At the time of inauguration of the first U.S. President D. Washington in 1789, American society was composed of 4 million people, of whom 750,000 were black. Only a small fraction of the population lived in cities in New York had 33,000 residents! Only 200,000 people lived in urban areas of North America, each of which rarely exceed 2,500 inhabitants. The population was young - average age 16 years, exceeded only 800 000 people. United States were at that time a small country and all members of the political elite were familiar with each other, as were natives of the few leading families of the country. However, for the rest of the population moving from place to place was a rare thing, strangers appeared rarely, and the news is meant primarily local gossip. A quarter-century ago, the U.S. had a population of 210 million people, most of which (140 million people) lived in metropolitan areas and urban areas - to the latter include settlements with a population of 50 000. In the country, and now less than 1 million people live on farms. Average age - 30 years and the country's 140 million people older than 17 years. The country was not socially isolated areas - the entire U.S. federal territory was linked television channels and production of mass culture.
But in the early twenty-first century. continues to astound the sharp contrast between what everyone knows of other people and how many people know it. In different areas of life people know hundreds and thousands, and thanks to mass media is the number grows like an avalanche. If before the classic question of identity, "Who are you?" Man of traditional society replied that he was the son of his father. Individual culture of postmodernity to a question, he answers: "I am me, I've created yourself, but the choice and the behavior of my understanding of their interests." Obviously, in traditional societies of the West the main source of identification was social class. As shown by J. Schumpeter, The Rise and Fall classes are closely connected with the rise and fall of families. In postmodernity the social classes continue to shape the identity of the person, but to class parameters currently added to the cultural and educational components of identity. It is obvious that modernity has called into question the very idea of culture. When first told about classical culture and Catholic culture (with the exception of bacterial culture), a representation of aggregate beliefs, traditions and rituals that have their own homogeneous style in human history. However, postmodernity is a break with the past as such, and transfer back to the present. More Alexis de Tocqueville argued that the aristocracy is building a chain of all members of the community from a peasant to king, and democracy breaks that chain of individual links. As a result, every individual is detached from its predecessors and forgets them. Enemy of democracy and modernity is the culture in the traditional sense of the term. Modernity as modernity can be defined as "the tradition of innovation" - a tradition entirely anti-cultural, because culture is itself a tradition. In these circumstances, is impossible and the true vanguard, as the vanguard of a denial of any particular tradition.
Tactics of the avant-garde is a scandal. However, in the culture of modernity scandal turns into a simple sensation. Present castrates vanguard by its absorption on an equal footing with all other components of the cultural past. In the culture of postmodernity faced two cultures: the traditional concept of culture as tradition and cultivation, and the modern concept that culture is merely a syncretism. Postmodern Culture blows both traditions, and therefore acts as anticulture. In this anti-culture is a mix of all types and genres of culture: Polish artists were exhibited in the U.S., and American paintings purchased in England, on the theater stages around the world are setting any national playwrights - Chekhov, Brecht, Strindberg, Beckett, etc. But what then is the culture of postmodernity? In the eighteenth century. European and American intellectuals were able to communicate with each other on topics related to the classical set of authors, and usually the conversation revolved around the works of Lucretius and Virgil, and then moved to the culture of modern times. Enough to see lists of books in the library of Marx, their evolution, the nature of purchases for years to get an idea about the interests of the intellectuals of the nineteenth century. How did sensuality able to escape from the vicious circle of intellectual production? This was due to decentration of culture. In the past, in all civilizations with a high cultural tradition there was a special central place - the agora in Athens, the piazza in the Italian cities, a market square in European cities. It was at this place were artists. The U.S. has never been a single point of cultural life. In the mid-nineteenth century. Boston was the center of cultural development through the church, the wealth of the city and the cultural layer, worked in the style of "New England", which did not allow Boston to rule on the vast American territory. At the end of the century New York became the center of parvenu (upstarts), and their society raznosherstyh immigrants, but the city could not still cover the cultural diversity of the South, the Southwest United States. Even in the heyday of Greenwich Village before and after the First World War, New York captured the only aspect of the avant-garde culture and has always been a culturally secondary - after Paris. As a result, the U.S. were separated culture: New York became a place for publicists and theatrical figures, Washington - place of the political elite of Los Angeles owned by Hollywood filmmakers, and professors spread out across the country and settled in large universities. That universities have played a crucial role in the sociocultural field of America - came from the universities of many writers, poets, critics and all the intellectuals of the West. However, contacts between these circles of intellectual elites and the ruling class have been very difficult, there was no such site where they could cross. In these circles of the avant-garde threw his starter in the form of Dada, Futurism, Cubism, constructivism, surrealism, photorealism with their proclamation of the new aesthetics of new styles and forms. These "isms" have passed as a typhoon and is not accounted for some single point of cultural development, there was only varied peripherals. And as you know, the culture of flowers, where is the center and there is intensive interaction between people of culture. The fragmentation of postmodern culture and education segments of the cultural process raises the question of the future development of national and international culture. Postmodernity is characterized by a rejection of the hierarchy of arts, of the societies of the classical high culture - the time of Pericles in Greece, Renaissance Italy, the Russian "golden age". This means that collapses and the most important function of art - mimesis. In the period from 1895 to 1914. there have been two major changes in culture: - Formal revolution in art (rupture of poetic syntax, the invasion of the unconscious in literature, the emergence of atonality in music, the loss of consistency in the literature, etc.) - A new perception of themselves (the cult of childhood, inspiration absurd revision of values in the direction of exaltation of the lower impulses of human nature, the fascination with a hallucinatory experience, the desire for fashion bad taste, and taste perversion). This product changes emerged in the poetry of Ginsberg, fed largely ideas Whitman, Blake and the Indian Vedas. Hallucinations also were achieved in a drugged experience and psychedelic experiences. However, 60 years. added to their sensuality cruelty and violence, interest in sexual perversion, the desire for sensation and noise, anti-intellectualism, the desire to blur the line between art and life, a fusion of art and politics. Cruelty and violence spilled out into films, whose task was not to achieve a catharsis, but getting the audience shock and a weakening of the natural resistance of cruelty and injustice. At this time, usually stated film and theater critics that such performances and happenings reflect the cruelty of life around us, but even in 30 years. in butlegerskogo rampant mafia government issued a ban on films about gangsters and demanded films about Gee-Ay («gunman» - a gunman, the police, the good guy), and in 40 years. were not filmed like "Bonnie and Clyde." Sexual perversion were expressed in E. Warhol film "Chelsea Girls" and the famous Swedish band "I'm curious." Theme one - homosexuality, transvestism and the top of ugliness: the oral-genital intercourse. All this demonstrated a departure from the ideals of the heterosexual family life in the release of aggressive female sexuality feminists.
Noise of 60 years. denied the aesthetics of silence 50 years. - S. Beckett's play and music by Cage, and "new sound" with the Beatles in 1964 and rokmuzyka as a new drug created a panorama antikognitivnogo and antiintellektualnogo mood in the culture. Art was dissolved in the practice of art and life. As Hannah Arendt believed, works of art created for the appearance, and the only criterion is the appearance of beauty. By this Greek understanding of art Arendt added Hegelian model of objectification, but in 60 years. This archaic view was overturned. In this respect, nice job Rozenberg, relying on the works of D. Pollack, W. de Kooning, F. Klein, and other "artists of action." For Rosenberg the canvas there is no picture, but the event, and hence there is no difference between the finished work and sketches - the first could not be better and better the second. "New Paintings" Rosenberg has erased the very border between life and art. Sculpture was also ranked by some real objects - the barrels, crates and boards. "Minimal sculpture" D. Judah, R. Morris and D. Flavin introduced imagination in art and began to exhibit some "thing in itself." The exhibition in the summer of 1968 at the Whitney Museum called "Anti-Illusion: Procedures and Materials. A movement of "anti-form." In 1969, the Museum of Modern Art presented an exhibition of a new movement called "Space", organized by D. Licht. The exhibition was full eclipse of the erasure and distance works of art and life - the audience was not outside of work, but on the inside. It has been shown 6 rooms, one of which was filled flyuoristsiruyuschimi yellow and green light tubes. Another room was equipped with acoustical panels. The third was black, the fourth was covered with gymnastic mats, on which to lie. And this was the beginning enviromentalnogo art fused with art happenings. The latter not only erased the distance between the situation, phenomenon, and the audience, but starts up odors, heat, taste and movement. But in fact, a pyramid of chairs in the play "Chairs" is just a group of chairs, and water flow in the audience just a trickle from the pipes had broken through. No other characters are not here. Interest in the Zen culture of 60 years. led to the abandonment of qualitative numerucal count - can not say "hard and soft", you should talk about specific tactile sensations, which gives the stone, wood and water. Another feature of sensuality 60 years. was the performance against any interpretation. This thesis was nominated by Susan Sontag. It assumes that every interpretation is reactionary and interpretation is similar to automobile fumes and factory chimneys dymam that poison the atmosphere of the city. The interpretation also infects our sensitivity and intelligence is the revenge of art and what is more, even the revenge of intellect upon the world epistemological relativism of postmodernism frightened liberals, particularly the horror called the principle of deconstruction and a call to abandon education. In this principle, see be ^ te noire, which undermines the consensus. Caused rejection of the biography's leading postmodernist P. De Man (1919-1983), who has collaborated with the Nazis in Belgium in 1941-1942. However, the main obstacle in the adoption of postmodernism for the researchers was that the reading and interpretation of the texts were not simpler, but harder. [1].
In May 1968, students of the École des Beaux-Arts encouraged his contemporaries to the development of consciousness that will lead to creative activity, inherent to each individual to artistic creativity and the arts have become a simple point of this activity. In 1969, the catalog of the revolutionary art of the Contemporary Museum in Stockholm called for a "revolution in poetry, which (of poetry and revolution - two ladies at a time) should deal with each. All this is very reminiscent of the utopian description of Mayakovsky communist future, where sitting on the ground "cunning father" who was "the land popashet, popishet poems. In the 50 years. theorists of mass society J. Ortega y Gasset, Karl Jaspers, P. Tillich, Hannah Arendt was very disturbed social consequences of loss of credibility in the culture, the erosion of traditions, but their anxiety is mainly located in the political rather than cultural . In mass society, they saw a prelude to the establishment of totalitarianism. In the cultural sphere that threaten the signs were to indicate the so-called "black humor" (D. Heller, "Something Happened" and "Catch 22", J. Friedman, T. Southern). They described the absurd and nihilistic situation. So, in "Catch 22" hero can not resign from the Air Force and seeks to justify its complete normality.
In fiction E. Burgess, William Burroughs and K. Vonnegut (published in the Soviet publishing houses in sync with the U.S.) is brought to an absurd level of the fundamental characteristics of life. Schizoid characters found in the works of K. Kishi "One Flew Over the Cuckoo's Nest, A. Mailer's" American Dream "and many others. A product of Jean Genet are based entirely on crime, sexual and social degradation as a result of cannibalism fantasies and bodily distortions is the deepest truth about human desire. In the field of theater avant-garde trends are becoming compulsive phenomenon and lead to a painful state of mind of society. Lack of political will and methodological thinking elite retains this state for many years and leads to the escalation of culture of modernity in the anti-culture of postmodernity. So in the end of 60 years. A new sensibility is called (counterculture). The ideology of the counterculture from the beginning was directed against the technocratic society, and indeed against reason as such. In place of reason was put preratsionalnaya spontaneity of different options or under the guise of "Consciousness III» S. Reich, either in the form of "shamanistskogo vision" T. Rozzaka. Destruction to be "scientific world view." At the site of this view should erect a new culture in which the dumb ability of the person will create all the wealth of human communication, the world of goodness and beauty. In general, as old as song: raise a revolt against the domination of ideas. In the 70-80 years. We who lived in the Soviet Union, it seemed strange, like a dying capitalist society can capture the interests and ideals of living people of the future. We are sympathetic to the "new left" to students at the Sorbonne, who wrote on the wall of the Opera "will arrange the second Stalingrad bourgeoisie!" That would be cool, but only if they had something arranged! That is why we are ironically treated all decisions of the CPSU Central Committee to strengthen the ideological anti-imperialist aggression and the need for organizations of counter-propaganda. In general, however strange it seemed to us to organize some form of non-proletarian intellectuals struggle against capitalism in the West itself. For non-proletarian revolutionaries treated lightly. Obviously, both these processes were closely linked: the ideology of the "new left" was an ideological aggression of imperialism, so to say, liberalism for export, to take away. Obviously, after prolonged exposure of the Soviet youth of this ideology came to the fore pure liberalism as a direct promotion of market totalitarianism. Mixture of the two ideologies and cultures and a culture and ideology of postmodernity.
Nekrasov, SN
But in the early twenty-first century. continues to astound the sharp contrast between what everyone knows of other people and how many people know it. In different areas of life people know hundreds and thousands, and thanks to mass media is the number grows like an avalanche. If before the classic question of identity, "Who are you?" Man of traditional society replied that he was the son of his father. Individual culture of postmodernity to a question, he answers: "I am me, I've created yourself, but the choice and the behavior of my understanding of their interests." Obviously, in traditional societies of the West the main source of identification was social class. As shown by J. Schumpeter, The Rise and Fall classes are closely connected with the rise and fall of families. In postmodernity the social classes continue to shape the identity of the person, but to class parameters currently added to the cultural and educational components of identity. It is obvious that modernity has called into question the very idea of culture. When first told about classical culture and Catholic culture (with the exception of bacterial culture), a representation of aggregate beliefs, traditions and rituals that have their own homogeneous style in human history. However, postmodernity is a break with the past as such, and transfer back to the present. More Alexis de Tocqueville argued that the aristocracy is building a chain of all members of the community from a peasant to king, and democracy breaks that chain of individual links. As a result, every individual is detached from its predecessors and forgets them. Enemy of democracy and modernity is the culture in the traditional sense of the term. Modernity as modernity can be defined as "the tradition of innovation" - a tradition entirely anti-cultural, because culture is itself a tradition. In these circumstances, is impossible and the true vanguard, as the vanguard of a denial of any particular tradition.
Tactics of the avant-garde is a scandal. However, in the culture of modernity scandal turns into a simple sensation. Present castrates vanguard by its absorption on an equal footing with all other components of the cultural past. In the culture of postmodernity faced two cultures: the traditional concept of culture as tradition and cultivation, and the modern concept that culture is merely a syncretism. Postmodern Culture blows both traditions, and therefore acts as anticulture. In this anti-culture is a mix of all types and genres of culture: Polish artists were exhibited in the U.S., and American paintings purchased in England, on the theater stages around the world are setting any national playwrights - Chekhov, Brecht, Strindberg, Beckett, etc. But what then is the culture of postmodernity? In the eighteenth century. European and American intellectuals were able to communicate with each other on topics related to the classical set of authors, and usually the conversation revolved around the works of Lucretius and Virgil, and then moved to the culture of modern times. Enough to see lists of books in the library of Marx, their evolution, the nature of purchases for years to get an idea about the interests of the intellectuals of the nineteenth century. How did sensuality able to escape from the vicious circle of intellectual production? This was due to decentration of culture. In the past, in all civilizations with a high cultural tradition there was a special central place - the agora in Athens, the piazza in the Italian cities, a market square in European cities. It was at this place were artists. The U.S. has never been a single point of cultural life. In the mid-nineteenth century. Boston was the center of cultural development through the church, the wealth of the city and the cultural layer, worked in the style of "New England", which did not allow Boston to rule on the vast American territory. At the end of the century New York became the center of parvenu (upstarts), and their society raznosherstyh immigrants, but the city could not still cover the cultural diversity of the South, the Southwest United States. Even in the heyday of Greenwich Village before and after the First World War, New York captured the only aspect of the avant-garde culture and has always been a culturally secondary - after Paris. As a result, the U.S. were separated culture: New York became a place for publicists and theatrical figures, Washington - place of the political elite of Los Angeles owned by Hollywood filmmakers, and professors spread out across the country and settled in large universities. That universities have played a crucial role in the sociocultural field of America - came from the universities of many writers, poets, critics and all the intellectuals of the West. However, contacts between these circles of intellectual elites and the ruling class have been very difficult, there was no such site where they could cross. In these circles of the avant-garde threw his starter in the form of Dada, Futurism, Cubism, constructivism, surrealism, photorealism with their proclamation of the new aesthetics of new styles and forms. These "isms" have passed as a typhoon and is not accounted for some single point of cultural development, there was only varied peripherals. And as you know, the culture of flowers, where is the center and there is intensive interaction between people of culture. The fragmentation of postmodern culture and education segments of the cultural process raises the question of the future development of national and international culture. Postmodernity is characterized by a rejection of the hierarchy of arts, of the societies of the classical high culture - the time of Pericles in Greece, Renaissance Italy, the Russian "golden age". This means that collapses and the most important function of art - mimesis. In the period from 1895 to 1914. there have been two major changes in culture: - Formal revolution in art (rupture of poetic syntax, the invasion of the unconscious in literature, the emergence of atonality in music, the loss of consistency in the literature, etc.) - A new perception of themselves (the cult of childhood, inspiration absurd revision of values in the direction of exaltation of the lower impulses of human nature, the fascination with a hallucinatory experience, the desire for fashion bad taste, and taste perversion). This product changes emerged in the poetry of Ginsberg, fed largely ideas Whitman, Blake and the Indian Vedas. Hallucinations also were achieved in a drugged experience and psychedelic experiences. However, 60 years. added to their sensuality cruelty and violence, interest in sexual perversion, the desire for sensation and noise, anti-intellectualism, the desire to blur the line between art and life, a fusion of art and politics. Cruelty and violence spilled out into films, whose task was not to achieve a catharsis, but getting the audience shock and a weakening of the natural resistance of cruelty and injustice. At this time, usually stated film and theater critics that such performances and happenings reflect the cruelty of life around us, but even in 30 years. in butlegerskogo rampant mafia government issued a ban on films about gangsters and demanded films about Gee-Ay («gunman» - a gunman, the police, the good guy), and in 40 years. were not filmed like "Bonnie and Clyde." Sexual perversion were expressed in E. Warhol film "Chelsea Girls" and the famous Swedish band "I'm curious." Theme one - homosexuality, transvestism and the top of ugliness: the oral-genital intercourse. All this demonstrated a departure from the ideals of the heterosexual family life in the release of aggressive female sexuality feminists.
Noise of 60 years. denied the aesthetics of silence 50 years. - S. Beckett's play and music by Cage, and "new sound" with the Beatles in 1964 and rokmuzyka as a new drug created a panorama antikognitivnogo and antiintellektualnogo mood in the culture. Art was dissolved in the practice of art and life. As Hannah Arendt believed, works of art created for the appearance, and the only criterion is the appearance of beauty. By this Greek understanding of art Arendt added Hegelian model of objectification, but in 60 years. This archaic view was overturned. In this respect, nice job Rozenberg, relying on the works of D. Pollack, W. de Kooning, F. Klein, and other "artists of action." For Rosenberg the canvas there is no picture, but the event, and hence there is no difference between the finished work and sketches - the first could not be better and better the second. "New Paintings" Rosenberg has erased the very border between life and art. Sculpture was also ranked by some real objects - the barrels, crates and boards. "Minimal sculpture" D. Judah, R. Morris and D. Flavin introduced imagination in art and began to exhibit some "thing in itself." The exhibition in the summer of 1968 at the Whitney Museum called "Anti-Illusion: Procedures and Materials. A movement of "anti-form." In 1969, the Museum of Modern Art presented an exhibition of a new movement called "Space", organized by D. Licht. The exhibition was full eclipse of the erasure and distance works of art and life - the audience was not outside of work, but on the inside. It has been shown 6 rooms, one of which was filled flyuoristsiruyuschimi yellow and green light tubes. Another room was equipped with acoustical panels. The third was black, the fourth was covered with gymnastic mats, on which to lie. And this was the beginning enviromentalnogo art fused with art happenings. The latter not only erased the distance between the situation, phenomenon, and the audience, but starts up odors, heat, taste and movement. But in fact, a pyramid of chairs in the play "Chairs" is just a group of chairs, and water flow in the audience just a trickle from the pipes had broken through. No other characters are not here. Interest in the Zen culture of 60 years. led to the abandonment of qualitative numerucal count - can not say "hard and soft", you should talk about specific tactile sensations, which gives the stone, wood and water. Another feature of sensuality 60 years. was the performance against any interpretation. This thesis was nominated by Susan Sontag. It assumes that every interpretation is reactionary and interpretation is similar to automobile fumes and factory chimneys dymam that poison the atmosphere of the city. The interpretation also infects our sensitivity and intelligence is the revenge of art and what is more, even the revenge of intellect upon the world epistemological relativism of postmodernism frightened liberals, particularly the horror called the principle of deconstruction and a call to abandon education. In this principle, see be ^ te noire, which undermines the consensus. Caused rejection of the biography's leading postmodernist P. De Man (1919-1983), who has collaborated with the Nazis in Belgium in 1941-1942. However, the main obstacle in the adoption of postmodernism for the researchers was that the reading and interpretation of the texts were not simpler, but harder. [1].
In May 1968, students of the École des Beaux-Arts encouraged his contemporaries to the development of consciousness that will lead to creative activity, inherent to each individual to artistic creativity and the arts have become a simple point of this activity. In 1969, the catalog of the revolutionary art of the Contemporary Museum in Stockholm called for a "revolution in poetry, which (of poetry and revolution - two ladies at a time) should deal with each. All this is very reminiscent of the utopian description of Mayakovsky communist future, where sitting on the ground "cunning father" who was "the land popashet, popishet poems. In the 50 years. theorists of mass society J. Ortega y Gasset, Karl Jaspers, P. Tillich, Hannah Arendt was very disturbed social consequences of loss of credibility in the culture, the erosion of traditions, but their anxiety is mainly located in the political rather than cultural . In mass society, they saw a prelude to the establishment of totalitarianism. In the cultural sphere that threaten the signs were to indicate the so-called "black humor" (D. Heller, "Something Happened" and "Catch 22", J. Friedman, T. Southern). They described the absurd and nihilistic situation. So, in "Catch 22" hero can not resign from the Air Force and seeks to justify its complete normality.
In fiction E. Burgess, William Burroughs and K. Vonnegut (published in the Soviet publishing houses in sync with the U.S.) is brought to an absurd level of the fundamental characteristics of life. Schizoid characters found in the works of K. Kishi "One Flew Over the Cuckoo's Nest, A. Mailer's" American Dream "and many others. A product of Jean Genet are based entirely on crime, sexual and social degradation as a result of cannibalism fantasies and bodily distortions is the deepest truth about human desire. In the field of theater avant-garde trends are becoming compulsive phenomenon and lead to a painful state of mind of society. Lack of political will and methodological thinking elite retains this state for many years and leads to the escalation of culture of modernity in the anti-culture of postmodernity. So in the end of 60 years. A new sensibility is called (counterculture). The ideology of the counterculture from the beginning was directed against the technocratic society, and indeed against reason as such. In place of reason was put preratsionalnaya spontaneity of different options or under the guise of "Consciousness III» S. Reich, either in the form of "shamanistskogo vision" T. Rozzaka. Destruction to be "scientific world view." At the site of this view should erect a new culture in which the dumb ability of the person will create all the wealth of human communication, the world of goodness and beauty. In general, as old as song: raise a revolt against the domination of ideas. In the 70-80 years. We who lived in the Soviet Union, it seemed strange, like a dying capitalist society can capture the interests and ideals of living people of the future. We are sympathetic to the "new left" to students at the Sorbonne, who wrote on the wall of the Opera "will arrange the second Stalingrad bourgeoisie!" That would be cool, but only if they had something arranged! That is why we are ironically treated all decisions of the CPSU Central Committee to strengthen the ideological anti-imperialist aggression and the need for organizations of counter-propaganda. In general, however strange it seemed to us to organize some form of non-proletarian intellectuals struggle against capitalism in the West itself. For non-proletarian revolutionaries treated lightly. Obviously, both these processes were closely linked: the ideology of the "new left" was an ideological aggression of imperialism, so to say, liberalism for export, to take away. Obviously, after prolonged exposure of the Soviet youth of this ideology came to the fore pure liberalism as a direct promotion of market totalitarianism. Mixture of the two ideologies and cultures and a culture and ideology of postmodernity.
Nekrasov, SN
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