By David Banash
Collage Culture develops a finished idea of the origins and meanings of university and readymades in sleek and postmodern paintings, literature, and lifestyle. Demonstrating that the origins of university are present in meeting line applied sciences and mass media types of format and advertisements in early twentieth-century newspapers, Collage Culture strains how the historic avant-garde turns the fragmentation of Fordist creation opposed to nationalist, fascist, and capitalist ideologies, utilizing the unconventional capability unleashed by way of new applied sciences to provide serious collages. David Banash adeptly surveys the reinvention of university by way of a new release of postmodern artists who strengthen new varieties together with cut-ups, sampling, zines, plagiarism, and copying to deal with the banalities and calls for of patron tradition. Banash argues that college mirrors the profoundly dialectical kin among the minimize of meeting traces and the readymades of consumerism at the same time its cutting-edges circulation opposed to the imperatives of passive intake and disposability instituted by means of these applied sciences, varieties, and kin. Collage Culture surveys and analyzes works of ads, assemblage, movie, literature, tune, portray, and images from the historic avant-garde to the newest advancements of postmodernism
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Additional resources for Collage culture : readymades, meaning, and the age of consumption
Sample text
For instance, there is a fantastic violence of fragmentation in Cody’s American Alphabet. While each letter seems simply a readymade in its own right, each letter has been ripped out of the brand name it once spelled, and it is now used as a fragment of a new whole. What makes collage a particularly modern form is just this overt emphasis on the cut, ripped, and fragmented, the way in which collage marks a violence that is so often not made back into a seemingly organic whole but instead emphasizes the fragmented and readymade status of each element.
Orpheus is thought of first and foremost as a poet and musician, and he is best known for sailing with the Argonauts, using his lyre to triumph over the Sirens, and charming his way into Hades to free his dead lover. He fails to free Eurydice from Hades when, at the last moment, he looks back. Later, he is dismembered at the hands of Thracian Maenads, ecstatic female worshippers of Dionysus. In both his journey to the underworld and his death, there is a marked Fragments 45 resonance with Osiris.
The hot mediums of movable type, clocks, assembly lines, railroads, shipping networks, typewriters, phonographs, photographs, film, and more are all mechanical technologies that destroy our sense of unity and totality: “[T]he principle of mechanization excludes the very possibility of growth or the understanding of change. For mechanization is achieved by fragmentation of any process and by putting the fragmented parts in a series. Yet as David Hume showed in the eighteenth century, there is no principle of causality in a mere sequence.