Analysis of information sources in references of the Wikipedia article "Postmodernism" in English language version.
{{cite book}}: CS1 maint: DOI inactive as of December 2024 (link){{cite web}}: CS1 maint: url-status (link)[W]hen we talk about what postmodernism is, we are not talking about any individual theorist titled postmodern, but those common characteristics he or she shares with a community of similarly titled theorists. In this sense, postmodernism is not peculiar to any individual theorist but refers to a trend of thought, a climate, and an atmosphere to which none is immune,.
These critiques do not form a homogeneous body of argument. They differ substantially and sometimes contradict one another .. Nevertheless, certain basic lines of reasoning recur frequently enough ... that they can convey the conceptual backbone of many postmodernist critiques of science.
What distinguishes Cage's aesthetics from high modernist aesthetics in general is its acceptance of the contingency of structure ... aesthetic meanings are negotiable and far from immutable ... we do not need to look for art, for it is all around us: we only need to throw off a (European) aesthetic mantle, open our ears, and we will hear music.
These critiques do not form a homogeneous body of argument. They differ substantially and sometimes contradict one another .. Nevertheless, certain basic lines of reasoning recur frequently enough ... that they can convey the conceptual backbone of many postmodernist critiques of science.
Although diverse and eclectic, postmodernism can be recognized by two key assumptions: first, the assumption that there is no common denominator – in 'nature' or 'truth' or 'God' or 'time' – that guarantees either the One-ness of the world or the possibility of neutral, objective thought; second, the assumption that all human systems operate like language as self-reflexive rather than referential systems, in other words systems of differential function that are powerful but finite, and that construct and maintain meaning and value.
Thus one and the same set of evaluative criteria allows commentators to specify in two contradictory ways the relation that modernism bears to postmodernism. On the basis of these criteria modernism can be seen, under different conditions of observation, either as (1) the genuinely emancipatory cultural movement to which postmodernism is but a parasitical and reactionary successor, or as (2) a germ of liberation whose outworn husk it took the radical energies of postmodernism to strip away at last.
In real life experience Modern individualism, autonomy and personal freedom had too often produced isolation, loneliness, estrangement, and the disintegration of community. The science that was to free humanity from vulnerability to nature and solve medical, societal, and governmental problems was beginning to be questioned as a savior, as pollution, toxin-generated illness, and stress-induced diseases began to emerge as threats. At present the disillusionment with the Modern promise has blossomed into a recognizable era with some identifiable (though not easily definable) sensibilities commonly known as postmodern.
{{cite book}}: CS1 maint: DOI inactive as of December 2024 (link)What distinguishes Cage's aesthetics from high modernist aesthetics in general is its acceptance of the contingency of structure ... aesthetic meanings are negotiable and far from immutable ... we do not need to look for art, for it is all around us: we only need to throw off a (European) aesthetic mantle, open our ears, and we will hear music.
Today, we acknowledge that objectivity is relative to a given perspective or preunderstanding, but the applied perspective must compete with other perspectives or paradigms in its effectiveness in our understanding and managing of a lived reality. ... Historically, the notions of objectivity and subjectivity have played a central role in the sciences. Today, their conventional meaning and dichotomy are under attack by the postmodern ways of thinking. During the past few decades, any mention of words and expressions such as truth, knowledge, value free, objectivity, bias, fact, reality, and correspondence between word and world has come to be regarded with increasing suspicion, up to the point where many scientists seem unwilling to run the risk of using them at all. This trend ... seems to be much more pronounced in the humanities than in the natural sciences.
{{cite book}}: CS1 maint: location (link)Postmodernism is a plague upon the mind and the heart.
Contemporary artists working within the postmodern movement reject the concept of mainstream art and embrace the notion of "artistic pluralism," the acceptance of a variety of artistic intentions and styles. Whether influenced by or grounded in performance art, pop art, Minimalism, conceptual art, or video, contemporary artists pull from an infinite variety of materials, sources, and styles to create art. For this reason, it is difficult to briefly summarize and accurately reflect the complexity of concepts and materials used by contemporary artists.
{{cite web}}: CS1 maint: url-status (link)In real life experience Modern individualism, autonomy and personal freedom had too often produced isolation, loneliness, estrangement, and the disintegration of community. The science that was to free humanity from vulnerability to nature and solve medical, societal, and governmental problems was beginning to be questioned as a savior, as pollution, toxin-generated illness, and stress-induced diseases began to emerge as threats. At present the disillusionment with the Modern promise has blossomed into a recognizable era with some identifiable (though not easily definable) sensibilities commonly known as postmodern.
Thus one and the same set of evaluative criteria allows commentators to specify in two contradictory ways the relation that modernism bears to postmodernism. On the basis of these criteria modernism can be seen, under different conditions of observation, either as (1) the genuinely emancipatory cultural movement to which postmodernism is but a parasitical and reactionary successor, or as (2) a germ of liberation whose outworn husk it took the radical energies of postmodernism to strip away at last.
Roughly speaking, critical responses to Blade Runner fall on either side of a modern/postmodern line. Postmodernist accounts diametrically oppose reading strategies dependent on conventional aesthetic notions (narrative, character, structure, reference, metaphor, symbol, etc.) that collectively we might term modernist. These two approaches entail radically different positions on the nature and function of interpretation.
This is partly because, like many terms that begin with "post," it is fundamentally ambidextrous. Postmodernism can mean, "We're all modernists now. Modernism has won." Or it can mean, "No one can be a modernist anymore. Modernism is over."
{{cite magazine}}: CS1 maint: url-status (link)There was no huger reputation than Warhol's in the art of the sixties, and in late-twentieth-century art there was no more important decade than the sixties. Much of the art that has followed, in the United States, is unthinkable without him (...)
Today, we acknowledge that objectivity is relative to a given perspective or preunderstanding, but the applied perspective must compete with other perspectives or paradigms in its effectiveness in our understanding and managing of a lived reality. ... Historically, the notions of objectivity and subjectivity have played a central role in the sciences. Today, their conventional meaning and dichotomy are under attack by the postmodern ways of thinking. During the past few decades, any mention of words and expressions such as truth, knowledge, value free, objectivity, bias, fact, reality, and correspondence between word and world has come to be regarded with increasing suspicion, up to the point where many scientists seem unwilling to run the risk of using them at all. This trend ... seems to be much more pronounced in the humanities than in the natural sciences.
In the 50 years since they first went on display, Andy Warhol's 32 Campbell's Soup Cans have become a canonical symbol of American Pop Art.
Although diverse and eclectic, postmodernism can be recognized by two key assumptions: first, the assumption that there is no common denominator – in 'nature' or 'truth' or 'God' or 'time' – that guarantees either the One-ness of the world or the possibility of neutral, objective thought; second, the assumption that all human systems operate like language as self-reflexive rather than referential systems, in other words systems of differential function that are powerful but finite, and that construct and maintain meaning and value.
Today, we acknowledge that objectivity is relative to a given perspective or preunderstanding, but the applied perspective must compete with other perspectives or paradigms in its effectiveness in our understanding and managing of a lived reality. ... Historically, the notions of objectivity and subjectivity have played a central role in the sciences. Today, their conventional meaning and dichotomy are under attack by the postmodern ways of thinking. During the past few decades, any mention of words and expressions such as truth, knowledge, value free, objectivity, bias, fact, reality, and correspondence between word and world has come to be regarded with increasing suspicion, up to the point where many scientists seem unwilling to run the risk of using them at all. This trend ... seems to be much more pronounced in the humanities than in the natural sciences.
"I have heard all kinds of theories," says [museum curator Melissa] Ho. "I think the truth is that modernity didn't happen at a particular date. It was this gradual transformation that happened over a couple hundred of years." Of course, the two times that, for practical reasons, dates need to be set are when teaching art history courses and organizing museums. In Ho's experience, modern art typically starts around the 1860s, while the postmodern period takes root at the end of the 1950s.
in certain respects the most straightforward [way] of grasping the postmodern is to eschew the idea that it is an 'it'. ... Postmodernism, rather, is better regarded as an attitude, a feeling, a mood, a sensibility, an orientation, a way of looking at the world – a way of looking askance at the world.
As an art movement postmodernism to some extent defies definition – as there is no one postmodern style or theory on which it is hinged. It embraces many different approaches to art making, and may be said to begin with pop art in the 1960s and to embrace much of what followed including conceptual art, neo-expressionism, feminist art, and the Young British Artists of the 1990s.
The [postmodern] reaction took on multiple artistic forms for the next four decades, including Conceptual art, Minimalism, Video art, Performance art, Institutional Critique, and Identity Art. These movements are diverse and disparate but connected by certain characteristics: ironical and playful treatment of a fragmented subject, the breakdown of high and low culture hierarchies, undermining of concepts of authenticity and originality, and an emphasis on image and spectacle.
He's now widely regarded as the most important artist of the second half of the 20th century.
It must be emphasized ... that postmodern art cannot be limited to a single style or theory. Many art forms are considered postmodern art. These include Pop Art, Conceptual Art, Neo-Expressionism, Feminist Art, and the art of the Young British Artists in the 1990s.
Postmodernism, like modernism [rejects] boundaries between high and low forms of art, rejecting rigid genre distinctions, emphasizing pastiche, parody, bricolage, irony, and playfulness. Postmodern art (and thought) favors reflexivity and self-consciousness, fragmentation and discontinuity (especially in narrative structures), ambiguity, simultaneity, and an emphasis on the destructured, decentered, dehumanized subject. But--while postmodernism seems very much like modernism in these ways, it differs from modernism in its attitude toward a lot of these trends. ... Modernism, for example, tends to present a fragmented view of human subjectivity and history ... as something tragic, something to be lamented and mourned as a loss. ... Postmodernism, in contrast, doesn't lament the idea of fragmentation, provisionality, or incoherence, but rather celebrates that. The world is meaningless? Let's not pretend that art can make meaning then, let's just play with nonsense.
Thus one and the same set of evaluative criteria allows commentators to specify in two contradictory ways the relation that modernism bears to postmodernism. On the basis of these criteria modernism can be seen, under different conditions of observation, either as (1) the genuinely emancipatory cultural movement to which postmodernism is but a parasitical and reactionary successor, or as (2) a germ of liberation whose outworn husk it took the radical energies of postmodernism to strip away at last.
In real life experience Modern individualism, autonomy and personal freedom had too often produced isolation, loneliness, estrangement, and the disintegration of community. The science that was to free humanity from vulnerability to nature and solve medical, societal, and governmental problems was beginning to be questioned as a savior, as pollution, toxin-generated illness, and stress-induced diseases began to emerge as threats. At present the disillusionment with the Modern promise has blossomed into a recognizable era with some identifiable (though not easily definable) sensibilities commonly known as postmodern.
There was no huger reputation than Warhol's in the art of the sixties, and in late-twentieth-century art there was no more important decade than the sixties. Much of the art that has followed, in the United States, is unthinkable without him (...)
He's now widely regarded as the most important artist of the second half of the 20th century.
Roughly speaking, critical responses to Blade Runner fall on either side of a modern/postmodern line. Postmodernist accounts diametrically oppose reading strategies dependent on conventional aesthetic notions (narrative, character, structure, reference, metaphor, symbol, etc.) that collectively we might term modernist. These two approaches entail radically different positions on the nature and function of interpretation.
Today, we acknowledge that objectivity is relative to a given perspective or preunderstanding, but the applied perspective must compete with other perspectives or paradigms in its effectiveness in our understanding and managing of a lived reality. ... Historically, the notions of objectivity and subjectivity have played a central role in the sciences. Today, their conventional meaning and dichotomy are under attack by the postmodern ways of thinking. During the past few decades, any mention of words and expressions such as truth, knowledge, value free, objectivity, bias, fact, reality, and correspondence between word and world has come to be regarded with increasing suspicion, up to the point where many scientists seem unwilling to run the risk of using them at all. This trend ... seems to be much more pronounced in the humanities than in the natural sciences.