Dada was an informal international movement, with participants in Europe and North America. The beginnings of Dada correspond to the outbreak of World War I. For many participants, the movement was a protest against the bourgeois nationalist and colonialist interests, which many Dadaists believed were the root cause of the war ..
.. Some theorists argue that Dada was actually the beginning of postmodern art.
Postmodernism—for Kids
The series also relies heavily on intertextuality, or the way the meaning of a text is shaped by other texts.
.. Why might postmodern literary techniques resonate with young readers? One explanation: By complicating the relationship between author and reader, narrator and character, these methods muddy the boundary between text and reality. Young readers might feel the distinction between fact and fiction slipping away, lost in the series’ story-within-a-story-within-a-story.
Israel and the Art of Postmodern War
To begin with, soldiers assemble behind the wall and then, using explosives, drills or hammers, they break a hole large enough to pass through. Stun grenades are then sometimes thrown, or a few random shots fired into what is usually a private living-room occupied by unsuspecting civilians. When the soldiers have passed through the wall, the occupants are locked inside one of the rooms, where they are made to remain – sometimes for several days – until the operation is concluded, often without water, toilet, food or medicine. Civilians in Palestine, as in Iraq, have experienced the unexpected penetration of war into the private domain of the home as the most profound form of trauma and humiliation.
.. Indeed, as far as the military is concerned, urban warfare is the ultimate Postmodern form of conflict. Belief in a logically structured and single-track battle-plan is lost in the face of the complexity and ambiguity of the urban reality. Civilians become combatants, and combatants become civilians. Identity can be changed as quickly as gender can be feigned: the transformation of women into fighting men can occur at the speed that it takes an undercover ‘Arabized’ Israeli soldier or a camouflaged Palestinian fighter to pull a machine-gun out from under a dress. For a Palestinian fighter caught up in this battle, Israelis seem ‘to be everywhere: behind, on the sides, on the right and on the left. How can you fight that way?’
.. References to the work of Georges Bataille, either directly or as cited in the writings of Tschumi, also speak of a desire to attack architecture and to dismantle the rigid rationalism of a postwar order, to escape ‘the architectural strait-jacket’ and to liberate repressed human desires.
In no uncertain terms, education in the humanities – often believed to be the most powerful weapon against imperialism – is being appropriated as a powerful vehicle for imperialism... Here another use of theory as the ultimate ‘smart weapon’ becomes apparent. The military’s seductive use of theoretical and technological discourse seeks to portray war as remote, quick and intellectual, exciting – and even economically viable. Violence can thus be projected as tolerable and the public encouraged to support it. As such, the development and dissemination of new military technologies promote the fiction being projected into the public domain that a military solution is possible – in situations where it is at best very doubtful.
.. When the military talks theory to itself, it seems to be about changing its organizational structure and hierarchies. When it invokes theory in communications with the public – in lectures, broadcasts and publications – it seems to be about projecting an image of a civilized and sophisticated military. And when the military ‘talks’ (as every military does) to the enemy, theory could be understood as a particularly intimidating weapon of ‘shock and awe’, the message being: ‘You will never even understand that which kills you.’
Philip Glass
Glass’ admitted artistic breakthrough came while working with Ravi Shankaron transcribing Indian music; the experience inspired him to begin structuring music by rhythmic phrases instead of by notation, forcing him to reject the 12-tone idiom of purist classical composition as well as traditional elements including harmony, melody, and tempo.
.. Glass’ growing fascination with non-Western musics inspired him to hitchhike across North Africa and India, finally returning to New York in 1967. There he began to develop his distinctively minimalist compositional style, his music consisting of hypnotically repetitious circular rhythms. While Glass quickly staked out territory in the blooming downtown art community, his work met with great resistance from the classical establishment, and to survive he was forced to work as a plumber and, later, as a cab driver.