Postmodernism  

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:The Carlton Cabinet (1981) by Ettore Sottsass was my de facto first exposure to postmodernism. I was hooked.--[[User:Jahsonic|Jahsonic]] 20:48, 26 April 2007 (CEST) :The Carlton Cabinet (1981) by Ettore Sottsass was my de facto first exposure to postmodernism. I was hooked.--[[User:Jahsonic|Jahsonic]] 20:48, 26 April 2007 (CEST)
-“Modern architecture died in St. Louis, Missouri on July 15, 1972 at 3:32 pm when the infamous Pruitt-Igoe scheme, or rather several of its slab blocks, were given the final coup de grace by dynamite.” -- Charles Jencks+:“[[Modern architecture]] died in St. Louis, Missouri on July 15, 1972 at 3:32 pm when the infamous Pruitt-Igoe scheme, or rather several of its slab blocks, were given the final coup de grace by dynamite.” -- Charles Jencks
-"Pop in the broadest sense was the context in which a notion of the postmodern first took shape, and from the beginning until today, the most significant trends within postmodernism have challenged modernism's relentless hostility to mass culture." -- After the Great Divide (1986) - Andreas Huyssen+:"Pop in the broadest sense was the context in which a notion of the postmodern first took shape, and from the beginning until today, the most significant trends within postmodernism have challenged modernism's relentless hostility to mass culture." -- After the Great Divide (1986) - Andreas Huyssen
-The postmodernisms have, in fact, been fascinated precisely by this whole “degraded” landscape of schlock and kitsch, of TV series and Reader's Digest, of advertising and motels, of the late show and the grade-B Hollywood film, of so-called paraliterature, with its airport paperback categories of the gothic and the romance, the popular biography, the murder mystery, and the science fiction or fantasy novel: materials they no longer simply “quote” as a Joyce or a Mahler might have done, but incorporate into their very substance. --Postmodernism, Or, the Cultural Logic of Late Capitalism (1984) - Fredric Jameson * Source: New Left Review 146, 1984, pp. 53—92+:The postmodernisms have, in fact, been fascinated precisely by this whole “degraded” landscape of schlock and kitsch, of TV series and Reader's Digest, of advertising and motels, of the late show and the grade-B Hollywood film, of so-called paraliterature, with its airport paperback categories of the gothic and the romance, the popular biography, the murder mystery, and the science fiction or fantasy novel: materials they no longer simply “quote” as a Joyce or a Mahler might have done, but incorporate into their very substance. --Postmodernism, Or, the Cultural Logic of Late Capitalism (1984) - Fredric Jameson * Source: New Left Review 146, 1984, pp. 53—92

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Postmodern saying: There is no truth, there are only versions.
The Carlton Cabinet (1981) by Ettore Sottsass was my de facto first exposure to postmodernism. I was hooked.--Jahsonic 20:48, 26 April 2007 (CEST)
Modern architecture died in St. Louis, Missouri on July 15, 1972 at 3:32 pm when the infamous Pruitt-Igoe scheme, or rather several of its slab blocks, were given the final coup de grace by dynamite.” -- Charles Jencks
"Pop in the broadest sense was the context in which a notion of the postmodern first took shape, and from the beginning until today, the most significant trends within postmodernism have challenged modernism's relentless hostility to mass culture." -- After the Great Divide (1986) - Andreas Huyssen
The postmodernisms have, in fact, been fascinated precisely by this whole “degraded” landscape of schlock and kitsch, of TV series and Reader's Digest, of advertising and motels, of the late show and the grade-B Hollywood film, of so-called paraliterature, with its airport paperback categories of the gothic and the romance, the popular biography, the murder mystery, and the science fiction or fantasy novel: materials they no longer simply “quote” as a Joyce or a Mahler might have done, but incorporate into their very substance. --Postmodernism, Or, the Cultural Logic of Late Capitalism (1984) - Fredric Jameson * Source: New Left Review 146, 1984, pp. 53—92
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