Modern, Late-Modern, Post-Modern

Charles Jencks
Charles Jenks on Modernism, Late-Modernism and Post-Modernism.

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R. Buckminster Fuller

We should do away with the absolutely specious notion that everybody has to earn a living. It is a fact today that one in ten thousand of us can make a technological breakthrough capable of supporting all the rest. The youth of today are absolutely right in recognizing this nonsense of earning a living. We keep inventing jobs because of this false idea that everybody has to be employed at some kind of drudgery because, according to Malthusian Darwinian theory he must justify his right to exist. So we have inspectors of inspectors and people making instruments for inspectors to inspect inspectors. The true business of people should be to go back to school and think about whatever it was they were thinking about before somebody came along and told them they had to earn a living. — R. Buckminster Fuller

Lidia Yuknavitch

Art gave me something to believe in at all the times in my life when I felt life wasn’t worth living. Art also gives a person experiencing pain and the will toward self-destruction a viable option: self-expression. And art helps us bear the brutality in the world—because it cannot be burned or buried or bombed away. Someone will always make more of it. Art is an antidote for loneliness as well. Not all of us are well-adjusted and excellent at being with people. And yet we love our fellow mammals. Art gives us something to do with the love and the loneliness when we falter at life. — Lidia Yuknavitch

Art and Knowledge

If the artworld was primarily concerned with knowledge and knowledge acquisition surely this would be clearly evident in its discourse. To insist that this is the proper function of the artworld is to accuse the community of longstanding and persistent incompetence. — Scrivener, 2002

Ambient

It’s interesting what part of ambient they took as being the center of it. For me, the central idea was about music as a place you go to. Not a narrative, not a sequence that has some sort of teleological direction to it—verse, chorus, this, that, and the other. It’s really based on abstract expressionism: Instead of the picture being a structured perspective, where your eye is expected to go in certain directions, it’s a field, and you wander sonically over the field. And it’s a field that is deliberately devoid of personalities, because if there’s a personality there, that’s who you’ll follow. So there’s not somebody in that field leading you around; you find your own way.
Brian Eno on Pitchfork interview

Brian Eno

I really think that for us, who all grew up listening primarily to recorded music, we tend to forget that until about 120 years ago ephemeral experience was the only one people had. I remember reading about a huge fan of Beethoven who lived to the age of 86 [in the era before recordings], and the great triumph of his life was that he’d managed to hear the Fifth Symphony six times. That’s pretty amazing. They would have been spread over many years, so there would have been no way of reliably comparing those performances. — Brian Eno