Material gathered for modernism and modernity article improvement
Modernity
| “ | The principle of preservation, or the survival of the fittest, I have called Natural Selection. It leads to the improvement of each creature in relation to its organic and inorganic conditions of life; and consequently, in most cases, to what must be regarded as an advance in organisation. | ” |
| — Charles Darwin, The Origin of the Species (1859) [1] | ||
Modernism
| “ | In the twentieth century, the social processes that bring this maelstrom into being, and keep it in a state of perpetual becoming, have come to be called " modernization." These world-historical processes have nourished an amazing variety of visions and ideas that aim to make men and women the subjects as well as the objects of modernization, to give them the power to change the world that is changing them, to make their way through the maelstrom and make it their own. Over the past century, these visions and values have come to be loosely grouped together under the name of "modernism." | ” |
| — Marshall Berman [2] | ||
| “ | To the degree that
Nietzsche had led the way in placing
aesthetics above science, rationality, and politics, so the exploration of aesthetic experience—'
beyond good and evil'—became a powerful means to establish a new mythology as to what the eternal and the immutable might be about in the midst of all the ephemerality, fragmentation, and patent chaos of modern life. This gave a new role, and a new impetus, to cultural modernism. Artists, writers, architects, composers, poets, thinkers, and philosophers had a very special position within this new conception of the modernist project. If the 'eternal and immutable' could no longer be automatically presupposed, then the modern artist had a creative role to play in defining the essence of humanity. If 'creative destruction' was an essential condition of modernity, then perhaps the artist as individual had a heroic role to play (even if the consequences might be tragic). The artist, argued Frank Lloyd Wright—one of the greatest of all modernist architects—must not only comprehend the spirit of his age but also initiate the process of changing it. |
” |
| — David Harvey [3] | ||
Notes
Material gathered for modernism and modernity article improvement
Modernity
| “ | The principle of preservation, or the survival of the fittest, I have called Natural Selection. It leads to the improvement of each creature in relation to its organic and inorganic conditions of life; and consequently, in most cases, to what must be regarded as an advance in organisation. | ” |
| — Charles Darwin, The Origin of the Species (1859) [1] | ||
Modernism
| “ | In the twentieth century, the social processes that bring this maelstrom into being, and keep it in a state of perpetual becoming, have come to be called " modernization." These world-historical processes have nourished an amazing variety of visions and ideas that aim to make men and women the subjects as well as the objects of modernization, to give them the power to change the world that is changing them, to make their way through the maelstrom and make it their own. Over the past century, these visions and values have come to be loosely grouped together under the name of "modernism." | ” |
| — Marshall Berman [2] | ||
| “ | To the degree that
Nietzsche had led the way in placing
aesthetics above science, rationality, and politics, so the exploration of aesthetic experience—'
beyond good and evil'—became a powerful means to establish a new mythology as to what the eternal and the immutable might be about in the midst of all the ephemerality, fragmentation, and patent chaos of modern life. This gave a new role, and a new impetus, to cultural modernism. Artists, writers, architects, composers, poets, thinkers, and philosophers had a very special position within this new conception of the modernist project. If the 'eternal and immutable' could no longer be automatically presupposed, then the modern artist had a creative role to play in defining the essence of humanity. If 'creative destruction' was an essential condition of modernity, then perhaps the artist as individual had a heroic role to play (even if the consequences might be tragic). The artist, argued Frank Lloyd Wright—one of the greatest of all modernist architects—must not only comprehend the spirit of his age but also initiate the process of changing it. |
” |
| — David Harvey [3] | ||