Reading stuff

["L. Bird" <pkeets@xxxxxxxxxxx>]

I've been reading on philosophies tonight.  I got to wondering what was 
replacing Modernism and Postmodernism.  Pete started off as a Modernist 
artist, if you'll recall.  I notice that his compositions have some of the 
characteristics of Modernist and Postmodernists composers, including 
deconstructionism and serialism (as opposed to JAE's layers), and that he 
represents the philosophy of the autonomous artist composing for history.  
Some of his more recent compositions resemble Phillip Glass, who is a 
postmodern minimialist composer.  Isn't it interesting how artists absorb 
the philosophies of their age?

Anyhow, here's a (somewhat dense) description of what's happening now.  So, 
is Pete behind the times with the Postmodern minimalist stuff?  Radiohead 
sounds somewhat Postmodern to me, but is Tool more on track with the Latin 
drums?

http://www.wiscomposers.org/news/rhoads/rhoads2.html

> Painting after Post-Modernism, specifically, will include a great deal more 
> stylistic variety within its single, coherent, overall esthetic-variety 
> manifested in unlimited combinations of abstract and figurative , pictorial 
> manners and modes- than has existed in any prior period in the history of 
> art. And this will be simply a natural result of art after Post-Modernism's 
> fundamental esthetic method of non-hierarchically exploring, with 
> high-cultural complexity of awareness, the widest possible range of 
> cultural resources, in order to create highly ambitious works of art that 
> grapple innovativelly and intelligently with beauty, meaning, and value in 
> the contemporary world.
> This new art is the present innovative frontier of world culture at its 
> hightest level; the frontier upon which the vital reconstitution of high 
> art is taking place. This reconstitution will be brought about in part 
> through recovery of the discarded resources of previous high-cultural 
> modes, resources that will thus inevitably reappear, but in an altered 
> condition, employed with an altered perspective, in the new artistic 
> constructs of art after Post-Modernism. Insofar as these recovered 
> resources may appear familiar, some observers will fail to understand the 
> innovative artistic use being made of them.
> Besides recovered resources, it is of equal importance that the 
> reconstiution of the several fine arts will be further accomplished by 
> exploring and exploiting, for creative purposes, the entire range of the 
> available surrounding culture, past and present. Such scope in the most 
> advnaced artist' effort and attention represents an entirely new 
> high-cultural point of view: an unprecedented, non-prescriptive and 
> non-hierarchical openness to making art by utilizing any of overall 
> innovation as the measure of artistic value under this new esthetic, which 
> has no prescriptive, authoritarian principles, but rather maintains an 
> objective openness, for high-culturally innovative purposes, to all the 
> possibilities of artistic expression, based upon any sources and resources 
> whatsoever, of technique and content, that are to be recoverd, found, or 
> invented from within the entire, complex range of culture.

keets


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