Everything At Once Postmodernity 1967
Everything At Once Postmodernity 1967
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Debates the status of postmodernity through various mediums of art and expressions of culture.
The year 1967 marked the beginning of our present era of Postmodernism. The presumption that everything could be sorted out through equal housing and rights for all was abandoned. From its ruins, a bizarre, eccentric world was born. Architects declared the amusement park the new ideal city; designers shook off the yoke of good taste, and the conflict between the two dominant political systems gave way to the struggle for self-realization. New media synchronized the globe, and images became the arena in which contests for style and recognition were waged. Showcasing spectacular examples of design, architecture, cinema, pop, philosophy, art, and literature, Everything at Once: Postmodernity 19671992 chronicles the dawn of the information age, the unleashing of the financial markets, the great age of subcultures, disco, punk and techno-pop, shoulder pads, and unique changes in aesthetic tastes. Holding up a mirror to the present, the book allows us to ask, from the distance of a generation, is Postmodernity really over, or are we in the middle of it?
The year 1967 marked the beginning of our present era of Postmodernism. The presumption that everything could be sorted out through equal housing and rights for all was abandoned. From its ruins, a bizarre, eccentric world was born. Architects declared the amusement park the new ideal city; designers shook off the yoke of good taste, and the conflict between the two dominant political systems gave way to the struggle for self-realization. New media synchronized the globe, and images became the arena in which contests for style and recognition were waged. Showcasing spectacular examples of design, architecture, cinema, pop, philosophy, art, and literature, Everything at Once: Postmodernity 19671992 chronicles the dawn of the information age, the unleashing of the financial markets, the great age of subcultures, disco, punk and techno-pop, shoulder pads, and unique changes in aesthetic tastes. Holding up a mirror to the present, the book allows us to ask, from the distance of a generation, is Postmodernity really over, or are we in the middle of it?
