Jencks offers multiple definitions of the term postmodernism to clarify to his reader the many different approaches one can take to understand its meaning. The one definition I found most helpful was near the very end of the piece when Jencks states, "...the age of eclecticism, we have the freedom to choose and perfect our conventions, and this choice forces us to look both inwards and outwards to culture as a whole."(294)
Personally i love this era that we are in when it comes to architecture and art. I love having the freedom to decide what I think a piece of art may or may not stand for. Don't get me wrong I love realism paintings as well, but for some reason the abstract pieces and "hybrid combinations" catch my eye. Jencks describes these abstract pieces as "disharmonious harmony". I think this type of art is crucial. It appeals to a larger audience because it speaks to more people. I remember in middle school always taking a field trip to the Cummer Art Museum. We would always be shown the typical landscapes the were very accurate with flowers and trees and a boy and girl swinging in the background--a very fluffy kind of pictures. No one was ever really interested in these pieces because there weren't multiple truths behind them...they were very clear and not thought provoking. Yet, once we got to the paintings of three different colored lines...that got everyone thinking. It is abstract and makes you think, instead of showing you what it is--the artist has left you to decode its meaning. Jencks even states that eclectic language speaks to a wider and more divergent audience (283).
An important aspect to postmodernism Jencks reiterates is that the piece of art or architecture should invoke feelings from the past and linking them to the present, or in his words "suggested recollection". This is important because it allows viewers to search elsewhere for the unified meaning, and apply their own meaning as well. Also, it creates a harmonious aura and a paradoxical genre.
After reading this piece, Jencks has further clarified my understanding of postmodernism seen throughout art and architecture.
Monday, January 26, 2009
Rubber Soul, Jencks
Postmodernism: "strong sense of its departure point, but no clear sense of destination" and
"equally as determined to retain and preserve aspects of the past as it is to go forward... excited about revival, yet wanting to escape the dead formulae of the past"
These quotes were most helpful for my understanding of the term postmodernism. Jencks offers many facets of how postmodernism is practiced in art and architecture. He says postmodern art and architecture represent paradoxical views of oxymorons. Postmodern ideas include a "disharmonious harmony" in which juxtapositional tastes and world-views are appreciated as being more real. For an example, he describes a painting that mixes classical and modern styles which produces a work of art that is perceived as a little confusing, but entirely left up to the viewer's discretion to interpret however he/she wants. He also describes a theme in postmodern architecture called "anthropomorphism." It means that inanimate objects or in this case, buildings are built to suggest forms of the human body. We interpret these buildings in conjunction with the way we feel about the likeliness of the body parts it portrays. Anamnesis is another term that is stated in understanding postmodernism. It's referred to as a "suggested recollection" or a "narrative without a plot." These types of works allude to a historical continuum of interconnecting the past and present. Works of art using anamnesis allows the reader to search for representative forms but the significance of their story is left undetermined in the work itself.
After reading this piece, I have a clearer idea of the meaning of postmodernism.
"equally as determined to retain and preserve aspects of the past as it is to go forward... excited about revival, yet wanting to escape the dead formulae of the past"
These quotes were most helpful for my understanding of the term postmodernism. Jencks offers many facets of how postmodernism is practiced in art and architecture. He says postmodern art and architecture represent paradoxical views of oxymorons. Postmodern ideas include a "disharmonious harmony" in which juxtapositional tastes and world-views are appreciated as being more real. For an example, he describes a painting that mixes classical and modern styles which produces a work of art that is perceived as a little confusing, but entirely left up to the viewer's discretion to interpret however he/she wants. He also describes a theme in postmodern architecture called "anthropomorphism." It means that inanimate objects or in this case, buildings are built to suggest forms of the human body. We interpret these buildings in conjunction with the way we feel about the likeliness of the body parts it portrays. Anamnesis is another term that is stated in understanding postmodernism. It's referred to as a "suggested recollection" or a "narrative without a plot." These types of works allude to a historical continuum of interconnecting the past and present. Works of art using anamnesis allows the reader to search for representative forms but the significance of their story is left undetermined in the work itself.
After reading this piece, I have a clearer idea of the meaning of postmodernism.
Sunday, January 25, 2009
Trapnest, 1/22
I couldn’t help but engage in my own temesis in class last time. Thinking and re-writing the class when it was occurring. The picture of Marilyn Monroe made me think of an age old saying with regards to clothing I’ve been told once before, “It’s not how much you show, but how little.” In other words, it’s not how much skin you show but how little. Now, I realize I’m outing myself as a girl here, but I think it’s very true. I’ve spoken with countless guys on the subject and many will say, the girl who shows off the most skin is often less enticing than the girl who is dressed much more modestly with little peaks.
Relating this to media texts I think it is true that we will re-write, re-read and relate to the texts as we’re reading it. I was also thinking about how we related it to when two people are having a discussion. It is often the cast that we feel that we need to interject, it’s almost seen, and I feel, as a necessity to the conversation. Like we are not a part of what’s occurring if we’re not adding our own “two-cents” to it. It is the back and fourth play that we have with the other person that most people are taught to signify a conversation. It is only natural that we should then do this with the texts we read. If we are to “properly” interact with it then we must add our own information and tidbits to it. Even though we discussed “Readerly Texts” where this doesn’t, or shouldn’t occur, I personally think it’s impossible. Even in an instruction book someone is very likely thinking to themselves “Oh, this assembles just like…” or “I knew these two pieces would go together.” To have a text completely exempt of this would be completely impossible because it goes against our nature.
Relating this to media texts I think it is true that we will re-write, re-read and relate to the texts as we’re reading it. I was also thinking about how we related it to when two people are having a discussion. It is often the cast that we feel that we need to interject, it’s almost seen, and I feel, as a necessity to the conversation. Like we are not a part of what’s occurring if we’re not adding our own “two-cents” to it. It is the back and fourth play that we have with the other person that most people are taught to signify a conversation. It is only natural that we should then do this with the texts we read. If we are to “properly” interact with it then we must add our own information and tidbits to it. Even though we discussed “Readerly Texts” where this doesn’t, or shouldn’t occur, I personally think it’s impossible. Even in an instruction book someone is very likely thinking to themselves “Oh, this assembles just like…” or “I knew these two pieces would go together.” To have a text completely exempt of this would be completely impossible because it goes against our nature.
Murphy, 1/22
The idea that "when we see authorship we quit re-writing and start analyzing whats already there" rings so true to my personal experience and what I would consider human nature. Dr. Rog brought up this idea of seeing a text and immediately changing it to fit our ideas and experiences. And changing the meaning in a way that would apply the text personally. Whereas when we see a text, such as the poem we looked at in class, that has the authors name at the bottom, we stop trying to make it our own, and instead we begin to try and figure out what the author is trying to say and why.
The different interpretations of texts are what cause conflict between different groups, cultures, and nations. Tmesis is what creates these different readings of the same text. Dr.Rog explained that individuals begin sticking their moral and ethical beliefs into the texts and suggest that they are better than the others. The idea of one person believing their interpretation of a text begins at a very early age. It can be seen in classrooms, homes, and churches all over the world. I know that I personally have argued my ideas on what a story, poem, or sign meant to me, and many times relentlessly believing I was right. After time and experience I can say that I agree with Barthe wholeheartedly when he suggests "allowing and accepting different versions of the texts to avoid conflict." Arguing one's ideas is acceptable and admirable, but claiming superiority and not considering other peoples ideas is ignorant. Barthe states, "Let differences surreptitiously replace conflict...Conflict is nothing but the moral state of difference" (110).
The different interpretations of texts are what cause conflict between different groups, cultures, and nations. Tmesis is what creates these different readings of the same text. Dr.Rog explained that individuals begin sticking their moral and ethical beliefs into the texts and suggest that they are better than the others. The idea of one person believing their interpretation of a text begins at a very early age. It can be seen in classrooms, homes, and churches all over the world. I know that I personally have argued my ideas on what a story, poem, or sign meant to me, and many times relentlessly believing I was right. After time and experience I can say that I agree with Barthe wholeheartedly when he suggests "allowing and accepting different versions of the texts to avoid conflict." Arguing one's ideas is acceptable and admirable, but claiming superiority and not considering other peoples ideas is ignorant. Barthe states, "Let differences surreptitiously replace conflict...Conflict is nothing but the moral state of difference" (110).
000ooo000ooo 1/25
In reading the 11 "emergent rules" of postmodernism and postmodern classicism two of these rules struck me as relevant to a recent art display in Costa Rica. I think this display (while explosively controversial) is a very good example of postmodern art. In the display the artist, Guillermo Vargas, caught a stray dog on the streets of Costa Rica. He then proceeded to bring it into the art museum and chain it to the wall. On the other side of the room from the dog lay a bowl of water. Above the dog, written in dog food, read "You are what you read." Vargas left the dog alone on the leash for a week or so until the dog starved to death.
Many people were outraged by the fact that Vargas had allowed the dog to die, saying he had killed it. However, Vargas was attempting to create an important allegory of the state of our country and the world as a whole. In doing this he was emplowing divergent signification. That is, there were many different ways to read the piece. Some people thought the purpose of the piece was to show suffering. People who read the piece this way were outraged that somebody felt that had to personally create suffering and that it was okay to choose an innocent dog as the victim. Other people saw the piece as allegorical either in its representation of our world or its representation of the human psyche and its prioritizing of following the rules over acting morally. In this reading one finds another of Jencks rules, double coding, which uses "irony, ambiguity, and contradiction" (288).
While there was the literal image of a starving dog in front of museum patrons, there was also the image of the room as a whole. People milling around looking at the dog, yet not helping. There was food on the wall which they could have fed the dog, and water across the room which could have been brought to quench the dog's thirst. Yet, all of these people watched the dog die. They all could have helped and they did not and this questions there morals at least partially as much as Vargas' morals. The irony here is that many of the same people who later called Vargas a murderer also personally neglected to feed the starving dog. Their actions are extremely contradictory. It is also ironic that a dog died in a room full of the very resources it required for survival.
The double code of this piece is that it can also be a metaphor for our world; many people in third-world countries starve to death while being surrounded by nutrients. Much of this is a result of globalization exporting food around the world. In any case, the situation is similar, people dying because others won't give them access to the things they need, regardless of how close these resources are. Vargas' piece (though it probably wasn't worth the dog's life) is an example of a postmodern critique of our society.
Many people were outraged by the fact that Vargas had allowed the dog to die, saying he had killed it. However, Vargas was attempting to create an important allegory of the state of our country and the world as a whole. In doing this he was emplowing divergent signification. That is, there were many different ways to read the piece. Some people thought the purpose of the piece was to show suffering. People who read the piece this way were outraged that somebody felt that had to personally create suffering and that it was okay to choose an innocent dog as the victim. Other people saw the piece as allegorical either in its representation of our world or its representation of the human psyche and its prioritizing of following the rules over acting morally. In this reading one finds another of Jencks rules, double coding, which uses "irony, ambiguity, and contradiction" (288).
While there was the literal image of a starving dog in front of museum patrons, there was also the image of the room as a whole. People milling around looking at the dog, yet not helping. There was food on the wall which they could have fed the dog, and water across the room which could have been brought to quench the dog's thirst. Yet, all of these people watched the dog die. They all could have helped and they did not and this questions there morals at least partially as much as Vargas' morals. The irony here is that many of the same people who later called Vargas a murderer also personally neglected to feed the starving dog. Their actions are extremely contradictory. It is also ironic that a dog died in a room full of the very resources it required for survival.
The double code of this piece is that it can also be a metaphor for our world; many people in third-world countries starve to death while being surrounded by nutrients. Much of this is a result of globalization exporting food around the world. In any case, the situation is similar, people dying because others won't give them access to the things they need, regardless of how close these resources are. Vargas' piece (though it probably wasn't worth the dog's life) is an example of a postmodern critique of our society.
Scorpio, 1/22
I found the study of tmesis to be a very interesting topic. As we discussed in class on 1/22, tmesis is the figurative “gap” in meaning between words. It also helps to bring about ideas and understanding of language. One interesting aspect of tmesis is the notion that, individually, it is based from personal experience. Our class exercise looking at the Hemingway poem bit by bit and assuming its meaning in our own contexts was an example of tmesis. I will have to admit as well that tmesis is quite objective to the individual reading the passage. Therefore, tmesis is never accounted for as the reader is in total control of his/her imagination.
This concept reminds me of a developmental idea as well. When I was little, I used to “read” books to my friends. Actually, I was saying I could read, but all I was doing was making a story to fit with the pictures. Where did I gain knowledge to produce the stories? Tmesis! This example shows that children rely on tmesis to make sense of pictures and the way the world works.
This concept reminds me of a developmental idea as well. When I was little, I used to “read” books to my friends. Actually, I was saying I could read, but all I was doing was making a story to fit with the pictures. Where did I gain knowledge to produce the stories? Tmesis! This example shows that children rely on tmesis to make sense of pictures and the way the world works.
WoolyBully7, 1/22
The word tmesis reminds of a part of a movie called “Road Trip.” Towards the end of the movie this one college student needs to learn an entire semesters worth of ancient philosophy in a day long bus ride. His friend on the bus, who helped tutor him ancient philosophy, knew the only way his friend would learn philosophy was if he was able to relate the material to something relevant his life. He related all the different ancient philosophers such as Socrates, Plato and Aristotle to different wrestlers on television. I feel like tmesis is very similar in that the reader or viewer is injecting their ideas, thoughts, perceptions and opinions between the lines of a text.
This is directly related to the quote on page 108, “It is not the most erotic portion of a body where the garment gapes.” A scantily clad woman is more exciting since we fill in what we want in between the lines, in this case behind a few garments. Humans like to fill in what is missing with what they are feeling. It is the parts that we can’t necessarily see outright that entices and excites us. This doesn’t imply that we are changing the meaning of the text, simply just involving what we individually feel is appropriate. I feel as though that aids in the learning process. If tmesis helps you relate information to something relevant, and it helps you remember and learn it than tmesis is a good thing. Everyone has tmesis at one time or another. If you hear a story about your friend’s vacation and you have been to the same place it is practically impossible not to interject and talk about your experience to that place as well. Tmesis is almost natural since we all try to implement our own beliefs and opinions on others.
This is directly related to the quote on page 108, “It is not the most erotic portion of a body where the garment gapes.” A scantily clad woman is more exciting since we fill in what we want in between the lines, in this case behind a few garments. Humans like to fill in what is missing with what they are feeling. It is the parts that we can’t necessarily see outright that entices and excites us. This doesn’t imply that we are changing the meaning of the text, simply just involving what we individually feel is appropriate. I feel as though that aids in the learning process. If tmesis helps you relate information to something relevant, and it helps you remember and learn it than tmesis is a good thing. Everyone has tmesis at one time or another. If you hear a story about your friend’s vacation and you have been to the same place it is practically impossible not to interject and talk about your experience to that place as well. Tmesis is almost natural since we all try to implement our own beliefs and opinions on others.
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