Dawn Of The Neo Modern Art Humanism The Meme

A detailed and extensive work covering widely the nature of consciousness, mind control and the dynamics of freedom. Art, Inspiration, Aspiration, Education, Achievement and the 'underclass'. Also touched is Ancient Greek metaphysics, the global unification of ideology and Humanism. Science, faith and Post-Humanism, Memetics as a paradigm & Hyperspatial Physics but most importantly the production of a new, clean, free energy social superstructure. For the keen or enquiring intellectual this is a must read...

This book is a detailed and extensive analysis of what it is to be a human being, cultural product and social creature in the modern day. It looks at the nature of introspective processes including the power of visualisation and the deep fundamental nature of consciousness and mental process. Then tracing its roots back to ancient Greece it looks at the subtle and subliminal dynamics of ideological mind control by a state upon its people. It looks at the implications and consequences that this has upon our understandings of the dynamics of freedom for the individual. It considers the philosophical topic of human flourishing within the context of the artistic creation of self through the creative development of human nature. In light of this there an analysis of its effects upon the development of cultural consciousness and how this depends fundamentally upon the creation of ideologically objectified crystallised constructs of will within the dispositions of the ego of the individual. It then analyses the social role of art in society and how this feeds into the development of inspiration and aspiration in the creative will of the individual. How this relates to the evolution of society through the development of the education system and the creation of cultural space the 'underclass' thesis then takes the centre stage. Finally this book examines the possibilities for the global unification of political, economic and cultural ideology and the potential role that the humanist paradigm could play in this evolutionary synthesis of its Memetic cultural construction. Finally it considers the internal scientific and cultural nature of the Humanist movement into the future and considers the cultural implications of Memetics upon human nature, mind and culture.

Neo-Modern philosophy at the forefront of psychology and the cutting edge of sociology all within the field of memetics. Modernity, Tecnology and Social Development with Nuclear Fusion and Hydrogen Fuel Cell social energy base and social superstructures. The self and social evoloution. Art, Introspection, culture and the origin and communication of idea through memes. The ego, art and the sublime and social conciousness. The state, ideology, geneology, civil rights, propoganda, the 'underclass' gated communities, Poverty, intelligence, higher education and human flouishing. Social conciousness, memetic and genetic humanism. The Iraq and Afganistan wars, global solidity, autonomy and free-will. The aids visus in africa and technology patents, the unification and moderisation of the second and third world. Dawn of the Neo-Modern is new philosophy for a new millenium.

'Synchronous causality unifies duality' -Cloudlock Skydream (p. 124) 'So I listen for the subtle crowd's elation, In face of a new-world karmic taxation.' -Who Asked You? (p. 65) In a world where 3%%APR to the average man means pennies but to the rich means billions. Where those given the job of running the country are trained in how to win votes but not how to lead a nation AP Garfoot Jr. presents to the reader a new 'opium of the people' in the form of 126 short sharp poems crafted to awaken the imagination, inspire the mind, uplift the spirit and stir the soul. He draws the reader's attention in with tales of ancient sacred orders and creeds of interstellar civilization before then exploding into the vivid colors of twilight skies as we all then unify and transcend spiritual boundaries in exciting lurid detail

The birth of the new field of Hyperspatial Mechanics in the subject of Physics with new pioneering scientific theory, supporting experiments and subsequent technologies based on originality, innovation and inspiration.

Co-founder and co-editor of October magazine, a veteran of Artforum of the 1960s and early 1970s, Rosalind Krauss has presided over and shared in the major formulation of the theory of postmodernism. In this challenging collection of fifteen essays, most of which originally appeared in October, she explores the ways in which the break in style that produced postmodernism has forced a change in our various understandings of twentieth-century art, beginning with the almost mythic idea of the avant-garde. Krauss uses the analytical tools of semiology, structuralism, and poststructuralism to reveal new meanings in the visual arts and to critique the way other prominent practitioners of art and literary history write about art. In two sections, "Modernist Myths" and "Toward Postmodernism," her essays range from the problem of the grid in painting and the unity of Giacometti's sculpture to the works of Jackson Pollock, Sol Lewitt, and Richard Serra, and observations about major trends in contemporary literary criticism.

Drucker skillfully traces the development of this critical position, suggesting a methodology closer to the actual practices of the early avant-garde artists based on a rereading of their critical and theoretical writings. After reviewing theories of signification, the production of meaning, and materiality, she analyzes the work of four poets active in the typographic experimentation of the 1910s and 1920s: Ilia Zdanevich, Filippo Marinetti, Guillaume Apollinaire, and Tristan Tzara. Drucker explores the context for experimental typography in terms of printing, handwriting, and other practices concerned with the visual representation of language. Her book concludes with a brief look at the ways in which experimental techniques of the early avant-garde were transformed in both literary work and in applications to commercial design throughout the 1920s and early 1930s.

Twenty-one essays examining the relationship of surrealist thought to architectural theory and practice.

Human rights offer a vision of international justice that today’s idealistic millions hold dear. Yet the very concept on which the movement is based became familiar only a few decades ago when it profoundly reshaped our hopes for an improved humanity. In this pioneering book, Samuel Moyn elevates that extraordinary transformation to center stage and asks what it reveals about the ideal’s troubled present and uncertain future. For some, human rights stretch back to the dawn of Western civilization, the age of the American and French Revolutions, or the post–World War II moment when the Universal Declaration of Human Rights was framed. Revisiting these episodes in a dramatic tour of humanity’s moral history, The Last Utopia shows that it was in the decade after 1968 that human rights began to make sense to broad communities of people as the proper cause of justice. Across eastern and western Europe, as well as throughout the United States and Latin America, human rights crystallized in a few short years as social activism and political rhetoric moved it from the hallways of the United Nations to the global forefront. It was on the ruins of earlier political utopias, Moyn argues, that human rights achieved contemporary prominence. The morality of individual rights substituted for the soiled political dreams of revolutionary communism and nationalism as international law became an alternative to popular struggle and bloody violence. But as the ideal of human rights enters into rival political agendas, it requires more vigilance and scrutiny than when it became the watchword of our hopes.