sensitivity to the intrinsic complexities of the subject matter with which it deals, and careful attention to the need for precision and consistency in its application. Cultural identity can also become a marker of difference that requires sensitivity. Kuper presents concepts on cultural identity within the framework of a power dynamic. He writes, "The privileged lie and mislead, but the oppressed come gradually to appreciate their objective circumstances and formulate a new consciousness that will ultimately liberate them." The consciousness is a facet of their identity. Similarly, identity plays a role in mediating between a human being and the environment in which they exist. The identity of a person is “a result of socialization and customs” that promotes the maintenance of distinct cultural identities from generation to generation. Additionally, identity can be considered that which forms cultures and results in “dictated appropriate behavior." Put another way, identity may dictate behavior that results in the reification of identity with the individual as a “replicate in miniature of the larger social and cultural entity. Another way to consider cultural identity is that it is “the sum of material wealth and spiritual wealth created by human beings in the practice of social history." Globalization is connected to influences in economics, politics, and society. Accordingly, globalization has an impact on cultural identity. As societies become even more connected, there are concerns that cultural identities will become homogenized through the increased level of connection and communication. However, there are alternative perspectives on this issue. For instance, Wright theorizes that "The spread of global culture and globalised ideas has led to many movements designed to embrace the uniqueness and diversity of an individual’s particular culture." Cultural arena It is also noted that an individual's "cultural arena," or place where one lives, impacts the culture that person abides by. The surroundings, environment, and people in these places play a role in how one feels about the culture they wish to adopt. Many immigrants find the need to change their culture in order to fit into the culture of most citizens in the country. This can conflict with an immigrant's current belief in their culture and might pose a problem, as the immigrant feels compelled to choose between the two presenting cultures. Some might be able to adjust to the various cultures in the world by committing to two or more cultures. It is not required to stick to one culture. Many people socialize and interact with people in one culture in addition to another group of people in another culture. Thus, cultural identity is able to take many forms and can change depending on the cultural area. The impact of the cultural arena has changed with the advent of the Internet, bringing together groups of people with shared cultural interests who before would have been more likely to integrate into their real-world cultural arena. This adaptability is what allows people to feel a part of society and culture wherever they go. Language Language allows for people in a group to communicate their values, beliefs, and customs, all of which contribute to creating a cultural identity. It was for a long time believed that if children lose their languages, they lose part or all of their cultural identity. When students who are non-native English speakers, go to classes where they are required to speak only English, they feel that their native language has no value. Some studies found, that this leads to loss of their culture and language altogether and this can lead to either a massive change in cultural identity, or they find themselves struggling to understand who they are. Language also includes the way people speak with peers, family members, authority figures, and strangers, including the tone and familiarity that is included in the language. The learning process can also be affected by cultural identity via the understanding of specific words, and the preference for specific words when learning and using a second language. Since many aspects of a person's cultural identity can be changed, such as citizenship or influence from outside cultures, language is a major component of cultural identity. However, more recent research could show, that language may be not a crucial part of a person's identity or cultural identity. Education Cultural identity is often not discussed in the classroom or learning environment where an instructor presides over the class. This often happens when the instructor attempts to discuss cultural identity and the issues that come with it in the classroom and is met with disagreement and cannot make forward progress in the conversation. Moreover, not talking about cultural identity can lead to issues such as prohibiting growth of education, development of a sense of self, and social competency. In these environments there are often many different cultures and problems can occur due to different worldviews that prevent others from being able to think outwardly about their peers' values and differing backgrounds. If students are able to think outwardly, then they can not only better connect with their peers, but also further develop their own worldview. In addition to this, instructors should take into account the needs of different students' backgrounds in order to best relay the material in a way that engages the student. When students learn that knowledge and truth are relevant to each person, that instructors do not know everything, and that their own personal experiences dictate what they believe they can better contextualize new information using their own experiences as well as taking into account the different cultural experiences of others. This in turn increases the ability to critically think and challenge new information which benefits all students learning in a classroom setting. There are two ways instructors can better elicit this response from their students through active communication of cultural identity. The first is by having students engage in class discussion with their peers. Doing so creates community and allows for students to share their knowledge as well as question their peers and instructors, thereby, learning about each other's cultural identity and creating acceptance of differing worldviews in the classroom. The second way is by using active learning methods such as "forming small groups and analyzing case studies". Through engaging in active learning students learn that their cultural identity is welcomed and accepted. Cultural identity and immigrant experience Identity development among immigrant groups has been studied across a multi-dimensional view of acculturation. Acculturation is the phenomenon that results when groups or individuals from different cultures come into continuous contact with one another and adopt certain values and practices that were not originally their own. Acculturation is unique from assimilation. Dina Birman and Edison Trickett (2001) conducted a qualitative study through informal interviews with first-generation Soviet Jewish refugee adolescents looking at the process of acculturation through three different dimensions: language competence, behavioral acculturation, and cultural identity. The results indicated that "acculturation appears to occur in a linear pattern over time for most dimensions of acculturation, with acculturation to the American culture increasing and acculturation to the Russian culture decreasing. However, Russian language competence for the parents did not diminish with length of residence in the country" (Birman & Trickett, 2001). In a similar study, Phinney, Horencyzk, Liebkind, and Vedder (2001) focused on a model, which concentrates on the interaction between immigrant characteristics and the responses of the majority society to understand the psychological effects of immigration. The researchers concluded that most studies find that being bicultural, the combination of a strong ethnic and a strong national identity, yields the best adaptation in the new country of residence. An article by LaFromboise, L. K. Colemna, and Gerton, reviews the literature on the impact of being bicultural. It showed that it is possible to have the ability to obtain competence within two cultures without losing one's sense of identity or having to identity with one culture over the other. (LaFromboise Et Al. 1993) The importance of ethnic and national identity in the educational adaptation of immigrants indicates that a bicultural orientation is advantageous for school performance (Portes & Rumbaut, 1990). Educators can assume their positions of power in beneficially impactful ways for immigrant students, by providing them with access to their native cultural support groups, language classes, after-school activities, and clubs in order to help them feel more connected to both native and national cultures. It is clear that the new country of residence can impact immigrants' identity development across multiple dimensions. Biculturalism can allow for a healthy adaptation to life and school. With many new immigrant youth, a school district in Alberta, Canada, has gone as far as to partner with various agencies and professionals in an effort to aid the cultural adjustment of new Filipino immigrant youths. In the study cited, a combination of family workshops and teacher professional development aimed to improve the language learning and emotional development of these youths and families. School Transitions How great is "Achievement Loss Associated with the Transition to Middle School and High School"? John W. Alspaugh's research is in the September/October 1998 Journal of Educational Research (vol. 92, no. 1), 2026. Comparing three groups of 16 school districts, the loss was greater where the transition was from sixth grade than from a K-8 system. It was also greater when students from multiple elementary schools merged into a single middle school. Students from both K-8 and middle schools lost achievement in transition to high school, though this was greater for middle school students, and high school dropout rates were higher for districts with grades 6-8 middle schools than for those with K-8 elementary schools. The Jean S. Phinney Three-Stage Model of Ethnic Identity Development is a widely accepted view of the formation of cultural identity. In this model cultural Identity is often developed through a three-stage process: unexamined cultural identity, cultural identity search, and cultural identity achievement. Unexamined cultural identity: "a stage where one's cultural characteristics are taken for granted, and consequently there is little interest in exploring cultural issues." This for example is the stage one is in throughout their childhood when one doesn't distinguish between cultural characteristics of their household and others. Usually, a person in this stage accepts the ideas they find on culture from their parents, the media, community, and others. An example of thought in this stage: "I don't have a culture I'm just an American." "My parents tell me about where they lived, but what do I care? I've never lived there." Cultural identity search: "is the process of exploration and questioning about one's culture in order to learn more about it and to understand the implications of membership in that culture." During this stage a person will begin to question why they hold their beliefs and compare it to the beliefs of other cultures. For some this stage may arise from a turning point in their life or from a growing awareness of other cultures. This stage is characterized by growing awareness in social and political forums and a desire to learn more about culture. This can be expressed by asking family members questions about heritage, visiting museums, reading of relevant cultural sources, enrolling in school courses, or attendance at cultural events. This stage might have an emotional component as well. An example of thought in this stage: "I want to know what we do and how our culture is different from others." "There are a lot of non-Japanese people around me, and it gets pretty confusing to try and decide who I am." Cultural identity achievement: "is characterized by a clear, confident acceptance of oneself and an internalization of one's cultural identity." In this stage people often allow the acceptance of their cultural identity play a role in their future choices such as how to raise children, how to deal with stereotypes and any discrimination and approach negative perceptions. This usually leads to an increase in self-confidence and positive psychological adjustment The role of the internet There is a set of phenomena that occur in conjunction between virtual culture – understood as the modes and norms of behavior associated with the internet and the online world – and youth culture. While we can speak of a duality between the virtual (online) and real sphere (face-to-face relations), for youth, this frontier is implicit and permeable. On occasions – to the annoyance of parents and teachers – these spheres are even superposed, meaning that young people may be in the real world without ceasing to be connected. In the present techno-cultural context, the relationship between the real world and the virtual world cannot be understood as a link between two independent and separate worlds, possibly coinciding at a point, but as a Moebius strip where there exists no inside and outside and where it is impossible to identify limits between both. For new generations, to an ever-greater extent, digital life merges with their home life as yet another element of nature. In this naturalizing of digital life, the learning processes from that environment are frequently mentioned not just since they are explicitly asked but because the subject of the internet comes up spontaneously among those polled. The ideas of active learning, of googling 'when you don't know', of recourse to tutorials for learning a program or a game, or the expression 'I learnt English better and in a more entertaining way by playing' are examples often cited as to why the internet is the place most frequented by the young people polled. The internet is becoming an extension of the expressive dimension of the youth condition. There, youth talk about their lives and concerns, design the content that they make available to others and assess others' reactions to it in the form of optimized and electronically mediated social approval. Many of today's youth go through processes of affirmation procedures and is often the case for how youth today grow dependent on peer approval. When connected, youth speak of their daily routines and lives. With each post, image or video they upload, they have the possibility of asking themselves who they are and to try out profiles differing from those they assume in the 'real' world. The connections they feel in more recent times have become much less interactive through personal means compared to past generations. The influx of new technology and access has created new fields of research on effects on teens and young adults. They thus negotiate their identity and create senses of belonging, putting the acceptance and censure of others to the test, an essential mark of the process of identity construction. Youth ask themselves about what they think of themselves, how they see themselves personally and, especially, how others see them. On the basis of these questions, youth make decisions which, through a long process of trial and error, shape their identity. This experimentation is also a form through which they can think about their insertion, membership and sociability in the 'real' world. From other perspectives, the question arises on what impact the internet has had on youth through accessing this sort of 'identity laboratory' and what role it plays in the shaping of youth identity. On the one hand, the internet enables young people to explore and perform various roles and personifications while on the other, the virtual forums – some of them highly attractive, vivid and absorbing (e.g. video games or virtual games of personification) – could present a risk to the construction of a stable and viable personal identity. See also Sources References Sources Gad Barzilai, Communities and Law: Politics and Cultures of Legal Identities University of Michigan Press, 2003. Tan, S.-h. (2005). Challenging citizenship: group membership and cultural identity in a global age. Aldershot, Hants, England: Ashgate. Bunschoten, R., Binet, H., & Hoshino, T. (2001). Urban flotsam: stirring the city : Chora. Rotterdam: 010 Publishers. Mandelbaum, M. (2000). The new European diasporas: national minorities and conflict in Eastern Europe. New York: Council on Foreign Relations Press Houtman, G. (1999). Mental culture in Burmese crisis politics: Aung San Suu Kyi and the National League for Democracy. Tokyo: Institute for the Study of Languages and Cultures of Asia and Africa, Tokyo University of Foreign Studies. (library.cornell.edu). Sagasti, F. R., & Alcalde, G. (1999). Development cooperation in a fractured global order: an arduous transition. Ottawa: International Development Research Centre. Crahan, M. E., & Vourvoulias-Bush, A. (1997). The city and the world: New York's global future. New York: Council on Foreign relations. Hall, S., & Du Gay, P. (1996). Questions of cultural identity. London: Sage. Cable, V. (1994). The world's new fissures: identities in crisis. London: Demos. Berkson, I. B. (1920).Theories of Americanization a critical study, with special reference to the Jewish group. New York City: Teachers College, Columbia University. Mora, Necha. (2008). Further reading Anderson, Benedict (1983). Imagined Communities. London: Verso. Balibar, Renée & Laporte, Dominique (1974). Le français national: Politique et pratique de la langue nationale sous la Révolution. Paris: Hachette. (full-text IDENTITIES: how Governed, Who Pays?) de Certeau, Michel; Julia, Dominique; & Revel, Jacques (1975). Une politique de la langue: La Révolution française et les patois. Paris: Gallimard. Evangelista, M. (2003). "Culture, Identity, and Conflict: The Influence of Gender," in Conflict and Reconstruction in Multiethnic Societies, Washington, D.C.: The National Academies Press Fishman, Joshua A. (1973). Language and Nationalism: Two Integrative Essays. Rowley, MA: Newbury House. Gellner, Ernest (1983). Nations and Nationalism. Oxford: Basil Blackwell. Gordon, David C. (1978). The French Language and National Identity (1930–1975). The Hague: Mouton. Milstein, T. & Castro-Sotomayor, J. (2020). "Routledge Handbook of Ecocultural Identity". London, UK: Routledge. https://doi.org/10.4324/9781351068840 Robyns, Clem (1995). "Defending the national identity". In Andreas Poltermann (Ed.), Literaturkanon, Medienereignis, Kultureller Text. Berlin: Erich Schmidt Verlag . Sparrow, Lise M. (2014). Beyond multicultural man: Complexities of identity. In Molefi Kete Asante, Yoshitaka Miike, & Jing Yin (Eds.), The global intercultural communication reader (2nd ed., pp. 393–414). New York, NY: Routledge. Stewart, Edward C., & Bennet, Milton J. (1991). American cultural patterns: A cross-cultural perspective (Rev. ed.). Yarmouth, ME: Intercultural Press. Woolf, Stuart. "Europe and the Nation-State". EUI Working Papers in History 91/11. Florence: European University Institute. Anthropology Cultural geography Identity Identity Cross-cultural psychology

Postmodernism

Postmodernism is a term used to refer to a variety of artistic, cultural, and philosophical movements that claim to mark a break from modernism. They have in common the conviction that it is no longer possible to rely upon previous ways of representing reality. Still, there is disagreement among experts about its more precise meaning even within narrow contexts. The term began to acquire its current range of meanings in literary criticism and architectural theory during the 1950s–1960s. In opposition to modernism's alleged self-seriousness, postmodernism is characterized by its playful use of eclectic styles and performative irony, among other features. Critics claim it supplants moral, political, and aesthetic ideals with mere style and spectacle. In the 1990s, "postmodernism" came to denote a general – and, in general, celebratory – response to cultural pluralism. Proponents align themselves with feminism, multiculturalism, and postcolonialism. Building upon poststructural theory, postmodern thought defined itself by the rejection of any single, foundational historical narrative. This called into question the legitimacy of the Enlightenment account of progress and rationality. Critics allege that its premises lead to a nihilistic form of relativism. In this sense, it has become a term of abuse in popular culture. Definitions "Postmodernism" is "a highly contested term", referring to "a particularly unstable concept", that "names many different kinds of cultural objects and phenomena in many different ways". It is "diffuse, fragmentary, [and] multi-dimensional". Critics have described it as "an exasperating term" and claim that its indefinability is "a truism". Put otherwise, postmodernism is "several things at once". It has no single definition, and the term does not name any single unified phenomenon, but rather many diverse phenomena: "postmodernisms rather than one postmodernism". Although postmodernisms are generally united in their effort to transcend the perceived limits of modernism, "modernism" also means different things to different critics in various arts. Further, there are outliers on even this basic stance; for instance, literary critic William Spanos conceives postmodernism, not in period terms, but in terms of a certain kind of literary imagination so that pre-modern texts such as Euripides' Orestes or Cervantes' Don Quixote count as postmodern. All this notwithstanding, scholar Hans Bertens offers the following: If there is a common denominator to all these postmodernisms, it is that of a crisis in representation: a deeply felt loss of faith in our ability to represent the real, in the widest sense. No matter whether they are aesthestic [sic], epistemological, moral, or political in nature, the representations that we used to rely on can no longer be taken for granted.In practice, across its many manifestations, postmodernism shares an attitude of skepticism towards grand explanations and established ways of doing things. In art, literature, and architecture, it blurs boundaries between styles and genres, and encourages freely mixing elements, challenging traditional distinctions like high art versus "popular art". In science, it emphasizes multiple ways of seeing things, and how our cultural and personal backgrounds shape our realities, making it impossible to be completely neutral and "objective". In philosophy, education, history, politics, and many other fields, it encourages critical re-examination of established institutions and social norms, embracing diversity and breaking down disciplinary boundaries. Though these ideas weren't strictly new, postmodernism amplified them, using an often playful, at times deeply critical, attitude of pervasive skepticism to turn them into defining features. Historical overview The term first appeared in print in 1870, but it only began to enter circulation with its current range of meanings in the 1950s—60s. Early appearances The term "postmodern" was first used in 1870 by the artist John Watkins Chapman, who described "a Postmodern style of painting" as a departure from French Impressionism. Similarly, the first citation given by the Oxford English Dictionary is dated to 1916, describing Gus Mager as "one of the few 'post' modern painters whose style is convincing". Episcopal priest and cultural commentator J. M. Thompson, in a 1914 article, uses the term to describe changes in attitudes and beliefs in the critique of religion, writing, "the raison d'être of Post-Modernism is to escape from the double-mindedness of modernism by being thorough in its criticism by extending it to religion as well as theology, to Catholic feeling as well as to Catholic tradition". In 1926, Bernard Iddings Bell, president of St. Stephen's College and also an Episcopal priest, published Postmodernism and Other Essays, which marks the first use of the term to describe an historical period following modernity. The essay criticizes lingering socio-cultural norms, attitudes, and practices of the Enlightenment. It is also critical of a purported cultural shift away from traditional Christian beliefs. The term "postmodernity" was first used in an academic historical context as a general concept for a movement by Arnold J. Toynbee in a 1939 essay, which states that "Our own Post-Modern Age has been inaugurated by the general war of 1914–1918". In 1942, the literary critic and author H. R. Hays describes postmodernism as a new literary form. Also in the arts, the term was first used in 1949 to describe a dissatisfaction with the modernist architectural movement known as the International Style. Although these early uses anticipate some of the concerns of the debate in the second part of the 20th century, there is little direct continuity in the discussion. Just when the new discussion begins, however, is also a matter of dispute. Various authors place its beginnings in the 1950s, 1960s, 1970s, and 1980s. Theoretical development In the mid-1970s, the American sociologist Daniel Bell provided a general account of the postmodern as an effectively nihilistic response to modernism's alleged assault on the Protestant work ethic and its rejection of what he upheld as traditional values. The ideals of modernity, per his diagnosis, were degraded to the level of consumer choice. This research project, however, was not taken up in a significant way by others until the mid-1980s when the work of Jean Baudrillard and Fredric Jameson, building upon art and literary criticism, reintroduced the term to sociology. Discussion about the postmodern in the second part of the 20th century was most articulate in areas with a large body of critical discourse around the modernist movement. Even here, however, there continued to be disagreement about such basic issues as whether postmodernism is a break with modernism, a renewal and intensification of modernism, or even, both at once, a rejection and a radicalization of its historical predecessor. According to scholar Steven Connor, discussions of the 1970s were dominated by literary criticism, to be supplanted by architectural theory in the 1980s. Some of these conversations made use of French poststructuralist thought, but only after these innovations and critical discourse in the arts did postmodernism emerge as a philosophical term in its own right. In literary and architectural theory According to Hans Bertens and Perry Anderson, the Black Mountain poets Charles Olson and Robert Creeley first introduced the term "postmodern" in its current sense during the 1950s. Their stance against modernist poetry – and Olson's Heideggerian orientation – were influential in the identification of postmodernism as a polemical position opposed to the rationalist values championed by the Enlightenment project. During the 1960s, this affirmative use gave way to a pejorative use by the New Left, who used it to describe a waning commitment among youth to the political ideals socialism and communism. The literary critic Irving Howe, for instance, denounced postmodern literature for being content to merely reflect, rather than actively attempt to refashion, what he saw as the "increasingly shapeless" character of contemporary society. In the 1970s, this changed again, largely under the influence of the literary critic Ihab Hassan's large-scale survey of works that he said could no longer be called modern. Taking the Black Mountain poets an exemplary instance of the new postmodern type, Hassan celebrates its Nietzschean playfulness and cheerfully anarchic spirit, which he sets off against the high seriousness of modernism. (Yet, from another perspective, Friedrich Nietzsche's attack on Western philosophy and Martin Heidegger's critique of metaphysics posed deep theoretical problems not necessarily a cause for aesthetic celebration. Their further influence on the conversation about postmodernism, however, would be largely mediated by French poststructuralism.) If literature was at the center of the discussion in the 1970s, architecture is at the center in the 1980s. The architectural theorist Charles Jencks, in particular, connects the artistic avant-garde to social change in a way that captures attention outside of academia. Jenckes, much influenced by the American architect Robert Venturi, celebrates a plurality of forms and encourages participation and active engagement with the local context of the built environment. He presents this as in opposition to the "authoritarian style" of International Modernism. The influence of poststructuralism In the 1970s, postmodern criticism increasingly came to incorporate poststructuralist theory, particularly the deconstructive approach to texts most strongly associated with Jacques Derrida. Derrida attempted to demonstrate that the whole foundationalist approach to language and knowledge was untenable and misguided. He was also critical of what he claimed to expose as the artificial binary oppositions (e.g., subject/object, speech/writing) that he claims are at the heart of Western culture and philosophy. It is during this period that postmodernism comes to be particularly equated with a kind of anti-representational self-reflexivity. In the 1980s, some critics begin to take an interest in the work of Michel Foucault. This introduces a political concern about social power-relations into discussions about postmodernism. Much of Foucault's project is, against the Enlightenment tradition, to expose modern social institutions and forms of knowledge as historically contingent forces of domination. He aims to detotalize or decenter historical narratives to display modern consciousness as it is constituted by specific discourses and institutions that shape individuals into the docile subjects of social systems. This is also the beginning of the affiliation of postmodernism with feminism and multiculturalism. The art critic Craig Owens, in particular, not only made the connection to feminism explicit, but went so far as to claim feminism for postmodernism wholesale, a broad claim resisted by even many sympathetic feminists such as Nancy Fraser and Linda Nicholson. In social theory Although postmodern criticism and thought drew on philosophical ideas from early on, "postmodernism" was only introduced to the expressly philosophical lexicon by Jean-François Lyotard in his 1979 The Postmodern Condition: A Report on Knowledge. In this influential work, Lyotard offers the following definition: "Simplifying to the extreme, I define postmodern as incredulity towards metanarratives [such as Enlightenment progress or Marxist revolution]". In a society with no unifying narrative, he argues, we are left with heterogeneous, group-specific narratives (or "language games", as adopted from Ludwig Wittgenstein) with no universal perspective from which to adjudicate among them. According to Lyotard, this introduces a general crisis of legitimacy, a theme he adopts from the philosopher Jürgen Habermas, whose theory of communicative rationality Lyotard rejects. While he was particularly concerned with the way that this insight undermines claims of scientific objectivity, Lyotard's argument undermines the entire principle of transcendent legitimization. Instead, proponents of a language game must make the case for their legitimacy with reference to such considerations as efficiency or practicality. Far from celebrating the apparently relativistic consequences of this argument, however, Lyotard focused much of his subsequent work on how links among games could be established, particularly with respect to ethics and politics. Nevertheless, the appearance of linguistic relativism inspired an extensive rebuttal by the Marxist critic Fredric Jameson. Building upon the theoretical foundations laid out by the Marxist economist Ernst Mandel and observations in the early work of the French sociologist Jean Baudrillard, Jameson develops his own conception of the postmodern as "the cultural logic of late capitalism" in the form of an enormous cultural expansion into an economy of spectacle and style, rather than the production of goods. Baudrillard himself broke with Marxism, but continued to theorize the postmodern as the condition in which the domain of reality has become so heavily mediated by signs as to become inaccessible in itself, leaving us entirely in the domain of the simulacrum, an image that bears no relation to anything outside of itself. Scholars, however, disagree about whether his later works are intended as science fiction or truthful theoretical claims. In the 1990s, postmodernism became increasingly identified with critical and philosophical discourse directly about postmodernity or the postmodern idiom itself. No longer centered on any particular art or even the arts in general, it instead turns to address the more general problems posed to society in general by a new proliferation of cultures and forms. It is during this period that it also comes to be associated with postcolonialism and identity politics. Around this time, postmodernism also begins to be conceived in popular culture as a general "philosophical disposition" associated with a loose sort of relativism. In this sense, the term also starts to appear as a "casual term of abuse" in non-academic contexts. Others identify it as an aesthetic "lifestyle" of eclecticism and playful self-irony. Others argue that postmodernism utilizes compositional and semantic practices such as inclusivity, intentional indiscrimination, nonselection, and "logical impossibility." In various arts Architecture Scholarship regarding postmodernism and architecture is closely linked with the writings of critic-turned-architect Charles Jencks, beginning with lectures in the early 1970s and his essay "The Rise of Post-Modern Architecture" from 1975. His magnum opus, however, is the book The Language of Post-Modern Architecture, first published in 1977, and since running to seven editions (in which he famously wrote: "Modern architecture died in St. Louis, Missouri, on 15 July 1972 at 3:32 p.m. (or thereabouts) when the infamous Pruitt–Igoe scheme, or rather several of its slab blocks, were given the final coup de grâce by dynamite."). Jencks makes the point that postmodernism (like modernism) varies for each field of art, and that for architecture it is not just a reaction to modernism but what he terms double coding: "Double Coding: the combination of Modern techniques with something else (usually traditional building) in order for architecture to communicate with the public and a concerned minority, usually other architects." In their book, "Revisiting Postmodernism", Terry Farrell and Adam Furman argue that postmodernism brought a more joyous and sensual experience to the culture, particularly in architecture. For instance, in response to the modernist slogan of Ludwig Mies van der Rohe that "less is more", the postmodernist Robert Venturi rejoined that "less is a bore". Dance The term "postmodern dance" is most strongly associated with the Judson Dance Theater located in New York's Greenwich Village during the 1960s and 1970s. Arguably its most important principle is taken from the composer John Cage's efforts to break down the distinction between art and life. The Judson dancers "[stripped] dance of its theatrical conventions such as virtuoso technique, fanciful costumes, complex storylines, and the traditional stage [and] drew on everyday movements (sitting, walking, kneeling, and other gestures) to create their pieces, often performing them in ordinary spaces." This was developed in particular by the American dancer and choreographer Merce Cunningham, Cage's partner. In the 1980s and 1990s, dance began to incorporate other typically postmodern features such as the mixing of genres, challenging high–low cultural distinctions, and incorporating a political dimension. Fashion One manifestation of postmodernism in fashion explored alternatives to conventional concepts of elegance. Rei Kawakubo’s Spring/Summer 1997 collection featured "dresses asymmetrically padded with goose down, creating bumps in unexpected areas of the body". Issey Miyake’s 1985 dreadlocks hat "offered an immediate, yet impermanent, 'multi-culti' fashion experience". Vivienne Westwood took "an extremely polyglot approach", from early work with copies of 1950s clothes, to exploration of historic modes and ethnic influences: her first runway show, "Pirate", merged British history, 18th- and 19th-century dress, and African textile design. Film Postmodern film aims to subvert the mainstream conventions of narrative structure and characterization, and to test the audience's suspension of disbelief. Typically, such films also break down the cultural divide between high and low art and often upend typical portrayals of gender, race, class, genre, and time with the goal of creating something that does not abide by traditional narrative expression. Postmodern film is often separated from modernist cinema and traditional narrative film by three key characteristics. One is an extensive use of homage or pastiche. The second is meta-reference or self-reflexivity, highlighting the construction and relation of the image to other images in media and not to any kind of external reality. A self-referential film reminds the viewer – either through characters' knowledge of their own fictional nature, or through visuals – that the film itself is only a film. One technique used to achieve meta-reference is the use of intertextuality, in which the film's characters reference or discuss other works of fiction. A third characteristic is stories that unfold out of chronological order, deconstructing or fragmenting time to highlight that what is appearing on screen is constructed. Another common element is a bridging of the gap between highbrow and lowbrow activities and artistic styles, for example, a parody of Michelangelo's Sistine Chapel ceiling in which Adam is reaching for a McDonald's burger rather than the hand of God. Contradictions of all sorts – whether it be in visual technique, characters' morals, etc. – are crucial to postmodernism. Ridley Scott's Blade Runner (1982) might be the best-known postmodernist film, about a future dystopia where "replicants", androids with enhanced abilities and all but indistinguishable from humans, have been invented and are deemed dangerous enough to hunt down when they escape. There is extensive blurring of boundaries between genres and cultures, and styles that are generally more separate, along with the fusion of disparate styles and times, a common trope in postmodern cinema. In particular, the blending of film noir and science-fiction into tech noir is an example of the film deconstructing cinema and genre. Graphic design Early mention of postmodernism as an element of graphic design appeared in the British magazine, "Design". A characteristic of postmodern graphic design is that "retro, techno, punk, grunge, beach, parody, and pastiche were all conspicuous trends. Each had its own sites and venues, detractors and advocates." Literature In 1971, the American scholar Ihab Hassan made the term popular in literary studies as a description of the new art emerging in the 1960s. According to scholar David Herwitz, writers such as John Barth and Donald Barthelme (and, later, Thomas Pynchon) responded in various ways to the aesthetic innovations of Finnegans Wake and the late work of Samuel Beckett. Postmodern literature often calls attention to issues regarding its own complicated connection to reality. The French critic Roland Barthes declared the novel to be an exhaustive form and explored what it means to continue to write novels under such a condition. In Postmodernist Fiction (1987), Brian McHale details the shift from modernism to postmodernism, arguing that the former is characterized by an epistemological dominant and that postmodern works have developed out of modernism and are primarily concerned with questions of ontology. McHale's "What Was Postmodernism?" (2007) follows Raymond Federman's lead in now using the past tense when discussing postmodernism. Music Music critic Andy Cush described Talking Heads as "New York art-punks" whose "blend of nervy postmodernism and undeniable groove made them one of the defining rock bands of the late 1970s and ’80s." Media theorist Dick Hebdige, examining the "Road to Nowhere" (1985) music video, said the group "draw eclectically on a wide range of visual and aural sources to create a distinctive pastiche or hybrid 'house style' which they have used since their formation in the mid-1970s deliberately to stretch received (industrial) definitions of what rock/pop/video/Art/ performance/audience are", calling them "a properly postmodernist band." According to lead vocalist/guitarist/songwriter David Byrne, commenting for a 2011 museum exhibition, Postmodernism: Style and Subversion 1970-1990: "Anything could be mixed and matched – or mashed up, as is said today – and anything was fair game for inspiration.” The composer Jonathan Kramer has written that avant-garde musical compositions (which some would consider modernist rather than postmodernist) "defy more than seduce the listener, and they extend by potentially unsettling means the very idea of what music is." In the 1960s, composers such as Terry Riley, Henryk Górecki, Bradley Joseph, John Adams, Steve Reich, Philip Glass, Michael Nyman, and Lou Harrison reacted to the perceived elitism and dissonant sound of atonal academic modernism by producing music with simple textures and relatively consonant harmonies, whilst others, most notably John Cage challenged the prevailing narratives of beauty and objectivity common to Modernism. Author on postmodernism, Dominic Strinati, has noted, it is also important "to include in this category the so-called 'art rock' musical innovations and mixing of styles associated with groups like Talking Heads, and performers like Laurie Anderson, together with the self-conscious 'reinvention of disco' by the Pet Shop Boys". In the late-20th century, avant-garde academics labelled American singer Madonna as the "personification of the postmodern" because "the postmodern condition is characterized by fragmentation, de-differentiation, pastiche, retrospection and anti-foundationalism", which they argued Madonna embodied. Christian writer Graham Cray also said that "Madonna is perhaps the most visible example of what is called post-modernism", and Martin Amis described her as "perhaps the most postmodern personage on the planet". She was also suggested by literary critic Olivier Sécardin to epitomise postmodernism. Sculpture Sculptor Claes Oldenberg, at the forefront of the pop art movement, declared in 1961: "I am for an art that is political-erotical-mystical … I am for an art that embroils itself with everyday crap and still comes out on top." That year, he opened The Store in New York's Lower East Side, where he blurred the line between art and commerce by selling brightly painted plaster reliefs and sculptures of commercial and manufactured objects. Oldenburg was one of the most recognizable sculptors identified with postmodernism, a group that included Jeff Koons, Eva Hesse, Louise Bourgeois, Anish Kapoor, Damien Hirst, Rachel Whiteread, and Richard Serra. Theater Postmodern theater emerged as a reaction against modernist theater. Most postmodern productions are centered on highlighting the fallibility of definite truth, instead encouraging the audience to reach their own individual understanding. Essentially, thus, postmodern theater raises questions rather than attempting to supply answers. In philosophy In the 1970s, a disparate group of poststructuralists in France developed a critique of modern philosophy with roots discernible in Friedrich Nietzsche, Søren Kierkegaard, and Martin Heidegger. Although few themselves relied upon the term, they became known to many as postmodern theorists. Notable figures include Jacques Derrida, Michel Foucault, Jean-François Lyotard, Jean Baudrillard, and others. By the 1980s, this spread to America in the work of Richard Rorty and others. According to scholar Stuart Sim, one of the best ways to describe a specifically philosophical conception of postmodernism is as an anti-foundational "scepticism about authority, received wisdom, cultural and political norms and so on", which he says places it within a tradition dating back to ancient Greece. Poststructuralism Poststructuralists, like structuralists, start from the assumption that people's identities, values, and economic conditions determine each other rather than having intrinsic properties that can be understood in isolation. While structuralism explores how meaning is produced by a set of essential relationships in an overarching quasi-linguistic system, poststructuralism accepts this premise, but rejects the assumption that such systems can ever be fixed or centered. Deconstruction Deconstruction is a practice of philosophy, literary criticism, and textual analysis developed by Jacques Derrida. Derrida's work has been seen as rooted in a statement found in Of Grammatology: "" ("there is no outside-text"). This statement is part of a critique of "inside" and "outside" metaphors when referring to the text, and is a corollary to the observation that there is no "inside" of a text as well. This attention to a text's unacknowledged reliance on metaphors and figures embedded within its discourse is characteristic of Derrida's approach. Derrida's method sometimes involves demonstrating that a given philosophical discourse depends on binary oppositions or excluding terms that the discourse itself has declared to be irrelevant or inapplicable. Derrida's philosophy inspired a postmodern movement called deconstructivism among architects, characterized by a design that rejects structural "centers" and encourages decentralized play among its elements. Derrida discontinued his involvement with the movement after the publication of his collaborative project with architect Peter Eisenman in Chora L Works: Jacques Derrida and Peter Eisenman. Michel Foucault on power relations French philosopher and social theorist Michel Foucault argued that power operates according to the logics of social institutions that have become unmoored from the intentions of any actual individuals. Individuals, according to Foucault, are both products and participants in these dynamics. In the 1970s, Foucault employed a Nietzsche-inspired "genealogical method" to analyze power-relations across their historical permutations. Both his political orientation and the consistency of his positions continue to be debated among critics and defenders alike. Nevertheless, Foucault's political works share two common elements: a historical perspective and a discursive methodology. He analyzed social phenomena in historical contexts and focused on how they have evolved over time. Additionally, he employed the study of texts, usually academic texts, as the material for his inquiries. In this way, Foucault sought to understand how the historical formation of discourses has shaped contemporary political thinking and institutions. Gilles Deleuze on productive difference The work of Gilles Deleuze develops a concept of as a productive mechanism, rather than as a merely negative phenomenon. He advocates for a critique of reason that emphasizes sensibility and feeling over rational judgment. Following Nietzsche, Deleuze argues that philosophical critique is an encounter between thought and what forces it into action, and that this requires training, discipline, inventiveness, and even a certain "cruelty". He believes that thought cannot activate itself, but needs external forces to awaken and move it. Art, science, and philosophy can provide such activation through their transformative and experimental nature. The criticisms of Jürgen Habermas The philosopher Jürgen Habermas, a prominent critic of philosophical postmodernism, argues in his 1985 work The Philosophical Discourse of Modernity that postmodern thinkers are caught in a performative contradiction, more specifically, that their critiques of modernism rely on concepts and methods that are themselves products of modern reason. Habermas criticizes these thinkers for their rejection of the subject and their embrace of experimental, avant-garde strategies. He asserts that their critiques of modernism ultimately lead to a longing for the very subject they seek to dismantle. Habermas also takes issue with postmodernists' leveling of the distinction between philosophy and literature. He argues that such rhetorical strategies undermine the importance of argument and communicative reason. Habermas's critique of postmodernism set the stage for much of the subsequent debate by clarifying some of its key underlying issues. Additionally, according to scholar Gary Aylesworth, "that he is able to read postmodernist texts closely and discursively testifies to their intelligibility", against those who would dismiss them as simple nonsense. His engagement with their ideas has led some postmodern philosophers, such as Lyotard, to similarly engage with Habermas's criticisms. The Postmodern Condition Jean-François Lyotard is credited with being the first to use the term "postmodern" in a philosophical context, in his 1979 work . In it, he follows Wittgenstein's language games model and speech act theory, contrasting two different language games, that of the expert, and that of the philosopher. He talks about the transformation of knowledge into information in the computer age and likens the transmission or reception of coded messages (information) to a position within a language game. Lyotard defined philosophical postmodernism in The Postmodern Condition, writing: "Simplifying to the extreme, I define postmodern as incredulity towards metanarratives...." where what he means by metanarrative (in French, grands récits) is something like a unified, complete, universal, and epistemically certain story about everything that is. Against totalizing metanarratives, Lyotard and other postmodern philosophers argue that truth is always dependent upon historical and social context rather than being absolute and universal—and that truth is always partial and "at issue" rather than being complete and certain. Jean Baudrillard on hyperreality In postmodernism, hyperreality refers to a state where experiences are mediated by technology, resulting in a network of images and signs without a corresponding external reality. Baudrillard describes hyperreality as the terminal stage of simulation, where signs and images become entirely self-referential. Drawing upon some of the technical vocabulary of the psychoanalyst Jacques Lacan, Baudrillard argues that production has shifted from creating real objects to producing signs and symbols. This system of symbolic exchange, detached from the real, constitutes hyperreality. In the words of one commentartor, "the hyperreal is a system of simulation that simulates itself." Richard Rorty's neopragmatism Richard Rorty was an American philosopher known for his linguistic form of neopragmatism. Initially attracted to analytic philosophy, Rorty later rejected its representationalism. His major influences include Charles Darwin, Hans Georg Gadamer, G. W. F. Hegel, and Martin Heidegger. In his Philosophy and the Mirror of Nature, Rorty challenged the notion of a mind-independent, language-independent reality. He argued that language is a tool used to adapt to the environment and achieve desired ends. This naturalistic approach led him to abandon the traditional quest for a privileged mental power that allows direct access to things-in-themselves. Instead, Rorty advocated for a focus on imaginative alternatives to present beliefs rather than the pursuit of well-grounded truths. He believed that creative, secular humanism, free from authoritarian assertions about truth and goodness, is the key to a better future. Rorty saw his neopragmatism as a continuation of the Enlightenment project, aiming to demystify human life and replace traditional power relations with those based on tolerance and freedom. In society Postmodernism has influenced society at large, in such diverse fields as law, education, media, urban planning, science, religious studies, politics and others. Law Postmodern interpretations of the law can involve critically considering legal inequalities connected to gender, class, race and ethnicity by acknowledging "diversity and multiplicity". Critical practices connected to postmodern philosophy, such as critical literacy and deconstruction, can be used as an interpretative tool to ensure that a range of different and diverse values and norms are acknowledged or considered. Marketing Postmodern marketing focuses on customized experiences where broad market generalizations are no-longer applied. According to academic Stephen Brown, from the University of Ulster, "Marketers know about consumers, consumers know about marketers, marketers know consumers know about marketers, and consumers know marketers know consumers know about marketers." Brown, writing in the European Journal of Marketing in 1993, stated that the postmodern approach in many ways rejects attempts to impose order and work in silos. Instead marketers should work collectively with "artistic" attributes of intuition, creativity, spontaneity, speculation, emotion and involvement. A 2020 paper in the Journal of Business Research sought to identify the transition from postmodernism to post-postmodernism, to benefit marketing efforts. Focusing on "the changing social conditions that lead the consumer to consume in a particular manner", the study takes the approach of analyzing and comparing song lyrics. Madonna is identified as postmodern and Taylor Swift as post-postmodern, with Lady Gaga used as a transitional example. Noting that "definitions of postmodernism are notoriously messy, frequently paradoxical and multi-faceted", five themes and characteristics of postmodernism consistently found in marketing literature – anti-foundationalism, de-differentiation, fragmentation, the reversal of production and consumption, and hyper-reality – were employed in the comparative analysis. Urban planning Modernism sought to design and plan cities that followed the logic of the new model of industrial mass production; reverting to large-scale solutions, aesthetic standardisation, and prefabricated design solutions. Modernism eroded urban living by its failure to recognise differences and aim towards homogeneous landscapes (Simonsen 1990, 57). Jane Jacobs' 1961 book The Death and Life of Great American Cities was a sustained critique of urban planning as it had developed within modernism and marked a transition from modernity to postmodernity in thinking about urban planning. Postmodernism has involved theories that embrace and aim to create diversity. It exalts uncertainty, flexibility and change and rejects utopianism while embracing a utopian way of thinking and acting. Postmodernity of 'resistance' seeks to deconstruct modernism and is a critique of the origins without necessarily returning to them. As a result of postmodernism, planners are much less inclined to lay a firm or steady claim to there being one single 'right way' of engaging in urban planning and are more open to different styles and ideas of 'how to plan'. Emerging in the mid-1980s, the "Los Angeles School" of urbanism, an academic movement loosely centered around the University of California, Los Angeles' Urban Planning Department, considered contemporary Los Angeles to be the quintessential postmodern city. This was in contrast with what had been the dominant ideas of the Chicago School, formed in the 1920s at the University of Chicago, with its framework of urban ecology and emphasis on functional areas of use within a city, and the concentric circles to understand the sorting of different population groups. Edward Soja of the Los Angeles School combined Marxist and postmodern perspectives and focused on the economic and social changes (globalization, specialization, industrialization/deindustrialization, neo-liberalism, mass migration) that lead to the creation of large city-regions with their patchwork of population groups and economic uses. Legacy Since the late 1990s, there has been a growing sentiment in popular culture and in academia that postmodernism "has gone out of fashion". Others argue that postmodernism is dead in the context of current cultural production. In "White Noise/White Heat, or Why the Postmodern Turn in Rock Music Led to Nothing but Road" (2004), literary critic and professor of English and comparative literature Larry McCaffery reexamined his rock music essay, "White Noise", published in the journal American Book Review in 1990. He noted "the almost casual assurance" of its definition of postmodernism, and the "easy assumption throughout that it is possible to draw analogies about the 'innovative features' of fundamentally different media, such as music and fiction." From his 2004 perspective, he says, "If I were writing such an essay today I would omit 'postmodernism' entirely because I no longer believe that I (or anyone else for that matter) can articulate with any degree of coherence or specificity what 'postmodernism' is, or was, what it's supposed to mean, or, indeed, whether it ever existed at all." In 2011, Postmodernism: Style and Subversion 1970 –1990, at the Victoria and Albert Museum in London, was billed as "the first in-depth survey of art, design and architecture of the 1970s and 1980s". The exhibition was organized in three "broadly chronological" sections. The first focused mainly on architecture, "the discipline in which the ideas of postmodernism first emerged", introducing architects like Aldo Rossi, Charles Moore and James Stirling, also designers like Ron Arad, Vivienne Westwood and Rei Kawakubo. The second focused on 1980s design, art, music, fashion, performance, and club culture, with artists like Grace Jones, Leigh Bowery, Klaus Nomi, Guy Bourdin, and Helmut Newton, and artifacts employed by Annie Lennox, Devo, Grandmaster Flash, Karole Armitage, Kazuo Ohno, and Michael Clark. The final section examined "the hyper-inflated commodity culture of the 1980s", focusing on money as "a source of endless fascination for artists, designers and authors", including Andy Warhol, Karl Lagerfeld, Swatch, MTV and Disney. A review in the journal Design Issues noted the "daunting prospect" of reviewing an exhibition "on what might be considered the most slippery, indefinable 'movement'", and wondered what the curators must have felt: "One reviewer thought it 'a risky curatorial undertaking,' and even the curators themselves admit it could be seen as 'a fool's errand.'" Post-postmodernism The connection between postmodernism, posthumanism, and cyborgism has led to a challenge to postmodernism, for which the terms Post-postmodernism and postpoststructuralism were first coined in 2003: More recently metamodernism, post-postmodernism and the "death of postmodernism" have been widely debated: in 2007 Andrew Hoberek noted in his introduction to a special issue of the journal Twentieth-Century Literature titled "After Postmodernism" that "declarations of postmodernism's demise have become a critical commonplace". A small group of critics has put forth a range of theories that aim to describe culture or society in the alleged aftermath of postmodernism, most notably Raoul Eshelman (performatism), Gilles Lipovetsky (hypermodernity), Nicolas Bourriaud (altermodern), and Alan Kirby (digimodernism, formerly called pseudo-modernism). None of these new theories or labels have so far gained very widespread acceptance. Sociocultural anthropologist Nina Müller-Schwarze offers neostructuralism as a possible direction. Criticisms Criticisms of postmodernism are intellectually diverse. Since postmodernism criticizes both conservative and modernist values as well as universalist concepts such as objective reality, morality, truth, reason, and social progress, critics of postmodernism often defend such concepts from various angles. Media theorist Dick Hebdige criticized the vagueness of the term, enumerating a long list of otherwise unrelated concepts that people have designated as postmodernism, from "the décor of a room" or "a 'scratch' video", to fear of nuclear armageddon and the "implosion of meaning", and stated that anything that could signify all of those things was "a buzzword". The analytic philosopher Daniel Dennett criticized its impact on the humanities, characterizing it as producing conversations' in which nobody is wrong and nothing can be confirmed, only asserted with whatever style you can muster." Criticism of postmodernist movements in the arts include objections to departure from beauty, the reliance on language for the art to have meaning, a lack of coherence or comprehensibility, deviation from clear structure, and consistent use of dark and negative themes. See also Theory Culture and politics Religion History Opposed by Notes Citations Bibliography External links Discourses of Postmodernism. Multilingual bibliography by Janusz Przychodzen (PDF file) Modernity, postmodernism and the tradition of dissent, by Lloyd Spencer (1998) Postmodernism and truth by philosopher Daniel Dennett Stanford Encyclopedia of Philosophy's entry on postmodernism 1880s neologisms Criticism of rationalism Metanarratives Modernism Science fiction themes Philosophical schools and traditions Theories of aesthetics Art movements Cultural trends

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