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how society is changing essay
Changes in traditional society and modern society
Changes in traditional society and modern society
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If heterochronic elements brought together form one of the main components of the altermodern, the wandering spirit of the artist is its complementary part. He is a wanderer, an individual in quest for ‘something’, trying to discover a higher meaning or simple, absurd facts, woven out of threads of fantasy or from the past experience. Throughout modernism, referring to the changes started in Renaissance, the artist looked at all times towards ‘something’ to discover. Nowadays, the times have changed: there are no patterns, no rules of what is allowed or not; anything is permitted and that is the only rule to be followed. (Galaasi, 2010) The choices are there to be made and the artist can select any path, the only observation to this course being that he always undertakes a journey. Everything is available: information, archives, speed, movement, communication. This is the age of charter flights, cheap mobile phone costs, large archived data bases available online and social media sites. They are all there to be accessed and this is what creates a new need of relating to a different option, which has not been offered for granted. Thus, the ultimate tool of the old masters, the wandering or the action of walking in order to discover new realities, can be considered as the missing link that is able to provide fulfilment.
The altermodern artist is by definition nomad (Bourriaud, 2009a), meaning that his sense of belonging to a place is diminished for that the nomad is a person that is on constant move, the itineraries undertaken completing him. This characteristic is being shaped when the place of his origins fails to fulfil him anymore and offer a sense of accomplishment. Nevertheless, in a world where discrepancies in between...
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...20web/WNL%20contents.htm-Accessed November 2010
Bate, David, 2005, After Postmodernism?, Essay
http://www.lensculture.com/bate1.html - Accessed 26 November 2010
Eshelman, Raoul, Performatism, or the End of Postmodernism, Anthropoetics 6, no. 2 (Fall 2000 / Winter 2001)
http://www.anthropoetics.ucla.edu/ap0602/perform.htm - Accessed 29 October 2010
http://www.poetryfoundation.org/bio/karl-shapiro
The Collected Works of Eric Voegelin: Published essays, 1966-1985
By Eric Voegelin, Ellis Sandoz
http://books.google.com/books?id=5qebtKOVjJUC&pg=PA221&lpg=PA221&dq=Every+single+man+is+but+a+blind+link+in+the+chain+of+absolute+necessity+by+which+the+world+builds+itself+forth+(+sich+fortbildet+).+Th&source=bl&ots=TEpqIFxfJz&sig=jDKxs_rxzTnPTJunS1ZtLyHxolQ&hl=en&ei=jQU4TeuVFMTPhAfW15zGCg&sa=X&oi=book_result&ct=result&resnum=2&ved=0CBoQ6AEwAQ#v=onepage&q&f=false
In the beginning, Surrealism was primarily a literary movement, but it gave artists an access to new subject matter and a process for conjuring it. As Surrealist paintings began to emerge, it divi...
All of Camus' writings may be viewed as a quest for meaningful values in a world of spiritual aridity and emptiness. He begins with man's despair, estrangement, fear, suffering and hopelessness in a world where is neither God nor the promise that He will come- the fundamental absurdity of existence- but ultimately affirms the power of man to achieve spiritual regeneration and the measure of salvation possible in an absurd universe. This radical repudiation of despair and nihilism is closely bound up with his concept of an artist. Camus conceives of art as a way of embracing a consciousness of the absurdity of man's existential plight. But art becomes a means of negating that absurdity because the artist reconstructs the reality, endowing it with unity, endurance and perfection. By taking elements from reality that confirms the absurd existence, an artist attempts to correct the world by words and redistribution. Thus the artist never provides a radical transformation of reality but a fundamental reinterpretation of what already exists. He provides a new angle of vision of perceiving reality. That is why, for Camus, an artist is a recreator of myth. He teaches humanity that contemporary man must abandon the old myths that have become otiose, though once defined his existence. The artist liberates man to live in his world by redefining both man and the condition in which he exists. In this regard, it is important to point out that, for Camus, the traditional opposition between art and philosophy is arbitrary. It is because they together become most effective to create the redefinition: the philosophy awakens the consciousness and the art, propelled by such a radical discovery, ...
The Renaissance has not ceased to be an age of discussion and debate among historians throughout the recent centuries. The vibrant nature of the era marks it as a most fascinating period of history. The Renaissance can be described as an age carrying the essence of “self-discovery and fulfillment, of recognition of human worth, and a dynamic outpouring of artistic activity.” This new world flourishing with art and creative optimism was also steeped in a spirit of “revolt of the Medievalists.” In an effort of “rebirth,” the previous culture of the Middle Ages was rejected, and even scorned. Foundational principles in all fields were overstepped, and old cultural norms were practically obsolete. It was an era whose humanistic philosophy greatly impacted the lens through which man viewed himself and the world.
The Fall of Icarus by the artist Pieter Bruegel depicts change that was occurring from the Medieval period to the Renaissance. Significance can be found within the word renaissance as it means ‘rebirth’. More importantly the rebirth that was occurring during that era was one where people were looking back to the classical past for inspiration for art pieces. The most elite artist but not people who were peasants as their daily life differed did this. Bruegel offers a perspective in his piece, Fall of Icarus representation of the new age of exploration which serves as an allusion to man’s potential is starkly contrasted with the depiction of Icarus that serves as an allegory for man’s limits, indicating the shift from a euro-centric universe.
The aesthetic form may be “tentatively define[d] as the result of the transformation of a given content (actual or historical, personal or social fact) into a self-contained whole,”. Art, when created in accordance to the aesthetic form, is the channeling of an experience into a subjective format, i.e. a novel, a painting, a piece of music, or any of the many different art forms. The reality of an event is translated into the chosen medium, and in this sublimation of the event, it is modified in accordance to the “demands of the art form” and the subjective perspective of the individual. The re-presentation of this event serves to “invoke the need for hope- a need rooted in the new consciousness embodied in the work of art”. When an event or object becomes the subject of a piece of art, it is necessarily changed according to the restrictions of the art form, artist, and veiwer. This change creates a new reality in where the event may take on a new meaning, thus challenging the original content of the event. This meaning is further influenced by subjectivity of the
A fresh artist began to emerge from this new society. As a whole, the bourgeoisie class was indiffere...
Martin presented a still not complete, but broader world view and therefore corresponding understandings needed to be developed. O’Neill (2012) emphasises how Les Magiciens representations of otherness took the approach of postmodernist pluralism (p. 57) highlighting diversity and difference which aligned with a global art world of a vastly wider range. By opening the scope of the art world, the Western view slowly but radically changing to comprehend this awareness of what contemporary art was defined as on a global scale. One example of the opening of opportunities that followed can be drawn from Alfredo Jaar’s (2014) reflections from progress since Les Magiciens. Jaar commented how ‘provincial’ he found New York upon his arrival from Santiago de Chile in 1982. The city was considered to be an art ‘capital’ but was completely absorbed in its own production and being from Chile he found it impossible to operate outside the minority areas. His opinion is that Les Magiciens broke through this Euro-American central view and the current more global art world in which he can now exist in is as a result of these breaks into what he terms the ‘Western art
They were living on couches, and sneaking onto trains to get from one part of the city to another. In Jean-Michel Basquiat: The Radiant Child, A documentary by Tamra Davis, an ex-girlfriend of Jean-Michel’s was quoted, “If you've decided to live a certain counterculture, subversive lifestyle, its very difficult to go home” (2010). Jean-Michel lived that counterculture lifestyle; he was a graffiti artist, spray painting New York under the name of SAMO. Jean-Michel never had a real job because he claimed that it felt humiliating to have someone order him around. When he became desperate for money, he made and sold postcards on the streets of New York (Jean-Michel Basquiat: The Radiant Child). Neo-expressionism also operated largely outside of the state. However, as with most art, critics were quick to claim that the art was being produced and sold as a commodity and therefore was controlled by the market. But many chose to take the side that Irving Sandler did in his book Art of the Postmodern Era, “… genuine works of art had meanings which have nothing to do with commerce or politics and are unaffected by either” (Sandler, 225). This was the mindset that drove most Neo-expressionist artists. In all “genuine” art, there is an attempt to disturb the hegemony and make people see things
... over time – and the viewer’s personal experience, essentially her history. This gets very near to a common sense perspective – what we look at, and what we think about what we see has much to do with who we are and what we have experienced in life. Thus, art may be described as an interaction between the viewer, influenced by her experiences, with the work of art, inclusive of its history and the stories built up around it over time. When we look at art, we must acknowledge that the image is temporally stretched – there is more to it than meets the eye at present. What we learn from Didi-Huberman’s approach is to give this temporal ‘tension’ its due. Didi-Huberman describes and defends the importance of of how we look at artistic works: images that represent something determinate, while always remaining open to the presentation of something new and different.
“Against a backdrop of political stability and growing prosperity, the development of new technologies- including the printing press, a new system of astronomy and the discovery and exploration of new continents- was accomplished by a flowering of philosophy, literature, and especially art” (History). Beginning in the early 14th century, art began to drastically change and new ways of expression emerged (Sachs 7). “Three great masters- Leonardo da Vinci, Michelangelo, and Raphael- dominated the period of the Renaissance” (History). The legacy of these three great artists and their work has lasted hundreds of years and is bound to last for hundreds more
The shift between the Middle Ages and Renaissance was documented in art for future generations. It is because of the changes in art during this time that art historians today understand the historical placement and the socio-economic, political, and religious changes of the time. Art is a visual interpretation of one’s beliefs and way of life; it is through the art from these periods that we today understand exactly what was taking place and why it was happening. These shifts did not happen overnight, but instead changed gradually though years and years of art, and it is through them that we have record of some of the most important changes of historic times.
...p from the world they live in, a world of separation and indicate themselves with their own realities. Art is handed over into society’s hands, as in one movement it is suggested - to fixate what is real, live like you create and create like you live; in other – abandon media’s proposed ideas and take the leadership of life in our own hands.
Ward G, 2011, ‘Postmodernism’, understanding post modernism a teach yourself guide, New York, Mcgraw hill, pp1-14.
Disch. Lisa, `Judith Butler and the Politics of the Performative', Political Theory, Vol. 27, No. 4 (Aug,. 1999)
“In a decaying society, art, if it is truthful, must also reflect decay. Moreover, unless it wants to break faith with its social function, art must show the world as changeable. And help to change it.” This quote by Ernst Fischer, a German composer, means that truth in art exposes the parts of society, and of life, that no one wants to see. In order for art to change society, it must first reflect the fears and failures of its people. The artist can change how people think of themselves and the world by using less conventional methods of creating art. The artist, in doing this, introduces new ideas of human placement in time and space, new frontiers of thought, that are furthered by the disciplines of science and philosophy. The artist works to introduces unique- and sometimes offensive- ideas so that society will be exposed to new ways of thinking and understanding the world. The artist does this through experimentation with color, style, and form. Therefore, the purpose of the artist should be to challenge how individuals perceive themselves and the offensive aspects of society reflected in art to bring about innovations in the greater society.