In James Scott’s critique of the high modernist city, he sees high modernism as a pursuit to construct a society with scientific laws. It is an ideology which transcends the traditional divisions between the political left and right and has attracted anyone who believed the benefits of scientific progress can be applied in every sphere of human activity through state to bring about utopian change. As a consequence, the high modernists believe that historical and traditional practice should deserve little attention; therefore, they discount any historical and traditional knowledge gained through long experience. Although Scott’s critique has its merits and I agree that biggest pitfall in high modernist thinking lies in the misguided assumption that successful and functional realities must be legible, we cannot discount the significance of high modernism ideals in the Singapore government’s which resulted in the continuous priority on order, development, and progress resulting in Singapore transformation from a third world country to a marvel of modernity and one of the richest countries in the world.
Much of Scott’s argument is polished by his critique of high modernism as a mode of urban planning in Brasilia. Scott criticised Le Corbusier’s plans which was based on his absolute belief in the scientific foundation of his method. Le Corbusier abhorred all things that did not conform to rules of geometric precision such as straight lines or right angles and
His model was simply more mathematically "sophisticated" than Ptolemy 's because it explained things better. On the contrary, years later some of the best astronomers in Europe, such as but not limited to the brilliant Danish astronomer Tycho Brahe, admired the mathematical elegance yet he also rejected the Copernican model of the heliocentric
“Classical Ideal” In the documentary, “Art of the Western World-The Classical Ideal”, the narrator provides a history and a perspective on the Greek and Roman creation of the “Classical Ideal” to art and architecture. The narrator infers that the foundation of the two societies, namely their democratic falsifies and religious foundations, along with their focus on fitness, personal strength, calculations and intelligence, drove Greece and later Rome, to perfect their visions of balance, symmetry and beauty in their architecture and art. Greece and Rome are often held out as the greatest societies to have ever existed.
During the Modernist movement, many writers were inspired to express their thoughts on events that occured at the time. Their thoughts were expressed in various forms; some being through novels, and others through “literary critiques”, as a way to portray their perspective on the movement. Modern texts include: F. Scott Fitzgerald’s The Great Gatsby, J.D Salinger’s The Catcher In The Rye, and S. Irenaeus’ The Critique of Modernism. Though all these authors took different approaches in portraying their views, they all managed to shares common themes; one prevalent theme being the rejection of the past.
During the 19th century, the church lost its power and its traditional theme and the rapid growth of urbanization and industrialization led to to the birth of “Isms”. Neoclassicism, a revival of Greek and Roman art; a direct reaction to the excessiveness of Baroque and Rococo styles. During the American and French Revolutions, the political atmosphere began to lean towards an Age of Reason and Enlightenment. With admiration for classical Roman and Greek art renewed after excavations of Herculaneum and Pompei, efforts for style to accompany philosophy caused an inevitable return to the "classics"(AML 68). Early works of artists such as Jean August Dominique Ingres and especially Jacques-Louis David encompassed the thematic elements associated with Neoclassicism.
New York’s grid was born from the Commissioner’s plan of 1811 for it’s simplicity and commercial gains. The intention of the grid, therefore, is not to bring about an intricate system of constant renovation or an uncompromising space where ideas can be stacked on top of another. Though the New York grid never fulfilled it’s intention, never did it or can it for it Koolhaas’. The actual effect of the grid creates a congestion of traffic that hamstrings its inhabitants and instead of facilitating vivacity, nourishes a suffocating miasma of mindless, fast-past life style and polluted air. The grid can also never create a “city within a city” as it spreads itself in the same pattern wherever the lines crosses and creates a city where every block is connected and homogenous in a convenient but nevertheless dull manner.
Conversation circulating among art students have always been about the movement throughout art history, the technique used, distinctive style and of course, artist’s notable masterpieces. The name that inevitably surfaced the most is none other than the iconic Vincent Van Gogh, also known as Vincent Willem Van Gogh. Possessing absolutely zero knowledge about this prominent figure in the art industry is ludicrous which personally am ashamed to be a part of it, hence the reason why he was chosen for this essay. Born in Groot-Zundert, Netherlands on March 30th, 1853. Vincent Van Gogh was a post-impressionist painter whose work was noteworthy for its allure, emotions and indisputably, its colour.
With this he was able to tell height and distance. His understanding of geometry can be summed up as he says, “Space is the greatest thing as it contains all things.” Some of his findings in geometry were: 1. A circle is bisected by its
Rem Koolhaas, observes and begins his retroactive manifesto, a scripted chronology of the stages of Manhattanism, its changing’s and lasting legacies; especially the culture of congestion. Manhattans own metropolitan urbanism and revolutionary lifestyle. Through his optimistic narrative “Delirious New York” he documents the repeated elements and themes in New York’s development and decline that make it a theatre of progress and the capital of timeless crisis. This focuses in particular on the skyscraper as a product of the physical manifestation of Manhattanism on the grid, along with the relationship between this density-focused architecture and the culture of congestion.
In Ceremony, Leslie Marmon Silko states, “The first day in Oakland he and Rocky walked down the street together and a big Chrysler stopped in the street and an old white woman rolled down the window and said, "God bless you, God bless you," but it was the uniform, not them, she blessed” (VI.16). This is very fitting, considering that this is how Native Americans were, and are being treated. Silko (1948-Present) is closely associated with the American Modernism movement, which began in the late 19th century and ended in the late 20th century. Modernists were not seeking popularity, or looking to win art competitions. They were utopians who wanted to change the world by making new art.
What makes modernism catch the eye of a reader? Well, within modernism, there are several crucial characteristics. The short story, “A Rose for Emily” is characterized as a modernist piece of literature. Although the story contains the majority of the requirements, there are three that really stick out. In “A Rose for Emily” the author conveys modernism through the diction by using imagery, by having unfinished thoughts due to fragmentation of the story, and lastly, by having an ironic ending.
Modernism is a controversial term. One could use modernism and mean a different set of ideas. That modernism has a broad meaning comes from the history of the term. While the term was already used in the fifth and sixth century, the term modernism became more prominent in the end of the nineteenth century and certainly in the early twentieth century (Sherry). While modernism on itself is not one idea, there are more terms with a connection to modernism.
According to the Merriam-Webster Online Dictionary, manifestos are “written statements that describe the policies, goals, and opinions of a person or group”. The Modernist writers from the early 20th century, no matter how divergent their opinions were, comprised such a group. Even today they are known for the various manifestos they composed about the world they desired to live in, steered away from what was before. To them, the question was not where they came from, as that seemed quite clear-cut at the time. What piqued their interest and sparked their creative drive was the time that had yet to dawn on them: the modern era.
The Surrealist movement first appeared in the early 1920s, and has shaped the course of art history significantly. The goal that many Surrealists share is to “resolve the previously contradictory conditions of dream and reality into an absolute reality, a super-reality.” In other words, the purpose of Surrealism is to portray the imagination by revealing ideas and images from the unconscious mind. The movement occurred just after World War One, when many people were still coping with the grief and devastation that the war had brought. Many European countries were severely affected by the war as many economies were suffering a Depression. During this time, the Surrealists focused their energy on escaping from the devastation that surrounded
1.2 Statement of Significance Art can do lots of things that can create powerful and great changes in ourselves. Artist is someone that is so hard to read if we fail to understand them to interpret the underlying meaning behind their painting because it is their getaway to express their emotions and desires to the community. To accomplish this, the artists are communicating with the society by delivering their messages through their artworks.
This text is taken from a lecture that was given by William Morris about the importance of the arts. In this lecture he tries to convince his audience why the arts are beneficial and should be available to not only the wealthy but also ordinary people. He uses personification and imagery in order to make what he is saying more interesting, and also uses inclusive language to appeal to the whole audience. The first paragraph begins with the personification of Science; “And Science - we have loved her well, and followed her diligently, what will she do?”.