Make It New
From The Art and Popular Culture Encyclopedia
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| - | {{Template}}"[[Make it new]]" was the [[modernist]] [[credo]] of the poet [[Ezra Pound]]. | + | {{Template}} |
| + | "[[Make it new]]" was the [[modernist]] [[credo]] of the poet [[Ezra Pound]]. | ||
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| + | In general, the term [[Modernism]] encompasses the activities and output of those who felt the "traditional" forms of art, architecture, literature, religious faith, social organization and daily life were becoming outdated in the new economic, social, and political conditions of an emerging fully [[industrialized]] world. The poet [[Ezra Pound]]'s 1934 injunction to "[[Make it new!]]" was paradigmatic of the movement's approach towards the obsolete. Another paradigmatic exhortation was articulated by philosopher and composer [[Theodor Adorno]], who, in the 1940s, challenged conventional surface coherence, and appearance of harmony typical of the rationality of Enlightenment thinking. A salient characteristic of Modernism is [[self-consciousness]]. This self-consciousness often led to experiments with form and work that draws attention to the processes and materials used (and to the further tendency of abstraction). | ||
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Revision as of 10:38, 28 March 2013
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"Make it new" was the modernist credo of the poet Ezra Pound.
In general, the term Modernism encompasses the activities and output of those who felt the "traditional" forms of art, architecture, literature, religious faith, social organization and daily life were becoming outdated in the new economic, social, and political conditions of an emerging fully industrialized world. The poet Ezra Pound's 1934 injunction to "Make it new!" was paradigmatic of the movement's approach towards the obsolete. Another paradigmatic exhortation was articulated by philosopher and composer Theodor Adorno, who, in the 1940s, challenged conventional surface coherence, and appearance of harmony typical of the rationality of Enlightenment thinking. A salient characteristic of Modernism is self-consciousness. This self-consciousness often led to experiments with form and work that draws attention to the processes and materials used (and to the further tendency of abstraction).
