Gwatter06, Jencks

Postmodernity and classicism in one! What I like most about this piece is the expression of correlation between modernity and history. Jencks takes an interesting approach in his understanding of postmodernity and classicism and formulates a compelling understanding of the two and how they live in and amongst each other. At first I was confused by Jencks use of “canon” in his descriptions, but I later understood it as the rules behind the preconditions of creativity. What I understood from this is that there are underlying entities to art and creativity. Jencks continues on this concept by stating, “the only escape from rule-governed art is to suppress from consciousness the canon behind one’s creativity…” (281). I found this to be the most interesting concept that Jencks includes in his piece because it is so closely related to a notion we have covered in Barthes on tmesis. What I think Jencks is saying here is that modern art and creativity is distorted by the authors need to control what he or she has manifested. He explains that the only way to get around this is by omitting the “canons” behind creativity. Barthes also covered this notion with tmesis, stating that author and artists need to have that “break” or “rupture” in their work for critique without the attempt to force it or implement it. Jencks also compiles to this notion with the first selection in his list of what supplements Postmodern Classicism. He brings up the concept of “dissonant beauty, or disharmonious harmony” (282). He then explains that this is work that is not perfectly finished in its totality, but is moreover, a “difficult whole” or “fragmented unity.” This explains that art or literature should not be finished or completed, but left for improvement or criticism. What I have learned and been able to conclude is that this notion of the possibility to critique is very important in postmodernism. I look forward to seeing if this concept reemerges in other readings as well.