1.
Robert Florey
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Robert Florey was a French-American director, screenwriter, film journalist, and occasional actor. Born in Paris, and at first a film journalist, Florey moved to the United States in 1921, as a director, Floreys most productive decades were the 1930s and 1940s, working on relatively low-budget fillers for Paramount and Warner Brothers. He directed more than 50 movies, Florey grew up in Paris near the studio of George Melies, and as a young man served as assistant to Louis Feuillade. In the 1920s he worked as a journalist, in Hollywood as assistant director to Josef von Sternberg, in the late 1920s he produced two experimental short films, The Life and Death of 9413--a Hollywood Extra co-directed with Slavko Vorkapich, and Skyscraper Symphony the following year. Florey made a significant but uncredited contribution to the script of the 1931 version of Frankenstein, by the mid-1930s Florey settled into the studio system and produced vehicles for Warren William, Guy Kibbee, and Akim Tamiroff. For some film historians, Floreys finest work is in these modest low-budget programmers and B movies. Florey hit a peak at Paramount in the late 1930s with Hollywood Boulevard, King of Gamblers, and Dangerous to Know, all marked by fast pace, cynical tone, Dutch angles and he was also associate director to Charlie Chaplin on Chaplins film Monsieur Verdoux. In 1953 Florey was one of the first seasoned feature directors to turn to television and he worked in the new medium for over a decade and produced shows for The Outer Limits, Alfred Hitchcock Presents, and The Twilight Zone. He also wrote a number of books, including Pola Negri and Charlie Chaplin, Hollywood dhier et daujordhui, La Lanterne magique, in 1950, Florey was made a knight in the French Légion dhonneur. His 1937 thriller, Daughter of Shanghai, starring Anna May Wong, was added to the National Film Registry in 2006 and this filmography lists Floreys credits as director of feature films, and is believed to be complete. The Love of Zero,1927 Hello New York,1928 The Life and Death of 9413, a Hollywood Extra,1928 Skyscraper Symphony,1929 Fifty-Fifty,1932 The Incredible Dr. Markesan Thriller Series, costars Boris Karloff,1962 Taves, Brian. Robert Florey at the Internet Movie Database Literature on Robert Florey Robert Florey at Find a Grave
2.
Art
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In their most general form these activities include the production of works of art, the criticism of art, the study of the history of art, and the aesthetic dissemination of art. The oldest documented forms of art are visual arts, which include creation of images or objects in fields including painting, sculpture, printmaking, photography, and other visual media. Music, theatre, film, dance, and other performing arts, as well as literature, until the 17th century, art referred to any skill or mastery and was not differentiated from crafts or sciences. Art may be characterized in terms of mimesis, expression, communication of emotion, during the Romantic period, art came to be seen as a special faculty of the human mind to be classified with religion and science. Though the definition of what art is disputed and has changed over time, general descriptions mention an idea of imaginative or technical skill stemming from human agency. The nature of art, and related such as creativity. One early sense of the definition of art is related to the older Latin meaning. English words derived from this meaning include artifact, artificial, artifice, medical arts, however, there are many other colloquial uses of the word, all with some relation to its etymology. Several dialogues in Plato tackle questions about art, Socrates says that poetry is inspired by the muses, and is not rational. He speaks approvingly of this, and other forms of divine madness in the Phaedrus, and yet in the Republic wants to outlaw Homers great poetic art, in Ion, Socrates gives no hint of the disapproval of Homer that he expresses in the Republic. For example, music imitates with the media of rhythm and harmony, whereas dance imitates with rhythm alone, the forms also differ in their object of imitation. Comedy, for instance, is an imitation of men worse than average. Lastly, the forms differ in their manner of imitation—through narrative or character, through change or no change, Aristotle believed that imitation is natural to mankind and constitutes one of mankinds advantages over animals. The second, and more recent, sense of the art as an abbreviation for creative art or fine art emerged in the early 17th century. The creative arts are a collection of disciplines which produce artworks that are compelled by a drive and convey a message, mood. Art is something that stimulates an individuals thoughts, emotions, beliefs, works of art can be explicitly made for this purpose or interpreted on the basis of images or objects. Often, if the skill is being used in a common or practical way, likewise, if the skill is being used in a commercial or industrial way, it may be considered commercial art instead of fine art. On the other hand, crafts and design are considered applied art
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Culture
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Culture can be defined in numerous ways. In the words of anthropologist E. B, Tylor, it is that complex whole which includes knowledge, belief, art, morals, law, custom and any other capabilities and habits acquired by man as a member of society. The Cambridge English Dictionary states that culture is the way of life, especially the customs and beliefs. As a defining aspect of what it means to be human, culture is a concept in anthropology. The word is used in a sense as the evolved ability to categorize and represent experiences with symbols. The level of cultural sophistication has also sometimes seen to distinguish civilizations from less complex societies. Mass culture refers to the mass-produced and mass mediated forms of culture that emerged in the 20th century. When used as a count noun, a culture is the set of customs, traditions, in this sense, multiculturalism is a concept that values the peaceful coexistence and mutual respect between different cultures inhabiting the same planet. Sometimes culture is used to describe specific practices within a subgroup of a society. Samuel Pufendorf took over this metaphor in a context, meaning something similar. His use, and that of many writers after him, refers to all the ways in which human beings overcome their original barbarism, and through artifice, become fully human. To be cultural, to have a culture, is to inhabit a place sufficiently intensive to cultivate it—to be responsible for it, to respond to it, thus a contrast between culture and civilization is usually implied in these authors, even when not expressed as such. Cultural invention has come to any innovation that is new and found to be useful to a group of people and expressed in their behavior. Humanity is in a global accelerating culture change period, driven by the expansion of commerce, the mass media, and above all. Culture repositioning means the reconstruction of the concept of a society. Cultures are internally affected by both forces encouraging change and forces resisting change, Social conflict and the development of technologies can produce changes within a society by altering social dynamics and promoting new cultural models, and spurring or enabling generative action. These social shifts may accompany ideological shifts and other types of cultural change, for example, the U. S. feminist movement involved new practices that produced a shift in gender relations, altering both gender and economic structures. Environmental conditions may also enter as factors, Cultures are externally affected via contact between societies, which may also produce—or inhibit—social shifts and changes in cultural practices
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Society
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In the social sciences, a larger society often evinces stratification or dominance patterns in subgroups. A society can also consist of like-minded people governed by their own norms and values within a dominant and this is sometimes referred to as a subculture, a term used extensively within criminology. The term society came from the Latin word societas, which in turn was derived from the noun used to describe a bond or interaction between parties that are friendly, or at least civil. Without an article, the term can refer to the entirety of humanity, Society, in general, addresses the fact that an individual has rather limited means as an autonomous unit. Cultural relativism as an approach or ethic has largely replaced notions of primitive, better/worse. Societies may also be structured politically, in order of increasing size and complexity, there are bands, tribes, chiefdoms, and state societies. These structures may have varying degrees of power, depending on the cultural, geographical. Thus, an isolated society with the same level of technology. A society that is unable to offer a response to other societies it competes with will usually be subsumed into the culture of the competing society. Sociologist Peter L. Berger defines society as. a human product, and nothing but a human product, according to him, society was created by humans but this creation turns back and creates or molds humans every day. This is similar to the earlier developed by anthropologists Morton H. This system of classification contains four categories, Hunter-gatherer bands, tribal societies in which there are some limited instances of social rank and prestige. Civilizations, with complex social hierarchies and organized, institutional governments, in addition to this there are, Humanity, mankind, upon which rest all the elements of society, including societys beliefs. Virtual society, a society based on identity, which is evolving in the information age. Over time, some cultures have progressed toward more complex forms of organization and this cultural evolution has a profound effect on patterns of community. Hunter-gatherer tribes settled around seasonal food stocks to become agrarian villages, villages grew to become towns and cities. Cities turned into city-states and nation-states, many societies distribute largess at the behest of some individual or some larger group of people. This type of generosity can be seen in all cultures, typically
5.
Norm (social)
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From a sociological perspective, social norms are informal understandings that govern the behavior of members of a society. Social psychology recognizes smaller group units, such as a team or an office, in other words, norms are regarded as collective representations of acceptable group conduct as well as individual perceptions of particular group conduct. They can be viewed as products which represent individuals basic knowledge of what others do. Furthermore, in the field of psychology, the roles of norms are emphasized which can guide behavior in a certain situation or environment as mental representations of appropriate behavior. For example, it has shown that normative messages can promote pro-social behavior, including decreasing alcohol use and increasing voter turnout. According to the definition of social norms behavioral component, norms have two dimensions, how much a behaviour is exhibited, and how much the group approves of that behavior. At the same time, norms also can be changed contingent on the behavior of others. In fact, in Sherif, one confederate was able to affect the development of a group related to the autokinetic effect. Norms running counter to the behaviors of the society or culture may be transmitted and maintained within small subgroups of society. For example, Crandall noted that groups have a rate of bulimia, a publicly recognized life-threatening disease. Social norms have a way of maintaining order and organizing groups, although not considered to be formal laws within society, norms still work to promote a great deal of social control. They are statements that regulate conduct, the cultural phenomenon that is the norm is the prescriber of acceptable behavior in specific instances. Without them, there would be a world without consensus, common ground, even though the law and a states legislation is not intended to control social norms, society and the law are inherently linked and one dictates the other. This is why it has said that the language used in some legislation is controlling and dictating for what should or should not be accepted. For example, the criminalisation of sexual relations is said to protect those that are vulnerable. The language surrounding these laws conveys the message that such acts are supposedly immoral and should be condemned, norms in every culture create conformity that allows for people to become socialized to the culture in which they live. As social beings, individuals learn when and where it is appropriate to say things, to use certain words, to discuss certain topics or wear certain clothes. Thus, knowledge about cultural norms is important for impressions, which is a regulation of their nonverbal behavior
6.
Modernism
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Among the factors that shaped modernism were the development of modern industrial societies and the rapid growth of cities, followed then by reactions of horror to World War I. Modernism also rejected the certainty of Enlightenment thinking, and many modernists rejected religious belief, the poet Ezra Pounds 1934 injunction to Make it new. Was the touchstone of the approach towards what it saw as the now obsolete culture of the past. In this spirit, its innovations, like the novel, atonal and twelve-tone music, divisionist painting and abstract art. Modernism explicitly rejected the ideology of realism and makes use of the works of the past by the employment of reprise, incorporation, rewriting, recapitulation, revision, others focus on modernism as an aesthetic introspection. While J. M. W. Art critic Clement Greenberg describes the Pre-Raphaelite Brotherhood as proto-Modernists, There the proto-Modernists were, of all people, the Pre-Raphaelites actually foreshadowed Manet, with whom Modernist painting most definitely begins. They acted on a dissatisfaction with painting as practiced in their time, rationalism has also had opponents in the philosophers Søren Kierkegaard and later Friedrich Nietzsche, both of whom had significant influence on existentialism. A major 19th-century engineering achievement was The Crystal Palace, the huge cast-iron, Glass and iron were used in a similar monumental style in the construction of major railway terminals in London, such as Paddington Station and Kings Cross Station. These technological advances led to the building of structures like the Brooklyn Bridge. The latter broke all previous limitations on how tall man-made objects could be and these engineering marvels radically altered the 19th-century urban environment and the daily lives of people. Arguments arose that the values of the artist and those of society were not merely different, but that Society was antithetical to Progress, the philosopher Schopenhauer called into question the previous optimism, and his ideas had an important influence on later thinkers, including Nietzsche. Darwins theory of evolution by natural selection undermined religious certainty and the idea of human uniqueness, in particular, the notion that human beings were driven by the same impulses as lower animals proved to be difficult to reconcile with the idea of an ennobling spirituality. Karl Marx argued that there were fundamental contradictions within the capitalist system, historians, and writers in different disciplines, have suggested various dates as starting points for modernism. Everdell also thinks modernism in painting began in 1885–86 with Seurats Divisionism, the poet Baudelaires Les Fleurs du mal, and Flauberts novel Madame Bovary were both published in 1857. In the arts and letters, two important approaches developed separately in France, the first was Impressionism, a school of painting that initially focused on work done, not in studios, but outdoors. Impressionist paintings demonstrated that human beings do not see objects, the school gathered adherents despite internal divisions among its leading practitioners, and became increasingly influential. A significant event of 1863 was the Salon des Refusés, created by Emperor Napoleon III to display all of the paintings rejected by the Paris Salon. While most were in standard styles, but by artists, the work of Manet attracted tremendous attention
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Postmodernism
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Postmodernism describes a broad movement that developed in the mid to late 20th century across philosophy, the arts, architecture and criticism which marked a departure from modernism. Accordingly, postmodern thought is characterized by tendencies to epistemological and moral relativism, pluralism, irreverence. The term postmodernism has been applied both to the era following modernity, and to a host of movements within that era that reacted against tendencies in modernism. Postmodernism includes skeptical critical interpretations of culture, literature, art, philosophy, history, linguistics, economics, architecture, fiction, feminist theory, and literary criticism. Postmodernism is often associated with schools of such as deconstruction and post-structuralism, as well as philosophers such as Jean-François Lyotard. The term postmodern was first used around the 1880s, John Watkins Chapman suggested a Postmodern style of painting as a way to depart from French Impressionism. In 1921 and 1925, postmodernism had been used to new forms of art. In 1942 H. R. Hays described it as a new literary form, however, as a general theory for a historical movement it was first used in 1939 by Arnold J. Toynbee, Our own Post-Modern Age has been inaugurated by the general war of 1914–1918. Peter Drucker suggested the transformation into a post modern world happened between 1937 and 1957, post-structuralism resulted similarly to postmodernism by following a time of structuralism. It is characterized by new ways of thinking through structuralism, contrary to the original form, postmodernist describes part of a movement, Postmodern places it in the period of time since the 1950s, making it a part of contemporary history. Martin Heidegger rejected the philosophical basis of the concepts of subjectivity and objectivity, instead of resisting the admission of this paradox in the search for understanding, Heidegger requires that we embrace it through an active process of elucidation he called the hermeneutic circle. He stressed the historicity and cultural construction of concepts while simultaneously advocating the necessity of an atemporal, in this latter premise, Heidegger shares an affinity with the late Romantic philosopher, Friedrich Nietzsche, another principal forerunner of post-structuralist and postmodernist thought. Instead, Foucault focused on the ways in which such constructs can foster cultural hegemony, violence and his writings have had a major influence on the larger body of postmodern academic literature. These metanarratives still remain in Western society but are now being undermined by rapid Informatization, Richard Rorty argues in Philosophy and the Mirror of Nature that contemporary analytic philosophy mistakenly imitates scientific methods. For Baudrillard, “simulation is no longer that of a territory and it is the generation by models of a real without origin or a reality, a hyperreal. In Analysis of the Journey, a journal birthed from postmodernism, Douglas Kellner insists that the assumptions and his terms defined in the depth of postmodernism are based on advancement, innovation, and adaptation. Extensively, Kellner analyzes the terms of theory in real-life experiences and examples. Kellner used science and technology studies as a part of his analysis
8.
Artist
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An artist is a person engaged in one or more of any of a broad spectrum of activities related to creating art, practicing the arts or demonstrating an art. The common usage in everyday speech and academic discourse is a practitioner in the visual arts only. The term is used in the entertainment business, especially in a business context, for musicians. Artiste is a variant used in English only in this context, use of the term to describe writers, for example, is valid, but less common, and mostly restricted to contexts like criticism. Wiktionary defines the noun artist as follows, A person who creates art, a person who makes and creates art as an occupation. A person who is skilled at some activity, a person whose trade or profession requires a knowledge of design, drawing, painting, etc. The adjectival Latin form of the word, technicus, became the source of the English words technique, technology, in ancient Greece sculptors and painters were held in low regard, somewhere between freemen and slaves, their work regarded as mere manual labour. The word art derives from the Latin ars, which, although literally defined, means skill method or technique, and conveys a connotation of beauty. During the Middle Ages the word artist already existed in countries such as Italy. An artist was able to do a work better than others, so the skilled excellency was underlined. In this period some artisanal products were more precious and expensive than paintings or sculptures. With the Academies in Europe the gap between fine and applied arts was definitely set, Artist is a descriptive term applied to a person who engages in an activity deemed to be an art. An artist also may be defined unofficially as a person who expresses him- or herself through a medium, the word is also used in a qualitative sense of, a person creative in, innovative in, or adept at, an artistic practice. Art historians and critics define artists as those who produce art within a recognized or recognizable discipline, contrasting terms for highly skilled workers in media in the applied arts or decorative arts include artisan, craftsman, and specialized terms such as potter, goldsmith or glassblower. The term may also be used loosely or metaphorically to denote highly skilled people in any activities, as well— law, medicine, mechanics, or mathematics. Often, discussions on the focus on the differences among artist and technician, entertainer and artisan, fine art and applied art, or what constitutes art. The French word artiste has been imported into the English language where it means a performer, use of the word artiste can also be a pejorative term. The English word artiste has thus a range of meaning than the word artiste in French
9.
Dada
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Dada or Dadaism was an art movement of the European avant-garde in the early 20th century, with early centers in Zürich, Switzerland at the Cabaret Voltaire, in New York, and after 1920, in Paris. The art of the movement spanned visual, literary, and sound media, including collage, sound poetry, cut-up writing, Dadaist artists expressed their discontent with violence, war, and nationalism, and maintained political affinities with the radical left. Others note that it suggests the first words of a child, evoking a childishness, still others speculate that the word might have been chosen to evoke a similar meaning in any language, reflecting the movements internationalism. The roots of Dada lay in pre-war avant-garde, the term anti-art, a precursor to Dada, was coined by Marcel Duchamp around 1913 to characterize works which challenge accepted definitions of art. Cubism and the development of collage and abstract art would inform the movements detachment from the constraints of reality, the work of French poets, Italian Futurists and the German Expressionists would influence Dadas rejection of the tight correlation between words and meaning. Works such as Ubu Roi by Alfred Jarry, and the ballet Parade by Erik Satie would also be characterized as proto-Dadaist works, the Dada movements principles were first collected in Hugo Balls Dada Manifesto in 1916. The movement influenced later styles like the avant-garde and downtown music movements, Dada was an informal international movement, with participants in Europe and North America. The beginnings of Dada correspond to the outbreak of World War I, avant-garde circles outside France knew of pre-war Parisian developments. Futurism developed in response to the work of various artists, many Dadaists believed that the reason and logic of bourgeois capitalist society had led people into war. They expressed their rejection of that ideology in artistic expression that appeared to reject logic and embrace chaos, for example, George Grosz later recalled that his Dadaist art was intended as a protest against this world of mutual destruction. According to Hans Richter Dada was not art, it was anti-art, Dada represented the opposite of everything which art stood for. Where art was concerned with aesthetics, Dada ignored aesthetics. If art was to appeal to sensibilities, Dada was intended to offend, as Hugo Ball expressed it, For us, art is not an end in itself. But it is an opportunity for the perception and criticism of the times we live in. A reviewer from the American Art News stated at the time that Dada philosophy is the sickest, most paralyzing and most destructive thing that has ever originated from the brain of man. Art historians have described Dada as being, in large part, a systematic work of destruction and demoralization. In the end it became nothing but an act of sacrilege, to quote Dona Budds The Language of Art Knowledge, Dada was born out of negative reaction to the horrors of the First World War. This international movement was begun by a group of artists and poets associated with the Cabaret Voltaire in Zürich, Dada rejected reason and logic, prizing nonsense, irrationality and intuition
10.
Situationist International
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Overall, situationist theory represented an attempt to synthesize this diverse field of theoretical disciplines into a modern and comprehensive critique of mid-20th century advanced capitalism. When the Situationist International was first formed, it had a predominantly artistic focus, emphasis was placed on concepts like unitary urbanism, gradually, however, that focus shifted more towards revolutionary and political theory. Situationist theory sees the situation as a tool for the liberation of everyday life, the experimental direction of situationist activity consisted of setting up temporary environments favorable to the fulfillment of true and authentic human desires in response. However, despite their insistence on this point, the term situationism is still used in reference to the Situationist International. By 1950, a younger and more left-wing part of the Lettrist movement began to emerge. André Breton prominently came out in solidarity with the action in a letter that spawned a debate in the newspaper Combat. The schism finally erupted when the members of the radical Lettrists disrupted a Charlie Chaplin press conference for Limelight at the Hôtel Ritz Paris. They distributed a polemic entitled No More Flat Feet. which concluded, All we can see now is a lugubrious and mercenary old man. Isou was upset with this, his own attitude being that Chaplin deserved respect as one of the creators of the cinematic art. During this period of the Letterist International, many of the important concepts, the meeting established the foundation for the development of the Situationist International, which was officially formed in In July 1957 at a meeting in Cosio. Later, the Situationist International drew ideas from other such as Socialisme ou Barbarie. The most prominent member of the group, Guy Debord, generally considered the organizations de facto leader. In June 1957, Debord wrote the manifesto of the Situationist International and this manifesto plans a systematic rereading of Karl Marxs Das Kapital and advocates a cultural revolution in western countries. During the first few years of the SIs founding, avant-garde artistic groups began collaborating with the SI, Gruppe SPUR, a German artistic collective, collaborated with the Situationist International on projects beginning in 1959, continuing until the group officially joined the SI in 1961. The role of the artists in the SI was of significance, particularly Asger Jorn, Constant Nieuwenhuys. Asger Jorn, who invented Situgraphy and Situlogy, had the role of catalyst. Jorn’s role in the situationist movement was that of a catalyst, Guy Debord on his own lacked the personal warmth and persuasiveness to draw people of different nationalities and talents into an active working partnership. As a prototype Marxist intellectual Debord needed an ally who could patch up the petty egoisms, when Jorns leadership was withdrawn in 1961, many simmering quarrels among different sections of the SI flared up, leading to multiple exclusions
11.
Saint Simonian
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Saint-Simonianism was a French political and social movement of the first half of the 19th century, inspired by the ideas of Claude Henri de Rouvroy, comte de Saint-Simon. Union of men engaged in work, the basis of true equality. For his last decade Saint-Simon concentrated on themes of political economy, in his last work however, Le Nouveau Christianisme, Saint-Simon reverted to more traditional ideas of renewing society through Christian brotherly love. He died shortly after its publication, for a brief period, the historian and writer Léon Halévy acted as secretary to the philosopher. Following Saint-Simons death in 1825, his followers began to differ as to how to promulgate his ideas, following this some of Enfantins followers visited North Africa or the Middle East in search of Messianic revelations, and the formal Saint-Simonian movement expired. It has also noted that Saint-Simonian ideas exerted a significant influence on new religious movements such as Spiritualism and Occultism since the 1850s. Routledge Encyclopaedia of Philosophy, London,1998, apostles of Modernity, Saint-Simonians and the Civilizing Mission in Algeria. St-Simon, Letters from an Inhabitant of Geneva to His Contemporaries at the Marxist Internet Archive Strube, socialist Religion and the Emergence of Occultism, A Genealogical Approach to Socialism and Secularization in 19th-Century France. Religion,2016 The dictionary definition of Saint-Simonianism at Wiktionary The dictionary definition of Saint-Simonism at Wiktionary
12.
Olinde Rodrigues
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Benjamin Olinde Rodrigues, more commonly known as Olinde Rodrigues, was a French banker, mathematician, and social reformer. Rodrigues was born into a well-to-do Sephardi Jewish family in Bordeaux, Rodrigues was awarded a doctorate in mathematics on 28 June 1815 by the University of Paris. His dissertation contains the now called Rodrigues formula. After graduation, Rodrigues became a banker, during this period, Rodrigues published writings on politics, social reform, and banking. In 1846 Arthur Cayley acknowledged Eulers and Rodrigues priority describing orthogonal transformations, mathematics and Social Utopias in France, Olinde Rodrigues and His Times. Louis Gabriel Michaud, Biographie universelle ancienne et moderne,1863 Simon L. Altmann, hamilton, Rodrigues and the quaternion scandal. Simon L. Altmann, & Eduardo L. Ortiz, mathematics and social utopias in France, Olinde Rodrigues and his times. Corrects some of the thinking about Rodrigues as a mathematician Jeremy J. Gray. In, Archive for History of Exact Sciences
13.
Fountain (Duchamp)
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Fountain is a 1917 work produced by Marcel Duchamp. The piece was a urinal, which was signed R. Mutt. Fountain was displayed and photographed at Alfred Stieglitzs studio, and the published in The Blind Man. The work is regarded by art historians and theorists of the avant-garde, such as Peter Bürger,17 replicas commissioned by Duchamp in the 1960s now exist. Marcel Duchamp arrived in the United States less than two prior to the creation of Fountain and had become involved with Dada, an anti-rational, anti-art cultural movement. The artist brought the urinal to his studio at 33 West 67th Street, reoriented it to a position 90 degrees from its position of use. According to another version, Duchamp did not create Fountain, at the time Duchamp was a board member of the Society of Independent Artists. After much debate by the members about whether the piece was or was not art. Duchamp resigned from the Board in protest and he took an ordinary article of life, placed it so that its useful significance disappeared under the new title and point of view – created a new thought for that object. In defense of the work being art, Wood also wrote, The only works of art America has given are her plumbing, Duchamp described his intent with the piece was to shift the focus of art from physical craft to intellectual interpretation. Menno Hubregtse argues that Duchamp may have chosen Fountain as a readymade because it parodied Robert J. Coadys exaltation of industrial machines as pure forms of American art. Coady, who championed his call for American art in his publication The Soil, Hubregtse notes that Duchamps urinal may have been a clever response to Coadys comparison of Crottis sculpture with the absolute expression of a—plumber. Shortly after its exhibition, Fountain was lost. According to Duchamp biographer Calvin Tomkins, the best guess is that it was out as rubbish by Stieglitz. The edition of eight was manufactured from glazed earthenware painted to resemble the original porcelain, the artwork is not a special object—it was mass-produced in a factory. The experience of art is not exciting and ennobling—at best it is puzzling, but over and above that, Duchamp did not select just any ready-made object to display. In selecting the urinal, his message was clear, Art is something you piss on, since the photograph taken by Stieglitz is the only image of the original sculpture, there are some interpretations of Fountain by looking not only at reproductions but this particular photograph. The use of the word Dada for the art movement, the meaning and it is not clear whether Duchamp or Freytag-Lorinhoven had in mind the German Armut, or possibly Urmutter
14.
Marcel Duchamp
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Duchamp has had an immense impact on twentieth-century and twenty first-century art. By World War I, he had rejected the work of many of his artists as retinal art. Instead, Duchamp wanted to use art to serve the mind, Marcel Duchamp was born at Blainville-Crevon in Normandy, France, and grew up in a family that enjoyed cultural activities. The art of painter and engraver Émile Frédéric Nicolle, his grandfather, filled the house, and the family liked to play chess, read books, paint. Of Eugene and Lucie Duchamps seven children, one died as an infant, Marcel Duchamp was the brother of, Jacques Villon, painter, printmaker Raymond Duchamp-Villon, sculptor Suzanne Duchamp-Crotti, painter. At 8 years old, Duchamp followed in his brothers footsteps when he left home and began schooling at the Lycée Pierre-Corneille, two other students in his class also became well-known artists and lasting friends, Robert Antoine Pinchon and Pierre Dumont. For the next 8 years, he was locked into a regime which focused on intellectual development. Though he was not a student, his best subject was mathematics. He also won a prize for drawing in 1903, and at his commencement in 1904 he won a coveted first prize and he learned academic drawing from a teacher who unsuccessfully attempted to protect his students from Impressionism, Post-Impressionism, and other avant-garde influences. However, Duchamps true artistic mentor at the time was his brother Jacques Villon, whose fluid, at 14, his first serious art attempts were drawings and watercolors depicting his sister Suzanne in various poses and activities. That summer he painted landscapes in an Impressionist style using oils. Duchamps early art works align with Post-Impressionist styles and he experimented with classical techniques and subjects. He studied art at the Académie Julian from 1904 to 1905, during this time Duchamp drew and sold cartoons which reflected his ribald humor. Many of the drawings use verbal puns, visual puns, or both, such play with words and symbols engaged his imagination for the rest of his life. In 1905, he began his military service with the 39th Infantry Regiment. There he learned typography and printing processes—skills he would use in his later work, due to his eldest brother Jacques membership in the prestigious Académie royale de peinture et de sculpture Duchamps work was exhibited in the 1908 Salon dAutomne. The following year his work was featured in the Salon des Indépendants, of Duchamps pieces in the show, critic Guillaume Apollinaire—who was to become a friend—criticized what he called Duchamps very ugly nudes. The group came to be known as the Puteaux Group, or the Section dOr, uninterested in the Cubists seriousness or in their focus on visual matters, Duchamp did not join in discussions of Cubist theory, and gained a reputation of being shy
15.
Alfred Stieglitz
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Alfred Stieglitz was an American photographer and modern art promoter who was instrumental over his fifty-year career in making photography an accepted art form. In addition to his photography, Stieglitz was known for the New York art galleries that he ran in the part of the 20th century. He was married to painter Georgia OKeeffe, Stieglitz was born in Hoboken, New Jersey, the first son of German-Jewish immigrants Edward Stieglitz and Hedwig Ann Werner. His father was a lieutenant in the Union Army and he had five siblings, Flora, twins Julius and Leopold, Agnes and Selma. Alfred Stieglitz, seeing the relationship of the twins, wished he had a soul mate of his own during his childhood. Stieglitz attended Charlier Institute, a Christian school and the best private school in New York, the following year, his family began spending the summers at Lake George in the Adirondack Mountains, a tradition that continued into Stieglitzs adulthood. So that he would qualify for admission to the City College of New York, Stieglitz was enrolled in a school for his senior year of high school. In 1881, Edward Stieglitz sold his company for US$400,000, Alfred Stieglitz enrolled in the Realgymnasium in Karlsruhe. The next year, Stieglitz studied mechanical engineering at the Technische Hochschule in Berlin and he enrolled in a chemistry class taught by Hermann Wilhelm Vogel, a scientist and researcher, who worked on the chemical processes for developing photographs. In Vogel, Stieglitz found both the challenge he needed and an outlet for his growing artistic and cultural interests. He received an allowance of $1,200 a month, German artists Adolf von Menzel and Wilhelm Hasemann were his friends. He bought his first camera and traveled through the European countryside, taking photographs of landscapes and peasants in Germany, Italy and the Netherlands. In 1884, his parents returned to America, but 20-year-old Stieglitz remained in Germany and collected books on photography and photographers in Europe, through his self-study, he saw photography as an art form. In 1887, he wrote his very first article, A Word or Two about Amateur Photography in Germany and he then wrote articles on the technical and aesthetic aspects of photography for magazines in England and Germany. He won first place for his photography, The Last Joke, Bellagio, the next year he won both first and second prizes in the same competition, and his reputation began to spread as several German and British photographic magazines published his work. In 1890, his sister Flora died while giving birth, Stieglitz considered himself an artist, but he refused to sell his photographs. His father purchased a small business for him so that he could earn a living in his chosen profession. Because he demanded high quality images and paid his employee high wages and he regularly wrote for The American Amateur Photographer magazine
16.
Bohemianism
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Bohemianism is the practice of an unconventional lifestyle, often in the company of like-minded people, with few permanent ties, involving musical, artistic, literary or spiritual pursuits. In this context, Bohemians may or may not be wanderers, adventurers, Bohemians were associated with unorthodox or anti-establishment political or social viewpoints, which often were expressed through free love, frugality, and—in some cases—voluntary poverty. A more economically privileged, wealthy, or even aristocratic bohemian circle is sometimes referred to as haute bohème, the term Bohemianism emerged in France in the early nineteenth century when artists and creators began to concentrate in the lower-rent, lower class, Romani neighborhoods. Literary Bohemians were associated in the French imagination with roving Romani people, outsiders apart from conventional society, the term carries a connotation of arcane enlightenment, and also carries a less frequently intended, pejorative connotation of carelessness about personal hygiene and marital fidelity. The title character in Carmen, a French opera set in the Spanish city of Seville, is referred to as a bohémienne in Meilhac and her signature aria declares love itself to be a gypsy child, going where it pleases and obeying no laws. Henri Murgers collection of short stories Scènes de la Vie de Bohème, published in 1845, was written to glorify, Murgers collection formed the basis of Giacomo Puccinis opera La bohème. In England, Bohemian in this sense initially was popularised in William Makepeace Thackerays novel, Vanity Fair, public perceptions of the alternative lifestyles supposedly led by artists were further molded by George du Mauriers highly romanticized best-selling novel of Bohemian culture Trilby. The novel outlines the fortunes of three expatriate English artists, their Irish model, and two very colorful Central European musicians, in the artist quarter of Paris. In Spanish literature, the Bohemian impulse can be seen in Ramón del Valle-Incláns play Luces de Bohemia, in his song La Bohème, Charles Aznavour described the Bohemian lifestyle in Montmartre. Also reflects the Bohemian lifestyle in Montmartre at the turn of the 20th century, in the 1850s, aesthetic bohemians began to arrive in the United States. In New York City in 1857, a group of some 15–20 young and this group gathered at a German bar on Broadway called Pffaffs beer cellar. Members included their leader Henry Clapp, Jr, walt Whitman, Fitz Hugh Ludlow, and actress Adah Isaacs Menken. Similar groups in cities were broken up as well by the Civil War. During the war, correspondents began to assume the title bohemian, Bohemian became synonymous with newspaper writer. Mark Twain included himself and Charles Warren Stoddard in the category in 1867. Club member and poet George Sterling responded to this redefinition, Any good mixer of convivial habits considers he has a right to be called a bohemian, but that is not a valid claim. There are two elements, at least, that are essential to Bohemianism, the first is devotion or addiction to one or more of the Seven Arts, the other is poverty. Despite his views, Sterling associated very closely with the Bohemian Club, canadian composer Oscar Ferdinand Telgmann and poet George Frederick Cameron wrote the song The Bohemian in the 1889 opera Leo, the Royal Cadet
17.
Germans
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Germans are a Germanic ethnic group native to Central Europe, who share a common German ancestry, culture and history. German is the mother tongue of a substantial majority of ethnic Germans. The English term Germans has historically referred to the German-speaking population of the Holy Roman Empire since the Late Middle Ages, before the collapse of communism and the reunification of Germany in 1990, Germans constituted the largest divided nation in Europe by far. Ever since the outbreak of the Protestant Reformation within the Holy Roman Empire, of approximately 100 million native speakers of German in the world, roughly 80 million consider themselves Germans. Thus, the number of Germans lies somewhere between 100 and more than 150 million, depending on the criteria applied. Today, people from countries with German-speaking majorities most often subscribe to their own national identities, the German term Deutsche originates from the Old High German word diutisc, referring to the Germanic language of the people. It is not clear how commonly, if at all, the word was used as an ethnonym in Old High German, used as a noun, ein diutscher in the sense of a German emerges in Middle High German, attested from the second half of the 12th century. The Old French term alemans is taken from the name of the Alamanni and it was loaned into Middle English as almains in the early 14th century. The word Dutch is attested in English from the 14th century, denoting continental West Germanic dialects, while in most Romance languages the Germans have been named from the Alamanni, the Old Norse, Finnish and Estonian names for the Germans were taken from that of the Saxons. In Slavic languages, the Germans were given the name of němьci, originally with a meaning foreigner, the English term Germans is only attested from the mid-16th century, based on the classical Latin term Germani used by Julius Caesar and later Tacitus. It gradually replaced Dutch and Almains, the latter becoming mostly obsolete by the early 18th century, the Germans are a Germanic people, who as an ethnicity emerged during the Middle Ages. Originally part of the Holy Roman Empire, around 300 independent German states emerged during its decline after the Peace of Westphalia in 1648 ending the Thirty Years War and these states eventually formed into modern Germany in the 19th century. The concept of a German ethnicity is linked to Germanic tribes of antiquity in central Europe, the early Germans originated on the North German Plain as well as southern Scandinavia. By the 2nd century BC, the number of Germans was significantly increasing and they began expanding into eastern Europe, during antiquity these Germanic tribes remained separate from each other and did not have writing systems at that time. In the European Iron Age the area that is now Germany was divided into the La Tène horizon in Southern Germany and the Jastorf culture in Northern Germany. By 55 BC, the Germans had reached the Danube river and had either assimilated or otherwise driven out the Celts who had lived there, and had spread west into what is now Belgium and France. Conflict between the Germanic tribes and the forces of Rome under Julius Caesar forced major Germanic tribes to retreat to the east bank of the Rhine, in Roman-held territories with Germanic populations, the Germanic and Roman peoples intermarried, and Roman, Germanic, and Christian traditions intermingled. The adoption of Christianity would later become an influence in the development of a common German identity
18.
The Establishment
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The Establishment generally denotes a dominant group or elite that holds power or authority in a nation or organization. The Establishment may be a social group which selects its own members or specific entrenched elite structures. The American Sociological Association states that the term is used by those protesting a small group that dominates a larger organization. The positions against it are antiestablishmentarianism, and populism, for example, candidates for political office are often said to have to impress the party establishment in order to win endorsement. The exercise of power in the United Kingdom cannot be understood unless it is recognized that it is exercised socially, following that, the term, the Establishment, was quickly picked up in newspapers and magazines all over London, making Fairlie famous. However, the term The Establishment, had used by Ralph Waldo Emerson in a similar fashion. Nevertheless, the Oxford English Dictionary would cite Fairlies column as its locus classicus, however, author and professor Carroll Quigley of Georgetown University, in his book The Anglo-American Establishment, used the term much more specifically than did Fairlie. In that book, Quigley exposes the secret societys established in London in 1891, Quigley explains how these men worked in union to begin their society to control the world. He explains how all the wars from that time were deliberately created to control the economies of all the nations, much more generally, this use of the word, Establishment, may have been influenced by the British term, established church, for the official church of England. The term was found useful in discussing the power elites in many other countries. The English word is now used as a loanword in other languages. The term, establishment is often used in Australia to refer both to the political parties and also to the powers behind those parties. In the book, Anti-political Establishment Parties, A Comparative Analysis by Amir Abedi, Amir Abedi refers to the Labor Party and it is communally thought that the Coalition parties are more closely aligned to the American and particularly the British political establishment than is the Labor Party. This would seem to be out by the fact that many more former members of the Coalition parties have been honoured by the monarchy for services to the Commonwealth. The original Canadian Establishment began as a mix between the British and U. S. models, combining political appointments and business acumen, the Family Compact is the first identifiable Canadian Establishment in Anglophone Canada. In francophone Canada, the leaders of the Catholic Church also played a major role. Newman defined the modern Canadian Establishment in his 1975 book The Canadian Establishment and it catalogued the richest individuals and families living in Canada at the time. All of the people he identified were prominent business leaders, especially in the media
19.
Clement Greenberg
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In particular, he is best remembered for his promotion of the abstract expressionist movement and was among the first published critics to praise the work of painter Jackson Pollock. Clement Greenberg was born in the borough of the Bronx, NYC and his parents were middle-class Jewish immigrants, and he was the eldest of their three sons. Since childhood, Greenberg sketched compulsively, until becoming a young adult, Greenberg attended Erasmus Hall High School, the Marquand School for Boys, then Syracuse University, graduating with an A. B. in 1930, cum laude, Phi Beta Kappa. After college, already as fluent in Yiddish as English since childhood, Greenberg taught himself Italian and German in addition to French and Latin. During the next few years, Greenberg travelled the U. S. working for his fathers dry-goods business, Greenberg married in 1934, had a son the next year, and was divorced the year after that. It was then that Greenberg began to seriously, and soon after began getting published in a handful of small magazines. Greenberg writes, Kitsch, using for raw material the debased and academicized simulacra of genuine culture and it is the source of its profits. Kitsch is mechanical and operates by formulas, Kitsch is vicarious experience and faked sensations. Kitsch changes according to style, but remains always the same, Kitsch is the epitome of all that is spurious in the life of our times. Kitsch pretends to demand nothing of its customers except their money – not even their time, for Greenberg, avant garde art was too innocent to be effectively used as propaganda or bent to a cause, while kitsch was ideal for stirring up false sentiment. Greenberg wrote several essays that defined his views on art history in the 20th century. In 1940, Greenberg joined Partisan Review as an editor and he became art critic for the Nation in 1942. He was associate editor of Commentary from 1945 until 1957, in December 1950, he joined the government funded American Committee for Cultural Freedom. Greenberg believed Modernism provided a commentary on experience. It was constantly changing to adapt to kitsch pseudo-culture, which was itself always developing, in the years after World War II, Greenberg pushed the position that the best avant-garde artists were emerging in America rather than Europe. Particularly, he championed Jackson Pollock as the greatest painter of his generation, Greenberg helped to articulate a concept of medium specificity. In Greenbergs view, after World War II the United States had become the guardian of advanced art and he was particularly impressed by the potential of painters William Ronald and Jack Bush, and later developed a close friendship with Bush. Greenberg expressed mixed feelings about pop art, on the one hand he expressed that pop art partook of a trend toward openness and clarity as against the turgidities of second generation Abstract Expressionism
20.
Partisan Review
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Partisan Review was a small circulation quarterly little magazine dealing with literature, politics, and cultural commentary published in New York City. The magazine was launched in 1934 by the Communist Party, USA-affiliated John Reed Club of New York and was part of the Communist political orbit. Growing disaffection on the part of PRs primary editors began to make felt, however. When the magazine reemerged late in 1937, it came with the addition of additional editors, by the 1950s the magazine had evolved towards a moderate social democratic and staunchly anti-Communist perspective and was generally supportive of American foreign policy. Partisan Review received covert funding from the Central Intelligence Agency during the 1950s and 1960s as part of the efforts to shape intellectual opinion during the Cold War. The journal moved its offices to the campus of Rutgers University in 1963, then to the campus of Boston University in 1978, the final issue of the publication appeared in April 2003. The literary journal Partisan Review was launched in New York City in 1934 by the John Reed Club of New York — a mass organization of the Communist Party, the publication was published and edited by two members of the New York club, Philip Rahv and William Phillips. The launch of the magazine was assisted by the editors of New Masses, PR editors Phillips and Rahv were disaffected by the change, seeing the new organization as a watering down and mainstreaming of the partys commitment to a new, radical, proletarian literature. Intellectual interest turned to events abroad and interest in PR faltered to the point that effective with its October 1936 issue, while Partisan Review was relaunched by Rahv and Phillips in December 1937, it was changed at a fundamental level. News of the Great Purge in the Soviet Union and of Soviet duplicity in the Spanish Civil War pushed the pair of editors to a new outspokenly critical perspective, the CPUSA press was hostile, claiming that a party asset had been stolen. A new group of left wing writers deeply critical of the Soviet Union began to write for the publication, including James Burnham, the new period of independence had begun. Effective with the Nazi-Soviet Pact of 1939, the magazine began to divorce itself from the Communist movement altogether, Rahv and Phillips gave qualified support to the campaign for American rearmament and the countrys preparation for war, opposed by Macdonald and another editor at the time, Clement Greenberg. A tentative truce between the editors averted a split, with Macdonald finally departing in 1943 to form the pacifist magazine politics. Increasingly conservative and nationalist, by the early 1950s the magazine had become devoutly supportive of American virtues and values, in 1953 PR found itself in financial difficulties when one its primary backstage financial angel, Allan D. Dowling, became embroiled in a costly divorce proceeding. Additional CIA money came later in the 1950s, when the ACCF terminated its operations, half of the money remaining in the organizations coffers was transferred to Partisan Review. Additional funds came to the magazine to alleviate its problems in the 1950s in the form of a $10,000 donation from Time magazine publisher Henry Luce. Luce seems to have been instrumental in expediting contacts between PR publisher Phillips and Director of Central Intelligence Walter Bedell Smith, in 1963 William Phillips negotiated a move of the editorial offices of Partisan Review to the campus of Rutgers University in New Brunswick, New Jersey. This arrangement proved satisfactory for both parties until June 1978, when Phillips approached the Universitys then mandatory faculty retirement age of 70, learning that no exception would be made for him to the schools mandatory retirement rules, Phillips began shopping for a new home for Partisan Review
21.
Capitalism
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Capitalism is an economic system based on private ownership of the means of production and their operation for profit. Characteristics central to capitalism include private property, capital accumulation, wage labor, voluntary exchange, a price system, economists, political economists, and historians have adopted different perspectives in their analyses of capitalism and have recognized various forms of it in practice. These include laissez-faire or free market capitalism, welfare capitalism, different forms of capitalism feature varying degrees of free markets, public ownership, obstacles to free competition, and state-sanctioned social policies. Most existing capitalist economies are mixed economies, which elements of free markets with state intervention. Capitalism has existed under many forms of government, in different times, places. Following the decline of mercantilism, mixed capitalist systems became dominant in the Western world, Capitalism has been criticized for prioritizing profit over social good, natural resources, and the environment, and that is a cause of inequality and economic instabilities. Supporters believe that it provides better products through competition, and creates strong economic growth, the term capitalist, meaning an owner of capital, appears earlier than the term capitalism. It dates back to the mid-17th century, capitalist is derived from capital, which evolved from capitale, a late Latin word based on caput, meaning head – also the origin of chattel and cattle in the sense of movable property. Capitale emerged in the 12th to 13th centuries in the sense of referring to funds, stock of merchandise, sum of money, by 1283 it was used in the sense of the capital assets of a trading firm. It was frequently interchanged with a number of other words – wealth, money, funds, goods, assets, property, the Hollandische Mercurius uses capitalists in 1633 and 1654 to refer to owners of capital. In French, Étienne Clavier referred to capitalistes in 1788, six years before its first recorded English usage by Arthur Young in his work Travels in France, David Ricardo, in his Principles of Political Economy and Taxation, referred to the capitalist many times. Samuel Taylor Coleridge, an English poet, used capitalist in his work Table Talk, Pierre-Joseph Proudhon used the term capitalist in his first work, What is Property. To refer to the owners of capital, benjamin Disraeli used the term capitalist in his 1845 work Sybil. The initial usage of the term capitalism in its modern sense has been attributed to Louis Blanc in 1850, Karl Marx and Friedrich Engels referred to the capitalistic system. And to the capitalist mode of production in Das Kapital, the use of the word capitalism in reference to an economic system appears twice in Volume I of Das Kapital, p.124, and in Theories of Surplus Value, tome II, p.493. Marx did not extensively use the form capitalism but instead those of capitalist, and capitalist mode of production, also according to the OED, Carl Adolph Douai, a German-American socialist and abolitionist, used the phrase private capitalism in 1863. Capital has existed incipiently on a scale for centuries, in the form of merchant, renting and lending activities. Simple commodity exchange, and consequently simple commodity production, which are the basis for the growth of capital from trade, have a very long history
22.
Kitsch
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Kitsch is art, objects, or design considered to be in poor taste because of excessive garishness or sentimentality, but sometimes appreciated in an ironic or knowing way. Hence, kitsch art is associated with sentimental art. Kitsch is also related to the concept of camp, because of its humorous, the chocolate box artist Thomas Kinkade, whose idyllic landscape scenes were often lampooned by art critics as maudlin and schmaltzy, is considered a leading example of contemporary kitsch. The term is sometimes applied to music or literature. As a descriptive term, kitsch originated in the art markets of Munich in the 1860s and the 1870s, describing cheap, popular, in Das Buch vom Kitsch, Hans Reimann defines it as a professional expression born in a painters studio. The study of kitsch was done almost exclusively in German until the 1970s, modernist writer Hermann Broch argues that the essence of kitsch is imitation, kitsch mimics its immediate predecessor with no regard to ethics—it aims to copy the beautiful, not the good. Kitsch is less about the thing observed than about the observer, according to Roger Scruton, Kitsch is fake art, expressing fake emotions, whose purpose is to deceive the consumer into thinking he feels something deep and serious. Cliché Lowbrow Museum of Bad Art Poshlost Prolefeed Notable examples Dogs Playing Poker Velvet Elvis Adorno, wabi and Kitsch, Two Japanese Paradigms in Æ, Canadian Aesthetics Journal 15. Faszination und Herausforderung des Banalen und Trivialen, cheetham, Mark A. Kant, Art and Art History, moments of discipline. Kitsch, The World of Bad Taste, Universe Books, the Kitsch Style and the Age of Kitsch, in J. Goudsblom and S. Mennell The Norbert Elias Reader. Vermehrte und verbesserte Auflage München, Wilhelm Fink Verlag, frankfurt am Main, S. Fischer Verlag. Incredible Tretchikoff, Life of an artist and adventurer, ISBN 0-8070-6681-8 Holliday, Ruth and Potts, Tracey Kitsch. Cultural Politics and Taste, Manchester University Press, eine Studie über die Entartung der Kunst. The Modern System of the Arts, psychologie du Kitsch, Lart du Bonheur, Denoël-Gonthier Nerdrum, Odd. The Artificial Kingdom, On the Kitsch Experience, University of Minnesota ISBN 0-8166-4117-X Reimann, Hans. Balsam für Herz und Seele, ISBN 978-3-7630-2493-3, Kitsch in Sync, A Consumers Guide to Bad Taste, Plexus Publishing. In John Walkers Glossary of art, architecture & design since 1945, avant-Garde and Kitsch – essay by Clement Greenberg Kitsch and the Modern Predicament – essay by Roger Scruton Why Dictators Love Kitsch by Eric Gibson, The Wall Street Journal, August 10,2009
23.
Surrealism
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Surrealism is a cultural movement that began in the early 1920s, and is best known for its visual artworks and writings. The aim was to resolve the previously contradictory conditions of dream, leader André Breton was explicit in his assertion that Surrealism was, above all, a revolutionary movement. Surrealism developed out of the Dada activities during World War I, the word surrealist was coined by Guillaume Apollinaire and first appeared in the preface to his play Les Mamelles de Tirésias, which was written in 1903 and first performed in 1917. The Dadaists protested with anti-art gatherings, performances, writings and art works, after the war, when they returned to Paris, the Dada activities continued. Meeting the young writer Jacques Vaché, Breton felt that Vaché was the son of writer. He admired the young writers anti-social attitude and disdain for established artistic tradition, later Breton wrote, In literature, I was successively taken with Rimbaud, with Jarry, with Apollinaire, with Nouveau, with Lautréamont, but it is Jacques Vaché to whom I owe the most. Back in Paris, Breton joined in Dada activities and started the literary journal Littérature along with Louis Aragon and they began experimenting with automatic writing—spontaneously writing without censoring their thoughts—and published the writings, as well as accounts of dreams, in the magazine. Breton and Soupault delved deeper into automatism and wrote The Magnetic Fields, continuing to write, they came to believe that automatism was a better tactic for societal change than the Dada form of attack on prevailing values. They also looked to the Marxist dialectic and the work of such theorists as Walter Benjamin, freuds work with free association, dream analysis, and the unconscious was of utmost importance to the Surrealists in developing methods to liberate imagination. They embraced idiosyncrasy, while rejecting the idea of an underlying madness, as Salvador Dalí later proclaimed, There is only one difference between a madman and me. Beside the use of analysis, they emphasized that one could combine inside the same frame, elements not normally found together to produce illogical. The more the relationship between the two juxtaposed realities is distant and true, the stronger the image will be−the greater its emotional power, the group aimed to revolutionize human experience, in its personal, cultural, social, and political aspects. They wanted to people from false rationality, and restrictive customs. Breton proclaimed that the aim of Surrealism was long live the social revolution. To this goal, at various times Surrealists aligned with communism and anarchism, in 1924 two Surrealist factions declared their philosophy in two separate Surrealist Manifestos. That same year the Bureau of Surrealist Research was established, leading up to 1924, two rival surrealist groups had formed. Each group claimed to be successors of a revolution launched by Guillaume Apollinaire, the other group, led by Breton, included Louis Aragon, Robert Desnos, Paul Éluard, Jacques Baron, Jacques-André Boiffard, Jean Carrive, René Crevel and Georges Malkine, among others. Goll and Breton clashed openly, at one point literally fighting, at the Comédie des Champs-Élysées, in the end, Breton won the battle through tactical and numerical superiority
24.
Max Horkheimer
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Max Horkheimer was a German philosopher and sociologist who was famous for his work in critical theory as a member of the Frankfurt School of social research. Horkheimer addressed authoritarianism, militarism, economic disruption, environmental crisis, and this became the foundation of critical theory. His most important works include The Eclipse of Reason, Between Philosophy and Social Science and, in collaboration with Theodor Adorno, through the Frankfurt School, Horkheimer planned, supported and made other significant works possible. On February 14,1895, Horkheimer was born the son of Moritz. Horkheimer was born into a conservative, wealthy, and orthodox Jewish family and his father was a successful businessman who owned several textile factories in the Zuffenhausen district of Stuttgart, where Max was born. Moritz expected his son to follow in his footsteps and own the family business, Max was taken out of school in 1910 to work in the family business, where he eventually became a junior manager. During this period he would begin two relationships that would last for the rest of his life, first, he met Friedrich Pollock, who would later become a close academic colleague, and who would remain Maxs closest friend. He also met Rose Riekher, who was his fathers personal secretary, eight years Maxs senior, a gentile, and of an economically lower class, Riekher was not considered a suitable match by Moritz Horkheimer. Despite this, Max and Maidon would marry in 1926 and remain together until her death in 1969, in 1917, his manufacturing career ended and his chances of taking over his family business were interrupted when he was drafted into World War I. However, Horkheimer was denied service on medical grounds, in the spring of 1919, after failing an army physical, Horkheimer enrolled at Munich University. While living in Munich, he was mistaken for the revolutionary playwright Ernst Toller, after being released, Horkheimer moved to Frankfurt am Main, where he studied philosophy and psychology under the respectable Hans Cornelius. There, he met Theodor Adorno, several years his junior, with whom he would strike a lasting friendship, in 1925, Horkheimer was habilitated with a dissertation entitled Kants Critique of Judgement as Mediation between Practical and Theoretical Philosophy. Here, he met Friedrich Pollock who would be his colleague at the Institute of Social Research, the following year, Max was appointed Privatdozent. Shortly after, in 1926, Horkheimer married Rose Riekher, in 1926 Horkheimer was an unsalaried lecturer in Frankfurt. Shortly after, in 1930, he was promoted to professor of philosophy at Frankfurt University, Pollock and Horkheimer were partners with Weil in the early activities of the Institute. Horkheimer worked to make the Institute a purely academic enterprise, as director, he changed Frankfurt from an orthodox Marxist school to a heterodox school for critical social research. The following year publication of the Institutes Zeitschrift für Sozialforschung began, the Institute focused on integrating the views of Karl Marx and Sigmund Freud. The Frankfurt School attempted this by systematically hitching together the different conceptual structures of historical materialism, during the time between Horkheimers being named Professor of Social Philosophy and director of the Institute in 1930, the Nazis became the second largest party in the Reichstag
25.
Theodor W. Adorno
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Theodor W. Adorno was a German philosopher, sociologist, and composer known for his critical theory of society. He is widely regarded as one of the 20th centurys foremost thinkers on aesthetics and philosophy, as a writer of polemics in the tradition of Nietzsche and Karl Kraus, Adorno delivered scathing critiques of contemporary Western culture. Theodor W. Adorno was born as Theodor Ludwig Wiesengrund in Frankfurt am Main on September 11,1903, the only child of Oscar Alexander Wiesengrund and Maria Calvelli-Adorno della Piana. His mother, a devout Catholic from Corsica, was once a professional singer, while his father, proud of her origins, Maria wanted her sons paternal surname to be supplemented by the addition of her own name, Adorno. Thus his earliest publications carried the name Theodor Wiesengrund-Adorno, upon his application for US citizenship and he was not only a precocious child but, as he recalled later in life, a child prodigy who could play pieces by Beethoven on the piano by the time he was twelve. At the age of six, he attended the Deutschherren middle school before transferring to the Kaiser-Wilhelm Gymnasium, I took this motif so much as my own that I do not believe I have ever written anything without reference to it, either implicit or explicit. Yet Adornos intellectual nonconformism was no less shaped by the repugnance he felt towards the nationalism which swept through the Reich during the First World War, the younger generations distrust for traditional knowledge arose from the way in which this tradition had discredited itself. Over time, Oscar Wiesengrunds firm established close professional and personal ties with the factory of Karplus & Herzberger in Berlin, I am not exaggerating in the slightest when I say that I owe more to this reading than to my academic teachers. In the summer of 1924, Adorno received his doctorate with a study of Edmund Husserl under the direction of the unorthodox neo-Kantian Hans Cornelius, before his graduation, Adorno had already met with his most important intellectual collaborators, Max Horkheimer and Walter Benjamin. Through Corneliuss seminars, Adorno met his future collaborator Max Horkheimer, in Vienna, he attended public lectures of the satirist Karl Kraus with Berg and met Lukács, who had been living in Vienna after the failure of the Hungarian Soviet Republic. Alban Berg, the man Adorno referred to as my master and teacher, was among the most prescient of his young pupils early friends, convinced that and you are capable of supreme achievements and will undoubtedly fulfill this promise in the shape of great philosophical works. In December 1926 Adornos Two Pieces for String Quartet, op.2 were performed in Vienna, after writing the Piano Pieces in strict twelve-tone technique, as well as songs later integrated into the Six Bagatelles for Voice and Piano, op. 6, Adorno presented his Habilitation manuscript, The Concept of the Unconscious in the Transcendental Theory of the Psyche, Cornelius advised Adorno to withdraw his application on the grounds that the manuscript was too close to his own way of thinking. In this manuscript, Adorno attempted to underline the epistemological status of the unconscious as it emerged from Freuds early writings, against the function of the unconscious in both Nietzsche and Spengler, Adorno argued that Freuds notion of the unconscious serves as a sharp weapon. Against every attempt to create a metaphysics of the instincts and to deify full, undaunted by his academic prospects, Adorno threw himself once again into composition. In addition to publishing numerous reviews of performances and concerts, Adornos Four Songs for Medium Voice and Piano. Between 1928 and 1930 Adorno took on a role within the editorial committee of the Musikblätter des Anbruch. During this period he published the essays Night Music, On Twelve-Tone Technique and Reaction, at this time, Adorno struck up a correspondence with the composer Ernst Krenek, with whom he discussed problems of atonality and twelve-tone technique
26.
Heidelberg
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Heidelberg is a college town situated on the river Neckar in south-west Germany. At the 2015 census, its population was 156,257, located about 78 km south of Frankfurt, Heidelberg is the fifth-largest city in the German state of Baden-Württemberg. Heidelberg is part of the densely populated Rhine-Neckar Metropolitan Region, founded in 1386, Heidelberg University is Germanys oldest and one of Europes most reputable universities. A scientific hub in Germany, the city of Heidelberg is home to internationally renowned research facilities adjacent to its university. Heidelberg is in the Rhine Rift Valley, on the bank of the lower part of the Neckar in a steep valley in the Odenwald. It is bordered by the Königsstuhl and the Gaisberg mountains, the Neckar here flows in an east-west direction. On the right bank of the river, the Heiligenberg mountain rises to a height of 445 meters, the Neckar flows into the Rhine approximately 22 kilometres north-west in Mannheim. Villages incorporated during the 20th century stretch from the Neckar Valley along the Bergstraße, Heidelberg is on European walking route E1. Alongside the Philosophenweg on the side of the Old Town. There is a population of African rose-ringed parakeets, and a wild population of Siberian swan geese. Heidelberg is an authority within the Regierungsbezirk Karlsruhe. The Rhein-Neckar-Kreis rural district surrounds it and has its seat in the town, Heidelberg is a part of the Rhine-Neckar Metropolitan Region, often referred to as the Rhein-Neckar Triangle. The Rhein-Neckar Triangle became a European metropolitan area in 2005, Heidelberg consists of 15 districts distributed in six sectors of the town. The new district will have approximately 5, 000–6,000 residents, Heidelberg has an oceanic climate, defined by the protected valley between the Pfälzerwald and the Odenwald. Year-round, the temperatures are determined by maritime air masses coming from the west. In contrast to the nearby Upper Rhine Plain, Heidelbergs position in the leads to more frequent easterly winds than average. The hillsides of the Odenwald favour clouding and precipitation, the warmest month is July, the coldest is January. Temperatures often rise beyond 30 °C in midsummer, according to the German Meteorological Service, Heidelberg was the warmest place in Germany in 2009
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West Germany
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West Germany is the common English name for the Federal Republic of Germany or FRG in the period between its creation on 23 May 1949 to German reunification on 3 October 1990. During this Cold War era, NATO-aligned West Germany and Warsaw Pact-aligned East Germany were divided by the Inner German border, after 1961 West Berlin was physically separated from East Berlin as well as from East Germany by the Berlin Wall. This situation ended when East Germany was dissolved and its five states joined the ten states of the Federal Republic of Germany along with the reunified city-state of Berlin. With the reunification of West and East Germany, the Federal Republic of Germany, enlarged now to sixteen states and this period is referred to as the Bonn Republic by historians, alluding to the interwar Weimar Republic and the post-reunification Berlin Republic. The Federal Republic of Germany was established from eleven states formed in the three Allied Zones of occupation held by the United States, the United Kingdom and France, US and British forces remained in the country throughout the Cold War. Its population grew from roughly 51 million in 1950 to more than 63 million in 1990, the city of Bonn was its de facto capital city. The fourth Allied occupation zone was held by the Soviet Union, as a result, West Germany had a territory about half the size of the interbellum democratic Weimar Republic. At the onset of the Cold War, Europe was divided among the Western and Eastern blocs, Germany was de facto divided into two countries and two special territories, the Saarland and divided Berlin. The Federal Republic of Germany claimed a mandate for all of Germany. It took the line that the GDR was an illegally constituted puppet state, though the GDR did hold regular elections, these were not free and fair. For all practical purposes the GDR was a Soviet puppet state, from the West German perspective the GDR was therefore illegitimate. Three southwestern states of West Germany merged to form Baden-Württemberg in 1952, in addition to the resulting ten states, West Berlin was considered an unofficial de facto 11th state. It recognised the GDR as a de facto government within a single German nation that in turn was represented de jure by the West German state alone. From 1973 onward, East Germany recognised the existence of two German countries de jure, and the West as both de facto and de jure foreign country, the Federal Republic and the GDR agreed that neither of them could speak in the name of the other. The first chancellor Konrad Adenauer, who remained in office until 1963, had worked for an alignment with NATO rather than neutrality. He not only secured a membership in NATO but was also a proponent of agreements that developed into the present-day European Union, when the G6 was established in 1975, there was no question whether the Federal Republic of Germany would be a member as well. With the collapse of communism in Central and Eastern Europe in 1989, symbolised by the opening of the Berlin Wall, East Germany voted to dissolve itself and accede to the Federal Republic in 1990. Its five post-war states were reconstituted along with the reunited Berlin and they formally joined the Federal Republic on 3 October 1990, raising the number of states from 10 to 16, ending the division of Germany
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Dialectic of Enlightenment
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Dialectic of Enlightenment is a work of philosophy and social criticism written by Frankfurt School philosophers Max Horkheimer and Theodor W. Adorno and first published in 1944. A revised version appeared in 1947 and this ambivalence gave rise to the “pessimism” of the new Critical Theory over the possibility of human emancipation and freedom. The market and private property had been replaced by centralized planning, the authors coined the term culture industry, arguing that in a capitalist society mass culture is akin to a factory producing standardized cultural goods — films, radio programmes, magazines, etc. These homogenized cultural products are used to manipulate mass society into docility and passivity, the introduction of the radio, a mass medium, no longer permits its listener any mechanism of reply, as was the case with the telephone. Instead, listeners are not subjects anymore but passive receptacles exposed in authoritarian fashion to the same programs put out by different stations, the book made its first appearance in 1944 under the title Philosophische Fragmente by Social Studies Association, Inc. A revised version was published in 1947 by Querido Verlag in Amsterdam with the title Dialektik der Aufklärung and it was reissued in 1969 by S Fischer Verlag GmbH. There have been two English translations, The first by John Cumming and a recent translation, based on the definitive text from Horkheimers collected works. Counter-Enlightenment Critical theory Das Kapital Juliette Entry in the Stanford Encyclopedia of Philosophy Excerpts from the Dialectic
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Walter Benjamin
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Walter Bendix Schönflies Benjamin was a German Jewish philosopher, cultural critic and essayist. He was associated with the Frankfurt School, and also maintained formative friendships with such as playwright Bertolt Brecht. He was also related by law to German political theorist Hannah Arendt through her first marriage to his cousin, Günther Anders. Among Benjamins best known works are the essays The Task of the Translator, The Work of Art in the Age of Mechanical Reproduction, and Theses on the Philosophy of History. His major work as a literary critic included essays on Baudelaire, Goethe, Kafka, Kraus, Leskov, Proust, Walser, and translation theory. He also made translations into German of the Tableaux Parisiens section of Baudelaires Les Fleurs du mal. In 1940, at the age of 48, Benjamin committed suicide in Portbou at the French–Spanish border while attempting to escape from invading Nazi forces, though popular acclaim eluded him during his life, the decades following his death won his work posthumous renown. Benjamin and his siblings, Georg and Dora, were born to a wealthy business family of assimilated Ashkenazi Jews in the Berlin of the German Empire. He owned a number of investments in Berlin, including ice skating rinks, in 1902, ten-year-old Walter was enrolled to the Kaiser Friedrich School in Charlottenburg, he completed his secondary school studies ten years later. Here Benjamin had his first exposure to the ideas of Zionism and this exposure gave him occasion to formulate his own ideas about the meaning of Judaism. In Benjamins formulation his Jewishness meant a commitment to the furtherance of European culture, Benjamin expressed My life experience led me to this insight, the Jews represent an elite in the ranks of the spiritually active. For Judaism is to me in no sense an end in itself and this was a position that Benjamin largely held lifelong. Elected president of the Freie Studentenschaft, Benjamin wrote essays arguing for educational and general cultural change, in 1914, at the outbreak of the First World War, Benjamin began faithfully translating the works of the 19th-century French poet Charles Baudelaire. The next year,1915, he moved to Munich, and continued his schooling at the University of Munich, where he met Rainer Maria Rilke and Gershom Scholem, in that year, Benjamin wrote about the 18th-century Romantic German poet Friedrich Hölderlin. In 1917 he transferred to the University of Bern, there, he met Ernst Bloch and they had a son, Stefan Rafael. In 1919 Benjamin earned his Ph. D. cum laude with the dissertation Begriff der Kunstkritik in der Deutschen Romantik, later, unable to support himself and family, he returned to Berlin and resided with his parents. In 1921 he published the essay Kritik der Gewalt, at this time Benjamin first became socially acquainted with Leo Strauss, and Benjamin would remain an admirer of Strauss and of his work throughout his life. In 1923, when the Institut für Sozialforschung was founded, later to become home to the Frankfurt School, Benjamin published Charles Baudelaire, at that time he became acquainted with Theodor Adorno and befriended Georg Lukács, whose The Theory of the Novel much influenced him
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Neoliberalism
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Neoliberalism refers primarily to the 20th-century resurgence of 19th-century ideas associated with laissez-faire economic liberalism. These market-based ideas and the policies they inspired constitute a paradigm shift away from the post-war Keynesian consensus which lasted from 1945 to 1980, as such, neoliberalism shares many attributes with other contested concepts, including democracy. The definition and usage of the term have changed over time, in the 1960s, usage of the term neoliberal heavily declined. When the term was reintroduced in the 1980s in connection with Augusto Pinochets economic reforms in Chile, once the new meaning of neoliberalism was established as a common usage among Spanish-speaking scholars, it diffused into the English-language study of political economy. By 1994, with the passage of NAFTA and the Zapatistas reaction to development in Chiapas. Scholarship on the phenomenon of neoliberalism has been growing, the impact of the global 2008–2009 crisis has also given rise to new scholarship that critiques neoliberalism and seeks developmental alternatives. In 1938 at the Colloque Walter Lippmann, the term neoliberalism was proposed, among other terms, the colloquium defined the concept of neoliberalism as involving the priority of the price mechanism, free enterprise, the system of competition, and a strong and impartial state. To be neoliberal meant advocating an economic policy with state intervention. Neoliberal state interventionism brought a clash with the opposing camp of classical liberals. Although Hayek had intellectual ties to the German neoliberals, his name was occasionally mentioned in conjunction with neoliberalism during this period due to his more pro-free market stance. During the military rule under Augusto Pinochet in Chile, opposition scholars took up the expression to describe the economic reforms implemented there, once this new meaning was established among Spanish-speaking scholars, it diffused into the English-language study of political economy. Another center-left movement from modern American liberalism that used the term neoliberalism to describe its ideology formed in the United States in the 1970s, according to David Brooks, prominent neoliberal politicians included Al Gore and Bill Clinton of the Democratic Party of the United States. The neoliberals coalesced around two magazines, the New Republic and the Washington Monthly, the godfather of this version of neoliberalism was the journalist Charles Peters who in 1983 published A Neoliberals Manifesto. Neoliberal theory argues that a market will allow efficiency, economic growth, income distribution. Any state intervention to encourage these phenomena will worsen economic performance, yet the handbook argues to view the term as merely a pejorative or radical political slogan is to reduce its capacity as an analytic frame. If neoliberalism is to serve as a way of understanding the transformation of society over the last few decades then the concept is in need of unpacking. Other scholars note that neoliberalism is associated with the policies introduced by Margaret Thatcher in the United Kingdom. There are several usages of the term that can be identified, As a development model
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Guy Debord
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Guy Louis Debord was a French Marxist theorist, writer, filmmaker, member of the Letterist International, founder of a Letterist faction, and founding member of the Situationist International. He was also briefly a member of Socialisme ou Barbarie, Guy Debord was born in Paris in 1931. Debords father, Martial, was a pharmacist who died due to illness when Debord was young, Debords mother, Paulette Rossi, sent Guy to live with his grandmother in her family villa in Italy. During World War II, the Rossis left the villa and began to travel from town to town, as a result, Debord attended high school in Cannes, where he began his interest in film and vandalism. As a young man, Debord actively opposed the French war in Algeria, Debord studied Law at the University of Paris, but left early and did not complete his college education. After ending his stint at the University of Paris, he began his career as a writer, Debord joined the Letterist International when he was 19. The Letterists were led dictatorially by Isidore Isou until an agreed upon schism ended Isous authority. This schism gave rise to several factions of Letterists, one of which was led by Debord upon Gil Wolmans unequivocal recommendation. In the 1960s, Debord led the Situationist International group, which influenced the Paris Uprising of 1968, some consider his book The Society of the Spectacle to be a catalyst for the uprising. In 1972, Debord disbanded the Situationist International after its members, including Asger Jorn and Raoul Vaneigem. Debord then focused on filmmaking with financial backing from the movie mogul and publisher, Gérard Lebovici, Debord was suspected of Lebovicis murder. Distraught by the accusations and his friends death, Debord took his films and he had agreed to have his films released posthumously at the request of the American researcher, Thomas Y. Debords two most recognized films are Society of the Spectacle and In girum imus nocte et consumimur igni, after dissolving the Situationist International, Debord spent his time reading, and occasionally writing, in relative isolation in a cottage at Champot with Alice Becker-Ho, his second wife. He continued to correspond on political and other issues, notably with Lebovici and he focused on reading material relating to war strategies, e. g. Clausewitz and Sun Tzu, and he designed a war game with Alice Becker-Ho. Debord married twice, first to Michèle Bernstein and then Alice Becker-Ho, Debord had affairs with other women, including Michèle Mochot, the daughter of a surrealist. Bernstein wrote a fictional but detailed account of the open relationships Mochot. Just before Debords death, he filmed a documentary, Son art et son temps and it has been suggested that his dark depiction of this period was a suicide note of sorts. Both Debords depression and alcohol consumption had become problematic, resulting in a form of polyneuritis, perhaps in order to end the suffering caused by these conditions, Debord committed suicide by shooting himself in the head on November 30,1994
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The Society of the Spectacle
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The Society of the Spectacle is a 1967 work of philosophy and Marxist critical theory by Guy Debord, in which he develops and presents the concept of the Spectacle. The book is considered an important text for the Situationist movement, Debord published a follow-up book Comments on the Society of the Spectacle in 1988. The work is a series of 221 short theses and they contain approximately a paragraph each. Debord traces the development of a society in which authentic social life has been replaced with its representation. Debord argues that the history of life can be understood as the decline of being into having. This condition, according to Debord, is the moment at which the commodity completes its colonization of social life. The spectacle is not a collection of images, Debord writes, rather, in the situationist view, situations are actively created moments, characterized by a sense of self-consciousness of existence within a particular environment or ambience. Debord encouraged the use of détournement, which involves using spectacular images, the Society of the Spectacle is a critique of contemporary consumer culture and commodity fetishism, dealing with issues such as class alienation, cultural homogenization, and mass media. When Debord says that “All that was directly lived has become mere representation. Images, Debord says, have supplanted genuine human interaction, thus, Debord’s fourth thesis is, The spectacle is not a collection of images, rather, it is a social relationship between people that is mediated by images. In a consumer society, social life is not about living, but about having, consequently, social life moves further, leaving a state of having and proceeding into a state of appearing, namely the appearance of the image. In a world which really is topsy-turvy, the true is a moment of the false, Debord also draws an equivalence between the role of mass media marketing in the present and the role of religions in the past. The monotheistic religions were a compromise between myth and history and these religions arose on the soil of history, and established themselves there. But there they still preserve themselves in opposition to history. Debord defines them as Semi-historical religion, in Chapter 8, Negation and Consumption Within Culture, Debord includes a critical analysis of the works of three American sociologists. Debord discusses at length Daniel J. Boorstin’s The Image, arguing that Boorstin missed the concept of Spectacle, Whyte, author of the 1956 bestseller The Organization Man. Among the 1950s sociologists who are compared to Riesman and Whyte, is C. Wright Mills, author of White Collar. Riesmans Lonely Crowd term is used in thesis 28
