By Fredric Jameson
A massive new interpretation of the options of modernism and modernity.The recommendations of modernity and modernism are among the main arguable and vigorously debated in modern philosophy and cultural idea. during this new intervention, Fredric Jameson—perhaps the main influential and persuasive theorist of postmodernity—excavates and explores those notions in a clean and illuminating demeanour. the intense revival of discussions of modernity, in addition to of recent theories of inventive modernism, calls for awareness in its personal correct. it kind of feels transparent that the (provisional) disappearance of choices to capitalism performs its half within the common try to revive 'modernity' as a social perfect. but the paradoxes of the idea that illustrate its valid heritage and recommend a few ideas for fending off its misuse in addition. during this significant new interpretation of the complicated, Jameson concludes that either thoughts are tainted, yet still yield clues as to the character of the phenomena they alleged to theorize. His really apt and vigilant probing of either terms—which can most likely now not be banished at this overdue date—helps us make clear our current political and creative occasions.
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31 The silence of the lambs still required the silence of the executioners. The silence of an untroubled conscience, such as that enjoyed by a socalled 'political science' now disowned by former 'revolutionary' lengSary who today declares, apparently by way of excuse, 'The world has changed. I no longer believe in the class struggle. The period from 1975 to 1979 was a failure. '32 Meanwhile, Tuol Sleng has become a museum - a genocide museum. The sinister Camp-S21 (Security Office 21), where the gaolers were teenagers, offers visitors a tour of the gallery of photographic portraits of its multitudinous victims.
Driven by a passion for immediacy, Gericault sought to seize the moment - whether of madness or death - live. Like the emergent press, he was especially keen on human interest stories such as the wreck of the Medusa, that TITANIC of the painting world ... The art of painting at the time was already busy trying to outdo mere REPRESENTATION by offering the very presence of the event, as instantaneous photography would do, followed by the PHOTO-FINISH and the first cinematographic newsreels of the Lumiere brothers and, ultimately, the LIVE COVERAGE offered by CNN.
Victim of the war in which the unfolding of time is speeded-up, the field of perception suddenly becomes a real battlefield, with its barked commands and its shrieks of terror; whence the quest for the SCREAM as for FEAR conducted by the German Expressionists throughout the traumatic years of the 1920s and 1930s when the disqualification of the silence of paintings would usher in the impending tyranny of mass communications tools. This bestowing of speech upon images, upon the whirling rush of film, meant unwittingly triggering a phenomenon of panic in which the audiovisual would gradually lead to this silence of the lambs whereby the art lover becomes the victim of sound, a hostage of the sonorization of the visible.