In recent years to the already traditional discussions about its theoretical nature and its uses, which have constituted the nucleus of the conflictive trajectory of its recognition by art institutions.
Photographers are no longer limited to just a few areas as far as monetizing their crafts are concerned. They can become contributors helping image sites with picture stock. This is a growing industry where brands, creatives and marketing professionals are always looking for high-end niche photographs and images for their websites, social media and other promotions.
A gnoseological change has been added that affects their own modes of production and reproduction of the image, which in essence, has arisen due to the exorbitant development of new electronic and digital image technologies that have caused the birth of new controversies that come to disturb the new photographic status and its recent consolidation as art.
Postmodernity and Culture:
In the last decades of the 20th century, there was a definitive displacement of the functions and discourses on which photography was based, a discourse based on the postulates of cultural modernity and on a series of principles and strategies that fed this form of culture.
Along these lines, I will try to reveal the keys that may allow you to understand that postmodern culture did not emerge so much as a style that intended to replace modern culture, but rather as the logic of a system that was based on diverse features.
And interrelated multi-laterals that still persist today although institutionalized within the same system.
F.Lyotard on the Postindustrial Era:
F.Lyotard accurately established the intimate relationship between the birth of the postindustrial era and the consequence derived from it in the cultural sphere, which for him supposed the arrival of an era that he would define as postmodern.
His analysis led him to point out as essential keys in the identity of this new era, that of epistemological relativism, that of the value of difference, and the disbelief in the existence of the great stories that served as cohesion to the modern era (criticism, reason, Marxism and blind faith in progress and positivism).
This disbelief in the great modern stories also led G. Vattimo to reconnect with Nietzsche’s nihilism to propose that postmodern thought was essentially constituted as a weak thought in which the absence of the search for the new as a critical activity that fed the modernity, would cause the dissolution of its main axis and would drag us towards the end of history.
Postmodern Culture: What you need to know?
To a large extent, postmodern culture was born as a rejection of the former and as a rejection of the notion of autonomy that was enclosed in those all-encompassing stories.
An autonomy understood as the existence of forms and discourses that were above all others and that established a hierarchy of values of historical significance.
In postmodern culture, all this ceases to make sense, because in it the division between the elitist and the popular is not raised, between the good and the bad.
The Bottom Line:
There is no place for Manichaeism. The good is relative and the bad too. It makes no sense to divide the world into two halves. In its origin, postmodern culture repudiates the restrictive nucleus that nested in the conceptions of modernity and rejects any institutionalization of its forms and discourses, refusing to configure itself as a totalizing narrative.
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