architecture in the #Modernism , #Brutalism , #PostModernism periods were internationally - not yet being recognised for their historical and cultural values. A lot of the heritage validation systems in the world define “heritage” as something with at least 100 years of history. However, we all know that everything in our world now are developing in a rate that grows exponentially. A whole era could be replaced within 50, or even 20 years. It’s time for us to study and appreciate the rapidly changing architecture and culture behind our “current” world.
Check out the market halls and humble library, and a concrete rainbow monument in this book - well documented postwar architecture in the context of Ukraine
thanks Osnovy Publishing for this beautiful book “Soviet Modernism. Brutalism. Post-Modernism. Buildings and Structures in Ukraine 1955-1991”. Check out their online store that covers a nice range of books on architecture, culture and art. They ship worldwide!
#ukraine #hongkong
#烏克蘭 #香港
post modernism 在 Sam Tsang 曾思瀚 Facebook 的最佳解答
I blame Jacques Derrida.
I blame Derrida for President Trump and QAnon.
Let me explain myself. Derrida is one of the leading thinkers whose writings helped develop postmodernism. He is often considered the founder of deconstruction.
To simplify, deconstruction (and post-modernism) denies that there is an absolute signifier that allows for a connection between a sign and its referent. To put it in other terms, there is no truth out there to be found and language is insufficient to describe it.
But rather than despairing about this state of things (like the existentialists of the 60’s did-remember Sartre’s book Nausea), postmodern thinkers like Derrida, Foucault, and others relished the idea because meaning could not be imposed on them by others, but rather meaning could be constructed by themselves.
Now it is interesting that those in the lines of Derrida and Foucault often constructed meaning in a progressive direction, resisting forces that sought to impose authority structures on them. But critics of deconstruction warned that it would be equally possible to construct meaning in a different direction, say a misogynist or racist direction.
Some of my academic friends might remember that probably twenty years ago, a leading deconstructionist, Paul de Man (who was at Yale when I was doing my doctoral work), was outed as a Fascist in his youth, thus in the minds of many confirming the problem with this post-modern mindset.
So what does this have to do with our President or QAnon? Well, I think most reasonable people recognize that he constructs the facts in whatever direction pleases him. I think it was KellyAnn Conway who spoke of “alternative facts.” These alternative facts often have absolutely no evidence and even have abundant evidence against it, but that does not deter people from believing him. I suspect because they want to believe him.
As for QAnon, the same is abundantly true. Biden is a pedophile? Please. There is no evidence for this (and remember PizzaGate). And don’t post memes of Biden giving grandfatherly kisses to his friends’ children.
Well, then, why is it so many Christians support our first post-modern president and give QAnon the time of day? It’s actually mind-blowing because we Christians do think there is an absolute signifier out there (God). Yes, getting at the truth is difficult and everyone has their ideological lenses, but even so that does not mean we get to construct our reality in the way we want to against the evidence. We don’t have to lock ourselves into our ideological biases but we need to expose ourselves to other interpretations and then consider which is the true understanding. If you listen to CNN turn to Fox once in a while and vice versa. When it comes to evaluating our president, listen to what he says in his speeches and on twitter.
I worry that many evangelical Christians have been conditioned against evidence and the truth when it seems to butt up against how they prefer to view reality. We can see this for instance in say those who affirm that the cosmos is only a few thousand years old. The evidence is overwhelming against this conclusion. But many people wrongly think that the Bible teaches otherwise, so they need to ignore or make up explanations of the evidence that are preposterous or, and here we are back to the mindset that accepts Trump’s misconstruals of the evidence or the conspiracy theories of QAnon.
I am not saying that everyone who supports Trump over against Biden are guilty of this kind of post-modern thinking, but I worry that many are (particularly based on some of the responses I receive on Facebook). I can think of no good reason though why anyone who is a Christian would turn to a source like QAnon to support their views.
post modernism 在 VOP Facebook 的最讚貼文
新刊預覽~~✨👀
Voices of Photography 攝影之聲
Issue 27 : 歷史與書寫專題
Histories and Writings Issue
自創刊以來,《攝影之聲》持續關注影像書寫、歷史與文化樣態,隨著2019年我們在台北「空總台灣當代文化實驗場」策劃一系列攝影史敘事工作坊並舉辦戰後東亞攝影史論壇,邀請攝影史研究者共同參與,推進攝影史研究與影像歷史意識的討論契機。本期特別刊載主講者文稿,在日本、韓國與台灣研究者對東亞攝影歷程不同的關注面向中,作為攝影與歷史論述的反思與參照。
其中,金子隆一重新定位1970年代攝影家自主藝廊在日本攝影發展中的位置,揭示非主流的創作脈動,何以是日本攝影史論中需要補遺的重要章節;陳佳琦探討1960年代台灣業餘攝影者參與日本攝影比賽的風潮,以及以日本攝影雜誌作為平台的競賽文化的可能影響,呈現出戰後台、日攝影界另類的民間交流場域;朴平鍾細述自日本殖民統治結束後,韓國攝影在現實主義與現代主義之間引發的論爭,疏理戰後韓國對於攝影認知的辯證與反省;戶田昌子析論1950年代的日本攝影表現,在脫離戰時的壓抑並逐漸獲得解放之後,受國際「主觀主義攝影」潮流影響所開展出日本攝影美學進程的時代軌印;張世倫從冷戰年代深埋於台灣社會的檔案線索與政治意識,檢視戰後台灣的影像操縱、治理機制,以及國族攝影史本身的建構和詮釋問題。
攝影,在與光學、化學、政治社會學、文化研究,乃至符號學與精神分析等學科譜系的結合中,已不斷延展、流動、重構,打開了攝影本體論的探索空間。謝佩君縷析自上世紀以來的攝影書寫歷程與跨領域的視覺理論,勾勒攝影理路的發展形貌,本期將開啟系列討論的首章。顧錚分享於德國海德堡大學客座期間開設攝影史課程的自身經驗,並提出攝影史學門研究邊界的批判思索。黎健強剖析攝影術初登香港的歷史推論系列來到末篇,為濕版法在1850年代於香港興起的考據,展現不同的史料論證。
此外,本期我們特別專訪陳傳興,刊載他於上世紀七〇年代末拍攝、四十年間未曾公開的照片及底片,一探銀鹽與光交集而生的影像喻意,以及他不停思辨的攝影本質論題。同時,我們也介紹高重黎的聲音與投影裝置新作,析解視聽機器現成物及獨特的一鏡到底、史上最長的「放影機電影」中的技術哲學。「攝影書製作現場」連載則進入「設計」單元,本期專訪日本設計師森大志郎,分享他細膩的平面設計語彙。
儘管維持出版的路途艱辛,這些年我們仍努力在有限的資源下,持續進行資料考掘整理、訪談記錄等基礎工作,緩緩開展以台灣及亞洲地緣為核心的攝影文化與歷史論述。感謝親愛的讀者與朋友的支持,讓我們在新的一年裡,繼續探索未知的影像星河。
▍購買本期 BUY | http://bit.ly/vop-27
Since its inception, Voices of Photography has always focused on the aspects of image writing, history and cultural forms. In 2019, we held a series of workshops on photography history narratives and a forum on history of post-war East Asian photography, at the Taiwan Contemporary Culture Lab in Taipei, Taiwan. We invited researchers in this field to join us, creating the opportunity to advance discussions on photography history research and awareness of imagery history. This issue features the manuscripts of our speakers at the event, which will serve as a reflection and reference for the photography and historical discourse in the eyes of our counterparts in Japan, South Korea and Taiwan.
Among them, Kaneko Ryuchi has redefined the position of independent photography galleries in the development of Japanese photography in the 1970s, revealing the creative pulses that transcended the mainstream and why it became an important chapter in the history of Japanese photography, waiting to be filled. Chen Chia-Chi takes a look at the trend of Taiwanese amateur photographers participating in photography contests in Japan in the 1960s, and the possible influence that Japanese photography magazines had on the culture of photo competition, thereby shedding light on an alternative platform through which folk exchanges happened between the Taiwanese and Japanese photography fields. Park Pyungjong details the controversy between realism and modernism in Korean photography following the end of colonial rule by the Japanese, and evaluates the dialectics and reflections surrounding Korea’s understanding of photography after the war. Toda Masako analyzes Japanese photography in the 1950s, the era of Japanese photographic aesthetics that was influenced by the trend of “subjectivism” in the international arena as the oppression of war gradually faded in time. Through archives and political consciousness buried deep in the core of the Taiwanese society since the Cold War era, Chang Shih-Lun examines the manipulation and governance mechanism of images, and issues with the construction and interpretation of the nationality in photography history.
When analyzed in combination with other disciplines such as optics, chemistry, political sociology, cultural studies, and even semiotics and psychoanalysis, the space for exploration of the ontology of photography is constantly stretched, moved, and reconstructed. Hsieh Pei-Chun analyzes the photographic writing process and the cross-domain visual theory since the last century while outlining the development of photography theories. This issue is the first in a series of discussions. Gu Zheng shares his own experience as a visiting professor on photography history at the University of Heidelberg, Germany, where he put forward a critical reflection on the boundaries of research in the field of photography history. Edwin K. Lai's analysis of the series of historical inferences from when photography first came to Hong Kong comes to an end, presenting historical evidence of the rise of the “wet-plate method” in Hong Kong in the 1850s.
In addition, we have a special interview with Cheng Tsun-Shing, featuring never-before-published photographs and negatives that he had taken in the late 1970s. We explore the imagery metaphors that are born when silver salt and light meet, and the issue of the essence of photography that he constantly philosophizes. At the same time, we feature Kao Chung-Li’s new works of sound and projection installations, analyzing the ready-made audio-visual equipment and the technical philosophy behind the unique one-take "projector movie", that is also the longest ever such film in history. The "Photobook Making Case Study" series also enters the "Design" chapter. In this issue, we interview Japanese designer Mori Daishiro and he shares his experiences in the area of graphic design.
Although the journey of publication is difficult, we have been striving to continue with the basics of data exploration, collation, and interviews with limited resources, as we slowly expand the photography culture and historical discourses of Taiwan and Asia and showcase them to the world. We would like t✨o thank all our dear readers and friends for your utmost support. Let us continue to explore the unknown universe of images in the new year.
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Voices of Photography 攝影之聲
www.vopmagazine.com
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