Word: logics
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Dates: during 1960-1969
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...people in the Fifties and the Seventies, explores the different reactions to photography in China and the United States. And she concludes that photography is especially well suited for the most advanced capitalist societies because it is "the ideal arm of consciousness in the acquisitive mode," part of "the logic of consumption" that reigns in such societies...
...intellectual shocker its creators no doubt intended, Planet of the Apes is a joke. But the joke is funny enough often enough to sustain the picture through a series of embarrassing lapses in logic, some third-rate color photography, and sets worthy of the more outlandish oriental monster movies. Viewed with tolerance, and press passes, Planet of the Apes can be appreciated alternately as low comedy, high adventure and, at moments, serious science fiction. In other words...
...leading the movement to reform urban education, but the awakening snarl of the core-city has obscured the growing power of a very different type of reformer: the educational academic. Though ghetto residents hold no affection for their cloistered allies, the two communities are linked by the logic of reform. Harried politicians run from encounters with angry ghetto voters to cry for help in the arms of academics. This winter's Harvard Educational Review lets the layman eavesdrop on what those experts are telling each other, and what they are probably telling their worried political friends...
...surrealists agreed that the time had come to substitute the logic of the unconscious for the deliberate illogic of Dada, but only half of the movement, including Dali, René Magritte and Yves Tanguy, used conventional Renaissance oil techniques and perspective to portray the fantasy world of dreams and hallucination. Helped by Dali's genius for self-publicity, it was this half of the movement that became synonymous with surrealism...
...these abstract expressionists and the pop artists on display at the Modern suggest, more was assimilated from the surrealists and Dadaists than mere assemblage and drip. Common to all of the work in the exhibit is a poetry and passion, gaiety and humanism totally foreign to the dry logic of cubism and to the pure, impersonal geometric abstractions that developed directly out of it in Europe. The camera may well have deprived painting of its reason for being by surpassing it in the portrayal of objective reality. Dada and surrealism, however, made up for that loss by showing that another...