- Jun 2023
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designobserver.com designobserver.com
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Indeed the mainstream embraces almost anything edgy; although once the label is applied it is no longer on the edge.
Once a movement becomes mainstream it's no longer sortout by the masses.
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emergence of other confrontational art and design movements, including Punk and Grunge, sought to unhinge dominant methods and mannerisms, but were ultimately absorbed into the mass culture.
This is an example of underground turned mainstream.
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Despite its anti-establishment symbolism, Cubistic, Futuristic and Expressionistic veneers, he argued, would capture consumers’ attention better than a hundred slogans.
The rawness of the avant-garde's talent connects to the public better than a structured sortout slogan. It speaks the language of the public.
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Yet when an intrepid commercial artist attempted to push the boundaries of design, they had to be cognizant of what industrial designer Raymond Loewy called MAYA (Most Advanced Yet Acceptable).
Basically the underground talent is too raw to be publicized on its own so it needs to be watered down to be acceptable to become mainstream.
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- Aug 2022
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news.artnet.com news.artnet.com
- Jul 2022
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www.judithragir.org www.judithragir.org
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Dogen can be very difficult to read or understand. That’s why we often need a commentary or teacher to introduce his way of writing and the underlying teaching. I often say he’s a thirteenth century cubist. Just like Picasso or in the writing world, Gertrude Stein, he tries to show all sides of the story in one paragraph or even one sentence. That is why he repeats himself and contradicts himself all in the same paragraph. If you are looking for the “right” understanding, you become confused and lost in his prism of various interpretations or views. Dogen’s “right” understanding is that there is none. No one point of view is “right”. According to conditions, any view can be the right view in the right circumstance. Dogen really wants to take away our solid idea of a fixed ground of reality. It is not form or emptiness. It is not both or neither. There is no one right, fixed view. That is our “clinging”.
Dogen contradicts himself because he tries to show "all sides of the story". His teaching is a "pointing out" instruction that ANY viewpoint is simply that, perspectival knowing.
An important question then, is this, if Dogen (and Nagarjuna) are claiming that there is no objective reality in our constructed world of concepts and language, is science being denied? Is fake news ok? Is this a position that basically accepts post modernism? No, I would say no to all of these. It's pointing out the LIMITATIONS of concepts and language. They are incomplete and always leave with a sense of wanting more. And since Post Modernism is also one point of view, it is also thrown out by Dogen and Nagarjuna. Remember, ALL points of views are points of view. Fake news is also a point of view so those who practice it can also not justify it.
What Dogen and Nagarjuna are saying is that as soon as one enters the world of concepts and language, any concept and anything side is inherently one sided. It is inherently perspectival and situated in an inherently incomplete conceptual space.
As Tibetan doctor/monk Barry Kerzin points out in this conversation with physicist Carlo Rovelli, there is a critical difference between "existence" and "intrinsic existence". The first is not being denied by Nagarjuna, but the second, intrinsic existence, the existence of concepts and the words that represent them, is. If these two are confused, it can lead straight to nihilism.
https://hyp.is/go?url=http%3A%2F%2Fdocdrop.org%2Fvideo%2FsPSMTNjwHZw%2F&group=world
This also aligns with John Vervaeke's perspectival and propositional knowing in his 4 P ways of knowing about reality: Propositional, Perspectival, Participatory and Procedural. A good explanation of Vervaeke's 4Ps is here: https://hyp.is/go?url=http%3A%2F%2Fdocdrop.org%2Fvideo%2FGyx5tyFttfA%2F&group=world
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- Oct 2021
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designopendata.files.wordpress.com designopendata.files.wordpress.com
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dichotomous
1: dividing into two parts
2: relating to, involving, or proceeding from dichotomy the plant's dichotomous branching a dichotomous approach can't be split into dichotomous categories
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Yet most companies neglect design as a strategy tool. What they don’t realize is that design can enhance products, environments, communi-cations, and corporate identity.”
This is true because a Designer can communicate one's ideas in a clear and sensible way. Companies need design in order to get as many people to associate themselves with them.
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maelstrom
1: a powerful often violent whirlpool sucking in objects within a given radius tried to shoot the canoe across a stretch of treacherous maelstrom — Harper's
2: something resembling a maelstrom in turbulence the maelstrom enveloping the country a maelstrom of emotions
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ghdi.ghi-dc.org ghdi.ghi-dc.org
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Let us then create a new guild of craftsmen without the class distinctions that raise an arrogant barrier between craftsman and artist! Together let us desire, conceive, and create the new structure of the future, which will embrace architecture and sculpture and painting in one unity and which will one day rise toward heaven from the hands of a million workers like the crystal symbol of a new faith.
Bauhaus
The Tower of Babel
When I first read this manifesto, I had immediate associations with the Tower of Babel. The cathedral project of global neoliberal capitalism began as a socialist utopian project in the Weimar Republic as Germany’s first experiment in democracy. The democratic experiment failed when the Nazis shut down the Bauhaus in 1933.
The experiment continued in the United States of America as the Bauhaus diaspora spread the ideas of modernism to the art, design and architecture academies around the world.
The World Trade Center in New York City embodied the vision of modern architecture that Walter Gropius had been exploring at the Bauhaus, defining the trinity of building materials of the modern world: steel, glass, and concrete.
When the twin towers collapsed on 9/11, the modernism movement came to an abrupt end. Ever since, we have been living in a distinctly postmodern world.
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- Sep 2021
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library.ufv.ca library.ufv.ca
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Yesterday, I found some books in the stacks at the University of the Fraser Valley Library to research the evolution of design from physical artifacts to living systems.
- The Shape of Green: Aesthetics, Ecology, and Design by Lance Hosey
- The Struggle for Utopia: Rodchenko, Lissitzky, Moholy-Nagy, 1917-1946 by Victor Margolin
- Lo—TEK: Design by Radical Indigenism by Julia Watson
- Architecture of Thought by Andrzej Piotrowski
- Exiles and Emigrés by Stephanie Barron
- Black Mountain College: Experiment in Art, Edited by Vincent Katz
- Modernism: Designing a New World, Edited by Christopher Wilk
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- Dec 2020
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stopa.io stopa.io
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explanation of godel's theorems
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- Feb 2020
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art.ucsc.edu art.ucsc.edu
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"theory"
Andrew Cole, The Birth of Theory
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- Oct 2019
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kennethsherwood.com kennethsherwood.com
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The modernist work of art takes a stand against a world in which everything seems standardised, stereotyped and prefabricated.
Modernism builds off Romanticism. How do we make sense of Duchamp, Log (even Cage -- who might be classified as postmodern) ... resistance to conformity.
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- Feb 2019
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zodml.org zodml.org
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only has to make use ofmimesis in the writing,
influence, simulacra, modernism
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deficient in style
Beckett says he writes in French to eliminate style
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- Feb 2018
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scholarworks.lib.csusb.edu scholarworks.lib.csusb.edu
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lthough less obviously ‘difficult’ than The Waste Land, Moulin Rouge!makes effective use of the dense layering effect allusion allows.This complex layering is put into the service of a simple, melodramatic love story, rather than a meditation on the spiritual aridity of modern life. Moulin Rouge!’s innocent, sentimental celebration of love could, in fact, be read as Luhrmann’s response the kind of dislocation Eliot portrays in The Waste Land.
I really find this argument fascinating. The "less obviously difficult" perspective as it relates to many works that have been in-part inspired by The Waste Land. I like the idea of nuanced allusion, you don't necessarily need to know all the allusion to understand the storyline. This manifests itself well in works with more plot-based writing. The novel or cinema might be better at achieving the "less obviously difficult" allusion because it has a strong narrative already. The allusion comes alongside of it, or in the case of Moulin Rouge, the allusions are a part of the pop culture the audience is already familiar with.
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www.jstor.org www.jstor.org
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I am not concerned here to enter into debates about whether Joyce shoidd be considered a postcolonial writer nor whether Ireland can properly be located under the increasingly capacious umbrella of the postcolonial.4
It's interesting to me that there is a gray area surrounding Joyce as a postcolonial writer, in comparison to more traditional postcolonial authors, like Salman Rushdie or post-colonial theorist, Frantz Fanon.
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- Oct 2017
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www.spiegel.de www.spiegel.de
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post-modernism was the worst thing that could have happened to our democracy
I hope that is not a lie...... wait is a politician they lie 90% of the time
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- Apr 2017
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static1.squarespace.com static1.squarespace.com
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making poetry in the streets
One of the cool things about signifyin' is how much it blurs boundaries between everyday speech/language practices and things like writing and speeches which have traditionally been the modes of communication that rhetoric scholars have concerned themselves with. High and low culture is very interconnected, which is something we see not just here but I think also in literature of the Harlem renaissance and of modernist literature (might be worth noting that the Harlem renaissance was during modernism).
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- Feb 2017
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thefunambulist.net thefunambulist.net
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Die Brücke Institute
An important historical note here: most of the Die Brücke artists and their later avant-garde peers who fell under the various "-isms" such as Fauvism, Expressionism, Cubism, etc. were eventually persecuted by the Nazis, who believed the kind of art work seen above (Emil Nolde, Masks, 1911) to be "degenerate," which I think fits well into the dialogue about the "normalcy" of the body in creating socio-political standards. Artists such as Braque, Beckmann, Chagall, Dix, Grosz, Kandinsky, Klee, Matisse, Munch, and Picasso were all considered degenerate by the racially-obsessed Nazis because of the way they depicted the composition of the human body. Hitler looked to classical models, specifically Greek and Roman traditions, as examples toward which the German Volk should strive, because their ideal exterior forms embodied the inner Nazi idea of racial superiority, or normalcy. Modernists celebrated subjective and unique perspectives of reality (including, and especially the body), which, unfortunately for them, did not fit into the promotion of a singularly molded and racially uniform German state.
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