Design Commerce & Culture online Class

Get Started. It's Free
or sign up with your email address
Post-Modernism by Mind Map: Post-Modernism

1. Philosophy

1.1. Nietzsche

1.1.1. Nihilism There is a common misconception that the German philosopher Friedrich Nietzsche was a nihilist. You can find this assertion in both popular and academic literature, yet as widespread as it it, it isn't really an accurate portrayal of his work. Nietzsche wrote a great deal about nihilism, it is true, but that was because he was concerned about the effects of nihilism on society and culture, not because he advocated nihilism. Even that, though, is perhaps a bit too simplistic. The question of whether Nietzsche really advocated nihilism or not is largely dependent upon the context: Nietzsche's philosophy is a moving target because he had so many different things to say on so many different subjects, and not all of what he wrote is perfectly consistent with everything else. Nietzsche could be categorized as a nihilist in the descriptive sense that he believed that there was no longer any real substance to traditional social, political, moral, and religious values. He denied that those values had any objective validity or that they imposed any binding obligations upon us. Indeed, he even argued that they could at times have negative consequence for us.

1.2. Michel Foucault

1.2.1. O'Farrell, Clare D. (2006) Foucault and Post Modernism. The Sydney Papers, 18(3-4), pp. 182-194. The French philosopher Michel Foucault (1926-1984) is one of the most influential thinkers of the twentieth century. This talk will situate his work in the context of recent media debates on postmodernism and give an account of his work, life and times and the critical reception of his work. Particular reference will be made to his controversial discussions on truth and power.

1.3. Roland Barthes

2. Urban Planning & Society'

2.1. Demographic

2.1.1. Post Baby-Boom Society

2.1.2. Inverted Pyramids

2.2. Psychographic

2.2.1. Post-Consumerism

2.2.2. Cultural Homogenization

2.2.3. Post-Modern Spirituality

2.2.4. Multi-Culturalism THE RELEVANCE OF POSTMODERN EPISTEMOLOGIES IN MULTICULTURAL STUDIES IN THE CARIBBEAN This article is a critical appraisal of Anne Phillips’ book titled “Multiculturalism without culture”. The author uses a number of works and practical examples of ethnic, gender and class identities to debunk the myth that there is homogeneity of culture within groups accorded the same cultural status. There are interesting and sometimes insightful reviews of the concepts of culture, race and gender which force the reader to cogitate about the fallacies of modernism as a scientific paradigm in the study of social life (issues and problems).

2.3. Technographic

2.3.1. Hybrid Technologies

2.4. Behavior

2.4.1. Environtalism Global Warming

2.4.2. Ethics Stem cell research Abortion LGBT

2.5. Publications

2.5.1. Postmodernism and Consumer Society The concept of postmodernism is not widely accepted or even understood today. Some of the resistance to it may come from the unfamiliarity of the works it covers, which can be found in all the arts: the poetry of John Ashbery, for instance, but also the much simpler talk poetry that carat out of the reaction against complex, ironic, academic modernist poetry in the '60s; the reaction against modern architecture and in particular against the monumental buildings of the International Style, the pop buildings and decorated sheds celebrated by Robert Venturi in his manifesto, Learning from Gas Vegas; Andy Warhol and Pop art, but also the more recent Photorealism; in music, the moment of John Cage but also the later synthesis of classical and "popular" styles found in composers like Philip Glass and Terry Riley, and also punk and new- wave rock with such groups as the Clash, the Talking Heads and the Gang of Four, in film, everything that comes out of Godard - contemporary vanguard film and video - but also a whole new style of commercial or fiction films, which has its equivalent in contemporary novels as well, where the works of William Burroughs, Thomas Pynchon and Ishmael Reed on the one hand, and the French new novel on the other, are also to be numbered among the varieties of what can be called postmodernism.

2.5.2. Postmodernism and Planning Models Postmodern thought has influenced most fields of intellectual activity including planning. In this article, I analyze the impact of postmodern effects on the urban planning models that challenge the established dominance of comprehensive rationalism. I develop a progressive postmodern framework which continues modernism’s humanistic premise but poses a major challenge to modernist epistemology. I then use the framework to analyze the extent to which existing planning models, from advocacy to communicative planning, carry a progressive postmodern potential for social betterment through inclusionary processes.

2.5.3. Postmodern Planning Theoryand the Current PlanningAgenda This paper aims to engage in the developing form of the modern day planningsystem and how this relates to the concept of postmodernism. The difficulty ofproviding postmodernism with a finite description is explored, while the primarycomponents of the postmodern debate are discussed and related tocontemporary society

2.5.4. Sustainability and the post-modern city: some guidelines for urban planning and transport practice in an age of uncertainty Sustainability is one of the key concepts that is associated with post-modernism. The old world with its modernist assumptions was based on increasing consumption of fossil fuels and other resources, reducing the natural and the diverse to simple, American-style mass production, with a strong state-based, large-scale approach to providing infrastructure. That old way no longer works but no way forward is obviously apparent. This paper looks at how the uncertainties produced by post-modernism can be put to advantage in providing a more sustainable post- modern city. It is suggested that the key principles are recognizing values, maximizing diversity and crossing boundaries. These are developed into some guidelines for urban planning and transport practice.

2.5.5. Heritage, urban planning, and the postmodern city

3. Music, Composition, Soundscape

3.1. Ziggy Stardust/D. Bowie

3.1.1. Glam Rock

3.2. Frank Zappa

3.3. MTV

3.4. Post Rock

3.4.1. REM

3.4.2. Radiohead

3.5. FatboySlim

3.6. Michael Jackson

3.7. Petshop Boys

3.8. Indie

3.9. Kiss

3.10. Publications

3.10.1. Soundscape: An Approach to Rely on Human Perception and Expertise in the Post‐Modern Community Noise Era Acou. Today Volume 3, Issue 1, pp. 7-15 (2007); (9 pages)

3.10.2. De/composinq (In) the Postmodern Soundscape

3.10.3. What is Postmodern Music? Commercial music has become the dominant music form in the 20th Century. Commercial music is rock ‘n’roll, ballad, dance, jazz and all music we can easily hear from many areas of media. The definition of Commercial music also allows us to consider all music that produces an enormous amount of money. This inevitably involves capitalism in music creation. Focusing on the business aspects of music often leads to an absence of artistic aspects in music because the word “commercial”means“similarity,”“found-sound,”“a copy,”and“no-original.”Postmodern music makes an attempt to reveal originality in music creation and deeper artistic aspects. This investigation, to a certain extent, lends itself well to the definition of popular music given above forward above. Performing and writing Postmodern music not only require fluent skills in existing and established musical styles and techniques such as rock, pop, jazz, and computer music but it also requires minds and senses of new vision to explore creation of new music putting past, present, and future together. Postmodern music is to prepare for a new century to come.

3.10.4. Popular music and postmodern theory

3.10.5. Postmodern Concepts of Musical Time While postmodernism is a difficult concept to define rigorously, it is possible to characterize postmodern music by the some or all of the following traits. It 1. is not simply a repudiation of modernism or its continuation, but has aspects of both,

4. Advertising & Business

4.1. Companies

4.1.1. Axe Effect, Angel, Spray More Get More

4.1.2. Apple

4.1.3. CocaCola Zero Slim Vending machine

4.1.4. Nike Just do it

4.1.5. Lego

4.1.6. Google Google Glass

4.1.7. American Apparel

4.2. Marketing & Theories

4.2.1. Men from Mars, Women from Venus

4.2.2. Brand Building

4.2.3. Consumer Strategy


4.3. Agencies

4.3.1. Ogilvy

4.3.2. Publicis

4.3.3. JWT

4.4. Economics

4.4.1. Essentially, Greenspan believed that the financial system would perform best if leftcompletely unregulated. He believed that the financial markets could self-correct in allsituations, even in cases of fraud. During his 18 years as leader of the Federal Reserve,Greenspan used his considerable influence to champion de-regulation. He argued in favor of de-regulation (e.g., repeal of the Glass-Steagall Act of 1933) and against any existing regulations of the financial sector (Glass±Steagall Act, 2009: Loomis, 2009).

4.5. Publications

4.5.1. This paper differentiates between the modern and post-modern approaches to advertising. It provides indicators of the nature of post-modern advertisements and proposes a methodology based on critical discourse analysis for interpreting the meaning and understanding the structure of such advertisements. A comparison is made between a modern advertisement and a post-modern advertisement. The paper discusses the purpose of the post-modern approach to advertising and argues that its very imagery may further confuse an already confused post-modern consumer. A post-modern perspective on advertisements and their analysis.

4.5.2. Personification in advertising: using a visual metaphor to trigger anthropomorphism

5. So Pomo!

5.1. Anecdotes

5.1.1. Death to Helvetica

5.1.2. Hipsters Skinny decaf soy latte

5.1.3. Retro

5.2. Popular Culture

5.2.1. Gangnam Style

5.2.2. Cosplay

5.2.3. Dr Evil

5.3. Readings about post-modernism


5.4. Are zombie movies a form of post modernism movement?

6. Literature

7. Post-modernist Posters


7.1.1. The International Style began to lose its energy in the '70s and early '80s. Many criticized it for being cold, formal and dogmatic. A young teacher in Basel named Wolfgang Weingart pushed beyond its boundaries and ushered in today's predominant graphic style loosely known as Post-Modern design. Weingart experimented with the offset printing process to produce posters that appeared complex and chaotic, playful and spontaneous -- all in stark contrast to his elders' dictates. Weingart's liberation of typography was an important foundation for several new styles, from Memphis and Retro, to the advances now being made in computer graphics around the globe. Another Post-Modern direction was taken by the Zurich design team of Siegfried Odermatt and Rosmarie Tissi. Less revolutionary in spirit than Weingart, they chose to bend rules rather than break them. More intuitive and playful than their predecessors, they developed unique typographic and spatial solutions which enriched the vocabulary of the International Typographic Style. This approach is most ably seen today in the classically elegant work of Bruno Monguzzi. A final direction of Post-Modern design in Switzerland followed a path paved by American and German illustrators. The work of Paul Brühwiler for the Filmpodium film festival in Zurich is more closely aligned to the conceptual imagery and aggressiveness of Germany's Gunter Rambow than other Swiss designers. Niklaus Troxler, creator of the Willisau Jazz Festival and its promotional posters, delights in visual puns reminiscent of Milton Glaser. Other leading designers working in the Post-Modern idiom are Ralph Schraivogel of Zurich, whose ingenious work reveals a richness of texture and image evocative of Weingart, and Werner Jeker of Lausanne, who combines German-style illustration with tight Swiss graphics.

8. Film & Photography

8.1. Television

8.1.1. South Park

8.1.2. Reality TV (sucks)

8.1.3. The Office

8.2. FIlm Making

8.2.1. Pulp Fiction

8.2.2. Inglorious Bastards

8.2.3. Kill Bill

8.2.4. Quentin Tarantino

8.2.5. C.Chaplin

8.2.6. John Malkovich

8.2.7. Christopher Walken

8.2.8. Jim Carrey

8.2.9. Will Ferrel

8.2.10. Mad Max

8.3. Photography

8.3.1. David Lachapelle

9. Architecture

9.1. Architects

9.1.1. Robert Venturi

9.1.2. Cesar Pelli

9.1.3. Zaha Hadid

9.2. Architectures

9.2.1. China CCTV HQ

9.2.2. 30 St Mary

9.2.3. Sydney Opera House

9.2.4. Alamillo bridge

9.2.5. Fed Square

10. Art & Design

10.1. People

10.1.1. Dan Flavin

10.1.2. Warhol

10.1.3. Duchamp

10.1.4. Pollock

10.1.5. T.Murakami SuperDob

10.1.6. Jeff Koons woman in tub

10.1.7. Wolfgang Weingart April Greimann The International style was called into question in the seventies and eighties as an ever-increasing number of critics deplored its cold, formal and dogmatic aesthetic. Changes in mentalities occurred as evidenced by the May 68 events and the anti-Vietnam war movement as well as by the growing opposition to the outright consumerist society of the time. The Swiss style, born in the post-war period, was closely associated to businesses and public administrations and it consequently became the focus of much criticism. From the 1950s onward graphic art was everywhere as businesses, cultural institutions, regions, countries and events all sought the creation of their own image. Creators of these images were often inspired by the Swiss style. Many critics opposed this style; in Switzerland, the opposition was led by Wolfgang Weingart (1941) who taught in Basel alongside Armin Hofmann.

10.2. Movements

10.2.1. Bauhaus Kandinsky

10.2.2. Deconstructivism

10.2.3. Surrealism

10.2.4. Punk

10.2.5. Anti-Swiss

10.2.6. Art Deco