Compare and contrast modernism and postmodernism Video
Modernism and Post ModernismCompare and contrast modernism and postmodernism - remarkable
To browse Academia. Skip to main content. By using our site, you agree to our collection of information through the use of cookies. To learn more, view our Privacy Policy. Log In Sign Up. Download Free PDF. Download PDF. A short summary of this paper. However, the critical models for the study of period dramas are scarce. compare and contrast modernism and postmodernismPosted by: adonis49 on: April 18, Posted on March 30, Bottom: Steve Jobs and Rem Koolhaas. An Apple link the teacher Yet another treatise on Steve Jobs? Suffice it to say that my interest is not solely in Steven Paul Jobs himself, but rather in the challenge that the late computer impresario and legendary technologist poses to the methods conrrast purpose of an architectural historian. My job and my location place me close enough to Silicon Valley that students might fairly assume that I have something cogent to say about all this.
Apple is working with Norman Foster to build a donut-spaceship as its headquarters in Cupertino.
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Compare and contrastthat trusty standby of art history, in which I drill my students. I can compare Jobs honshu native … with whom, exactly? Bill Contrawt, or maybe Thomas Edison? That route would take us away from design, away from architectural history, away from aesthetics. I like to pay close attention to both Science and Technology Studies and Cultural Studieswhich are the disciplines perhaps most comfortable with technology and the American experience. So any methods I might borrow from compare and contrast modernism and postmodernism anthropologically-inclined fields will need to be augmented by the emphases on authorship and aesthetics that architectural history traditionally draws from art history.
Peel away his ruthless command of global consumer markets and Jobs can seem to the art historian more akin to Gropius than Gates.
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C riticality. I am duty-bound to tell students that design is not necessarily benign, especially when it seems to be.
Yet they can see me teaching from the MacBook I am writing on even now. Some of the students I have trained will graduate into Silicon Valley. I wonder what that suggests about my own complicity with the very things which I am attempting to critique?
How does my salary, my adopted state, my consumption, tie me to all this? So I discreetly edge the conversation back to my own disciplinary competence by comparing the design for the new Apple headquarters with other corporate buildings.
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As if they were both architects. And then we treat Jobs as though he were an offshoot of a Bay Area design history that was substantially driven by architecture. This effort becomes a test of the limits of my discipline, devoted as it has long been to the maintenance of European critical traditions, and to monumentality and the public sphere, and ane the continued preeminence of the academic institutions of Northern Europe and the U.]
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