Modernism, in its broadest definition, is modern thought, character, or practice. More specifically, the term describes both a set of cultural tendencies and an array of associated cultural movements A cultural movement is a change in the way a number of different disciplines approach their work. This embodies all art forms, the sciences, and philosophies. Historically, different nations or regions of the world have gone through their own independent sequence of movements in culture, but as world communications have accelerated this, originally arising from wide-scale and far-reaching changes to Western society Western culture refers to cultures of European origin. However, the idea that all European countries (especially the Orthodox civilization) belong to the Western culture is refused by the majority of Western scholars of social sciences in the late nineteenth and early twentieth centuries. The term encompasses the activities and output of those who felt the "traditional" forms of art, architecture, literature, religious faith, social organization and daily life were becoming outdated in the new economic, social and political conditions of an emerging fully industrialized world.
Modernism rejected the lingering certainty of Enlightenment thinking The Age of Enlightenment is a term used to describe a time in Western philosophy and cultural life, centered upon the eighteenth century, in which reason was advocated as the primary source and legitimacy for authority, and also that of the existence of a compassionate, all-powerful Creator.[2][3] This is not to say that all modernists or modernist movements rejected either religion or all aspects of Enlightenment thought, rather that modernism can be viewed as a questioning of the axioms In traditional logic, an axiom or postulate is a proposition that is not proved or demonstrated but considered to be either self-evident, or subject to necessary decision. Therefore, its truth is taken for granted, and serves as a starting point for deducing and inferring other truths of the previous age.
A salient characteristic of modernism is self-consciousness. This often led to experiments with form, and work that draws attention to the processes and materials used (and to the further tendency of abstraction).[4] The poet Ezra Pound Ezra Weston Loomis Pound was an American expatriate poet, critic and intellectual who was a major figure of the Modernist movement in the first half of the 20th century. He is generally considered the poet most responsible for defining and promoting a modernist aesthetic in poetry. The critic Hugh Kenner said of Pound upon meeting him: "I's paradigmatic injunction was to "Make it new!" Whether or not the "making new" of the modernists constituted a new historical epoch is up for debate. Philosopher and composer Theodor Adorno Theodor Ludwig Wiesengrund Adorno was a German-born international sociologist, philosopher, musicologist, and composer. He was a member of the Frankfurt School along with Max Horkheimer, Walter Benjamin, Herbert Marcuse, Jürgen Habermas, and others. He was also the Music Director of the Radio Project from 1937 to 1941, in the U.S warns us:
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- "Modernity is a qualitative, not a chronological, category. Just as it cannot be reduced to abstract form, with equal necessity it must turn its back on conventional surface coherence, the appearance of harmony, the order corroborated merely by replication."[5]
Adorno would have us understand modernity as the rejection of the false rationality, harmony, and coherence of Enlightenment thinking, art, and music. But the past proves sticky. Pound's general imperative to make new, and Adorno's exhortation to challenge false coherence and harmony, faces T.S. Eliot Thomas Stearns Eliot was an American poet, playwright, and literary critic, arguably the most important English-language poet of the 20th century. His first notable publication, The Love Song of J. Alfred Prufrock, begun in February 1910 and published in Chicago in June 1915, is regarded as a masterpiece of the modernist movement. It was followed emphasis on the relation of the artist to tradition. Eliot wrote:
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- "[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."[6]
Literary scholar Peter Childs sums up the complexity:
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- "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."[7]
These oppositions are inherent to modernism: it is in its broadest cultural sense the assessment of the past as different to the modern age, the recognition that the world was becoming more complex, and that the old "final authorities" (God, government, science, and reason) were subject to intense critical scrutiny.
Current interpretations of modernism vary. Some divide 20th century reaction into modernism and postmodernism Postmodernism literally means 'after the modernist movement'. While "modern" itself refers to something "related to the present", the movement of modernism and the following reaction of postmodernism are defined by a set of perspectives. It is used in critical theory to refer to a point of departure for works of literature,, whereas others see them as two aspects of the same movement.
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Footage of Shulman at work and at leisure in his home is included in the wonderful recent documentary film Visual Acoustics: The Modernism of Julius Shulman ...
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