Dada
Dada (/ˈdɑːdɑː/) or Dadaism was an art movement of the European avant-garde in the early 20th century. Dada in Zurich, Switzerland, began in 1916, spreading to Berlin shortly thereafter, but the height of New York Dada was the year before, in 1915.[1] The term anti-art, a precursor to Dada, was coined by Marcel Duchamp around 1913 when he created his first readymades.[2] Dada, in addition to being anti-war, had political affinities with the radical left and was also anti-bourgeois.[3] Francis Picabia, Dame!
``How To Speak and Write Postmodern''
Posted to alt.humor.best-of-usenet by Andrew C Bulhak on 20 June 1995, found in alt.postmodern. by Stephen Katz, Associate Professor, Sociology, Trent University, Peterborough, Ontario, Canada Postmodernism has been the buzzword in academia for the last decade.
Post-structuralism
Post-structuralism is a label formulated by American academics to denote the heterogeneous works of a series of mid-20th-century French and continental philosophers and critical theorists who came to international prominence in the 1960s and '70s.[1][2][3] A major theme of post-structuralism is instability in the human sciences, due to the complexity of humans themselves and the impossibility of fully escaping structures in order that we might study them. Post-structuralism is a response to structuralism. Structuralism is an intellectual movement developed in Europe from the early to mid-20th century. Theory[edit] General practices[edit]
Avant-garde
The avant-garde (from French, "advance guard" or "vanguard", literally "fore-guard"[1]) are people or works that are experimental or innovative, particularly with respect to art, culture, and politics. The avant-garde also promotes radical social reforms. It was this meaning that was evoked by the Saint Simonian Olinde Rodrigues in his essay "L'artiste, le savant et l'industriel" ("The artist, the scientist and the industrialist", 1825), which contains the first recorded use of "avant-garde" in its now customary sense: there, Rodrigues calls on artists to "serve as [the people's] avant-garde", insisting that "the power of the arts is indeed the most immediate and fastest way" to social, political and economic reform.[3]
The Postmodernism Generator » Communications From Elsewhere
1. Fellini and Marxist capitalism “Sexual identity is intrinsically unattainable,” says Bataille; however, according to Finnis[1] , it is not so much sexual identity that is intrinsically unattainable, but rather the collapse, and thus the fatal flaw, of sexual identity. Wilson[2] suggests that the works of Fellini are empowering. However, the primary theme of Geoffrey’s[3] analysis of the constructivist paradigm of discourse is a mythopoetical whole. The main theme of the works of Smith is the role of the writer as poet.
Existentialism
Existentialism is a term applied to the work of certain late 19th- and 20th-century philosophers who, despite profound doctrinal differences,[1][2][3] shared the belief that philosophical thinking begins with the human subject—not merely the thinking subject, but the acting, feeling, living human individual.[4] In existentialism, the individual's starting point is characterized by what has been called "the existential attitude", or a sense of disorientation and confusion in the face of an apparently meaningless or absurd world.[5] Many existentialists have also regarded traditional systematic or academic philosophies, in both style and content, as too abstract and remote from concrete human experience.[6][7] Definitional issues and background[edit] There has never been general agreement on the definition of existentialism. The term is often seen as an historical convenience as it was first applied to many philosophers in hindsight, long after they had died.
Romanticism
Defining Romanticism[edit] Basic characteristics[edit] Defining the nature of Romanticism may be approached from the starting point of the primary importance of the free expression of the feelings of the artist.
Postmodernism or, The Cultural Logic of Late Capitalism by Fredric Jameson
Fredric Jameson (1991) Postmodernism or, The Cultural Logic of Late Capitalism Source: Postmodernism, or, The Cultural Logic of Late Capitalism Verso, 1991.
Will to power
The will to power (German: der Wille zur Macht) is a prominent concept in the philosophy of Friedrich Nietzsche. The will to power describes what Nietzsche may have believed to be the main driving force in humans: achievement, ambition, the striving to reach the highest possible position in life; these are all manifestations of the will to power. Background[edit] Friedrich Nietzsche found early influence from Schopenhauer, whom he first discovered in 1865. Schopenhauer puts a central emphasis on will and in particular has a concept of the "will to live."
Surrealism
Surrealism is a cultural movement that began in the early 1920s, and is best known for its visual artworks and writings. The aim was to "resolve the previously contradictory conditions of dream and reality." Artists painted unnerving, illogical scenes with photographic precision, created strange creatures from everyday objects and developed painting techniques that allowed the unconscious to express itself and/or an idea/concept.[1]
Ideation (idea generation)
Ideation is the creative process of generating, developing, and communicating new ideas, where an idea is understood as a basic element of thought that can be either visual, concrete, or abstract.[1] Ideation comprises all stages of a thought cycle, from innovation, to development, to actualization.[2] As such, it is an essential part of the design process, both in education and practice.[3] In Ideation: The Birth and Death of Ideas, Douglas Graham and Thomas T. Bachmann propose that methods of innovation include:
