'Lecture Notes on Modernism and other ‘isms’\r'

'Is a shorthand for the obviously confused array of creative thinkers and theories that surround machinationistic creation and design as a sociall(a)y and heathenly located practice. With m any(prenominal)(prenominal) of these bringing close togethers it is operose to find a st frauding point, and a lot of these terms require superseded superstar another or ar in conflict in some way. at that place is no real chronology of these ideas, In fact, a analog approach to these Ideas Is probably misleading. 2. These contrasting ways of formatting cogniseledge are prevalent in opthalmic flori cultivation and art and sign.They are what followers of the french philosopher Gilles Delude might describe as ‘reading machines or a creature kit for examining the world of Ideas, concepts that shape our lives. 3. They are ways of modeling the world as well as being lenses by dint of which we view our surroundings, the ideas, habits, concepts and histories that consummat ion up up a culture or society. Ways of view Like this provide deprecative positions from which we being these seemingly chaotic or im hardheadedly complex surroundings. 4.The following list is by no means exhaustive only if I hope that in some says what volition become apparent are the unlike ways that people try to make sense of their subject (Graphic design or illustration), their hold back (art, art and design, applied art, visual confabulation, visual culture) and the wider world (society, semipolitical systems, culture, difference, tycoon and so forth. 5. These Ideas offer often provide insight, relief and / or revelation to the ad presentnts, still they b boot off besides impose dogma, inflexibility and / or a predictable response.Think of the divers(prenominal) approaches close as a set of tools that can be used to strip vanquish the engine of history. 6. My respective on this, and unrivalled I think I role with every oneness here, is the perspective of t he practitioner. 7. Whether the concepts here are long-familiar or entirely new, what I take on all of you to do Is re- chide these Ideas Interns of how they might stir to each another and to your practice, your practical question and your written spiel for this staff. 8. We provide vex to consider race, gender, manikin, sexuality, in themselves, and as ways of as ways of reading or seeing pagan material. . As we go through the material that you are presented with, you should also try to think of an original idea o research for the essay that you leave be writing for the end of the semester. These Ideas whitethorn also respond to some much fundamental questions that you may already have well-nigh things in general. 10. Modernism. Historical, grand narrative, ab divulge progress and humanism. We know youthful art, but the first use of the word modern was used In the time of the emperor butterfly Charlemagne In about DADA. 11.The enlightenment in the ICC is the beginning of what we would call ‘modern with science, the beginnings of industry, rationalism and a belief in progress victorious over from a superstition and subsistence. westward values, from the equals-holocaust trope of the 300 (battle of Thermopile) seen as demurral of due west against East. 12. Michael Gave represents English kings model of linear history, Paolo Ferrier educational theorist against this banking model of education. 13. yarn of the thread of history often mute dominant in public discourse. 4. take exception the idea that to know anything you need to know its entire history. Be wary of this, as it takes up a lot of issues, practices etc. Than to attempt a rambling bit hand history that is largely in the public domain anyway, linear history, progress. 15. The ideas and principles of contemporaneousness are fundamental to the development of capitalism and the free market. 16. Modernist literature, high contemporaneity, Joyce, Becket, Ezra Pound, Sentiment, De Still, Bauhaus, modern art. 17. Intellectuality †texts suggest to one another. some(prenominal) would argue that this period of modernism was the high water mark of westbound culture, and that we are already going rectify hill fast. 18. Cultural reproduction. Social and heathenish basis for all of the definitions of what we consider to be of value or what can be classified as art. What we do here at college is a form of ethnical reproduction, mom things are taught, some arent. Some things you learn (by choice) some you dont. We all do this to some extent. 19. It is important to understand these habits and to scrap or break them.Habits in making, sentiment and acting can be unnecessarily restrictive 20. Orientation †a var. of patronizing beatifications of the East, or the non †West by the West. Edward Said, post †colonialism. Slavery and Liverpool. The calculate of slavery, architecture, visual evidence in buildings, street call etc. Liverpool wealth c omes in a large part from the slave trade. Liverpool and Bristol. enkindle this still be seen? 1 . The West genuinely feels that it is the most advanced, civilized, free and logical form of social organization, Like the Romans, Mayans, Egypt, Mesopotamia etc.All civilizations pay for similar reasons (see Collapse of Complex Civilizations, constabulary of Entropy) 22. Colonialism, Socialism and Fascism all products of modernism, as is paper Salamis Noon Gray, Straw Dogs, Heresies) in pain of the tendency to compare non-western ideologies to the past, medieval attitudes towards evil and punishment in Saudi Arabia for example, tribal conflicts in Africa or peasant communities of China. 3. copy of Africa as behind horse opera europium in terms of development (Edward Said). 24.Socialism †Meta-narrative of class [power. A socialist view on art and design might be that it supports the power elite (the owners of the ‘means of production, the already wealthy), the forces that subjugate the working classes, by presenting them (the wealthy) in the best possible light. (think about this future(a) time you visit a major(ip) art gallery). 25. The means of production, publishing and media companies, art institutions etc. Are all possess or were established by the wealthy, and it is their interests that these institutions hang (see Media Lens). 26.Consumerism is one of the mechanisms that dazzle the ordinary folk into coexisting with the mechanism of their oppression (read chevvy Trousers Philanthropists by Robert Treeless, Germinal by Andre Guide, any George Orwell). 27. Capitalism †Corporate ownership of media and publishing. 28. Normative. Progress, idea of the self-made man, level playing field, litigate hard and you allow be successful. case lottery or ‘idiot tax is something that cashes in on the success of this image. 29. Racism †examples in earning, canons in education, National Galleries. Anglo-centric curriculum acts as p ropaganda for status quo. 0. Childrens books golliwogs and teddy bears. Also living creature characters and difference, what do they represent? Are thither any patterns there? 31 . anthropomorphism †Childrens books, animal characters. Assumption of gender in animal characters. (Anomalousness) Animal Farm (Orwell). run for and reality, the farm, Sue CEO, the bastion. Fur trade and fashion, image and advertising (Theodore Adorn, Peter Singer) 33. Anarchism †Media Lens, Chomsky and propaganda model (Manufacturing consent, E. Herman and N. Chomsky) outlines how western mass media works as propaganda.John crochet †obvious propaganda of totalitarianism (USSR, N. Korea) compare to softer more than inclusive (more deceptive? ) propaganda of corporate media. 34. womens liberation movement Images of gender, (Butler, Original, Drink), Magazines. Lads mass, womens magazines. Andrea Drink, ironically vilified for her appearance but wrote extensively on the image of sexuality and patriarchal power and the relationship between Sexuality, eccentric theory and hetero normative. I challenge you all to get your head round these ideas and to sternly hint about visual culture and its affects in this arena. 35.Feminism is an inspiring way of sounding at images, artifacts and design. These unfavorable positions are critical of what they describe as the heterosexuality that dominates everyday media and political discourse. Egg. Top Gear, football, marketing (big publish for her http:// www. Amazon. Co. UK/Bloc-For-Her-Medium-Ballpoint/EDP/BUFFETING). 36. The differentiation of gender roles in print media being an obvious example, but there are examples abundant in the visual language of science, heritage, leisure, commerce, and everything really. 37. Politics †overtly political †Kendal, Chitchats, Kale Lass, Sue CEO, Joe Image.Covertly political †Marketing, publishing, advertising, product design, packaging (tacit support of Western consumer ism, status quo) Apple, Span, suicides. 38. The discreet politics of art and design, consumerism, globalization and the visual cultural economy. wile whirling left (Tate). 39. Semiotics †A theory of reading, not sure whether it is a theory of making. Look at patent signs by David crow, Reading images, for examples. 40. The visual turn †the move to visuals from text based communication (or the triumph of reading? . If images are seen as texts then ‘reading still dominant. 1 . numerousness (objects can be encountered in a number of ways at the very(prenominal) time). 42. Intellectuality (texts refer to other texts, images exist inside a world of images, styles of re notification, critical interpretive communities (that maker can also be a member of etc) ever more so in digital communication. As a kind of coda to this presentation I would like to also talk about the upcoming talk on Whats New? And briefly mention a couple of things. Structuralism / post structural anthropology and Post-Modernism †context †We will look at territoriality.Alto-modernism, after the structures and narratives of modernism. Hybrid, cultural, social and material commingle and matching. Common points of reference. Hipster cool, political disenfranchisement or disengagement with class ridden power structures or class identity. Postposition, DC culture, tropes and mimes. François Laurelled †Non school of thought †Idea of looking critically or creatively at a discipline from the outside. Non †anything, (this references well known critique of talent by Deride, where D argues that Ifs history of mania is always going to be get on the point of view of the not mad.Really, what F was doing was imaging madness from an oblique and UN indite perspective). Could this inform our practice? What would non-design, non-illustration look like. deterrent example that doesnt illustrate? Design that hasnt been designed? What would it be to make work tha t doesnt do what it is told. Or that doesnt do what it is supposed to? This speculative thought will be pick outed up in lecture 4. I have time-tested to talk you through some of these different that can be asked within these frameworks.The aim, though you are of course alcove to pick up on any of the questions that splay from this talk, is for you to be able to think differently about both your practical work, and your wider cultural landscape. The main thing to remember here is that these are ideas that should inspire you to develop your work along a path that you were previously unaware of, to go off in a new direction or trajectory, one that isnt for everyone but is Just for you. At the moment, your work might not hit in with your ideas on society, politics, culture or whatever. But we are all products of this cultural m©Lange and so is everything you sake.At the moment, it may be the best idea to strike out in a different critical direction (for the essay) and think a bout practical research on a module by module basis, keeping some of these ideas in the back of your mind, allowing the cross grooming of thinking when appropriate. It is not necessary to rush headlong (in terror) into post-modernism. Next week we will be looking at the work of the photographers Adam Broodmare and Oliver Chain. I will send you a link to one of their books and an accompanying text. Your homework is to study this material.\r\n'