Notes on Das Altern der Moderne1 by Peter Bürger. Peter Bürger, Professor emeritus for literature and aesthtic theory, author of the Theory of the Avant-Garde2, a seminal text in art theory of the 20th century, in this collection of articles written between 1983 and 2000, re-examines some of the main concepts already at the heart of his earlier work, such as the difference between Modernism and the avant-garde, the historic avant-garde's often repeated ambition of bringing art and life together, and what constitutes the failure as well as the success of those movements. While the hopes of the historic avant-garde of permanent transformations of the social world were not rewarded, avant-garde ideas, slogans, strategies and aesthetic methodologies of the Futurists, dadaists and Surrealists have found a permanent place in the cultural 'history' by having entered the endless recycling relationships of contemporary culture via popular culture. Slightly different the case, then with Modernism, because it never had, or purpoted not to have, such a strong social agenda, yet here the name of the art movement is identical with the name of an age: modernity. In this respect, Bürger asks the fascinating question about the aging of modernity and how we became postmodern (or not).
- 1. .
2001. Das Altern der Moderne : Schriften zur bildenden Kunst.
- 2. .
1984. Theory of the avant-garde.
This book by the French master historian is probably one of the most influential in research methodologies. One point of critique to be kept in mind is by F.Kittler who says that Foucault's method only works for periods in history which are mainly marked by book production and that he had no way of transferring that methodology to the age of electronic media. Not entirely sure if Kittler is right as he puts so much emphasis on the 'media apriori'.
hello on a rainy sat morning in vienna,
as you may have noticed i did an upgrade yesterday, which was 3 hours of cold sweat but succeeded in the end. pictures now also can be edited again with all the tags, etc.
some further small improvements have been made:
pictures can now be posted also in groups, which means that if the right group is chosen and public uncheckled the image is only visible for logged in group members.
maybe it is neighbourly to share the fruits of some of the grunt labour we do as students...the typing up of notes from books .. in the hope that we can weave some of these notes from big brains and minor poets through our own writings ..or use them to generate new trains of thoughts and aesthetic experiments
in that spirit i hereby post the few quotes i got from latour today ..honestly i find his theory hard, but sometimes i think its ok to skate around theory, and interpret it in your own way ... he has a nice turn of phrase anyway...
i have never done a detailed chapter breakdown
so all i have is this big-picture guide (which changes every year or so), and then the detailed chapter contents i do (and keep changing), as write up each chapter
i have posted a page of typical feedback from my principal supervisor -- sometimes he will email me 3 or 4 pages of typed notes ..othertimes ..if i am in sydney (where my uni is) we meet and he gives me hand written notes as marginalia on a print out of my chapter ..these seem legible when we talk thru them..but once i return to adelaide i realise i can't read his handwriting!
In this text a collection of notes on the book Bauhaus (1999), by Jeannine Fiedler and Peter Feierabend (editors) and in particular the introduction Bauhaus - geschichtlich by Andreas Haus, is used as a starting point for further reasonings about the ideas and motivations of the historic avant-garde in general and Bauhaus in particular, and why that matters for contemporary practices. Key issues are the development of arts and arts and crafts within an increasingly industrial economy, art/-isanal working methodologies and relationships with science and new technologies, and the notion of the artistic or artisianal community as a driver of social change.
Here is part 2 of a chapter that is in 4 parts
Structure is not one of my strengths, so i am lucky that the structure of each of my 3 case study chapters was designed by 1 of my supervisors
i think it is pretty much a standard marxian approach to looking at a topic
first u have to identify the "antagonism" or motivation for the project
next u have to describe its platforms and processes
then u analyse how it is embedded in a specific culture or context
Responding to something that Doll wrote
Lindsay I also feel *my* work doesn't make an easy fit into TNL compared to what you and Armin and some others post, because your writings are well-argued and/or intrigueingly speculative whereas a lot of what i am putting up is more rambly and thought processes scrawled as they come to me, as i am afraid that if i dont write everything, and repeat my ideas in different ways within the 1 text a number of times, i will lose what few idea kernels that i have in the thesis fog that surrounds me
we once were 3, and now at armin's good suggestion, we are 4
welcome ms.static, sound artist and artist thinker, whom i first met (i think) in the desert in central australia, at dancer/choreographer Tess de Quincy's magical 2-3 week workshop Triple Alice (a great research model in fact and perhaps something of interest given armin's desire to do moe reseaerchy workshop events)
Occasionally we share bits of our writing in process here -- without even necessarily wanting others to read it -- because just the simple act of publishing in a safe space i think can push the writing a long a little, give it a bit of electro-magnetic wave energy!