High modernism

Short description: Science and tech-oriented modernism

High modernism (also known as high modernity) is a form of modernity, characterized by an unfaltering confidence in science and technology as means to reorder the social and natural world.[1][2] The high modernist movement was particularly prevalent during the Cold War, especially in the late 1950s and 1960s.

The St. Louis Gateway Arch, an iconic symbol of high modernity and its outlook, along with its modern urban planning project of a surrounding large park and car centric infrastructure.

## Contents

* 1 Definition
* 1.1 Relation to modernity
* 2 Historical precedents
* 3 Modernization and development
* 3.1 Standardized legal names
* 3.2 Modernist housing
* 3.3 Development in the Soviet Union
* 3.4 Development in the third world
* 3.5 Brasília
* 3.6 Inuit and the Canadian military
* 4 In the arts
* 4.1 Visual arts and music
* 4.2 Literature
* 5 See also
* 6 References

## Definition

High modernity is distinguished by the following characteristics:[3]

* Strong confidence in the potential for scientific and technological progress, including a reliance on the expertise of scientists, engineers, bureaucrats and other intellectuals.
* Attempts to master nature (including human nature) to meet human needs.
* An emphasis on rendering complex environments or concepts (such as old cities or social dynamics) legible, most often through spatial ordering (for example, city planning on a grid).
* Disregard for historical, geographical and social context in development.

### Relation to modernity

Main article: Philosophy:Modernity

Modernity relates to the modern era and the aesthetic qualities of modernism; however, modernity refers specifically to the social conditions and relations that arise out of the modern period, usually as a result of capitalism and industrialization. Thus, modernity can be understood as the state of society during and following the process of modernization.

Modernity and high modernity are concerned with human progress and the potential of human intervention to bring about positive change in the structure of society; however, high modernity's visions of societal change rely on the expertise of intellectuals and scientific innovation, making high modernity a more elitist project than its predecessor.[4]

Both concepts operate on an ambiguous understanding of what the final stage of societal progress will entail. While modernity is retrospective in its prescriptions for the future and promotes organic growth, high modernity advocates a complete transformation of existing conditions and the creation of a blank slate.[5] This break from the historical and geographical contexts of places often results in the application of standardized models to a variety of locations, often with socially disruptive consequences (see examples below).

Modernity and modernization are associated with capitalist and industrial development, and emphasize the increased movement of goods, people, capital and information (see Globalization). This emphasis on economic freedom and capitalism is accompanied by the decline of traditional forms of society and the rise of the nation-state.[6] In contrast, high modernism transcends traditional political ideological divisions in its reordering of society towards a utopian ideal as such ideal societies are highly subjective across the political spectrum.[7] Furthermore, projects characteristic of high modernity are best enacted under conditions of authoritarian and technocratic rule, as populations are more easily controlled and changed.[8]

## Historical precedents

Despite its name, high modernism is not an exclusively modern phenomenon. One of the first manifestations of high modernism appeared in urban planning. In the 5th century BC, the Greek philosopher Hippodamus proposed the grid plan in urban planning, and implemented the grid plan in construction of Piraeus (the port of Athens), which has remained largely unchanged to this day.

Notably, our main source on Hippodamus is Aristotle, who criticized his grid plan in Politics II.8. Thus, criticism of high modernism also has a long history.

The Industrial Revolution was a major impetus of high modernism. In industrial production, standardization is necessary for economies of scale, and standardization necessarily increases legibility and homogenizes local context. The drive to standardization can be seen in Henry Ford's quote concerning consumer choice of Ford Model T: "You can have any color you want so long as it's black."

The high modernist method of governance has also been practiced in the East Asian cultural sphere for millennia. It originated in Legalism, which was adopted by the Qin dynasty (221 BC–206 BC). The Qin dynasty undertook massive standardization projects for the entire country, including measurement standards, currency, writing system, institution of a bureaucracy (replacing feudalism of the Zhou dynasty), and more practical details, such as the length of chariot axles.[9] More controversially, the Qin dynasty also unified philosophy, with the promotion of Legalism and suppression of all other philosophies.

Although the brutality of the Qin regime contributed to its rapid collapse, the outcomes of its unification projects remained largely intact throughout history. The unification of philosophy remained intact too, but with Confucianism replacing Legalism.

The grid plan is a common motif in Chinese and Japanese capitals, which is visible in the maps of Chang'an, Beijing, and Heian-kyō.

## Modernization and development

### Standardized legal names

Throughout most of human history, the act of naming is a local and informal affair. For example, the local names of geographical features depend critically on how they appear to the local people. The towns of Durham and Guilford in the state of Connecticut are connected by a road, which those who live in Durham call the “Guilford Road,” while those living in Guilford call it the “Durham Road.” The same informality and a focus on use over uniformity characterizes personal naming. For example, around the year 1700 in England, a mere eight given names accounted for nearly ninety percent of the total male population [John, Edward, William, Henry, Charles, James, Richard, Robert]. This did not pose a problem to local people, who would add informal by-names for disambiguation (“John-the-miller,” “John-the shepherd”). Furthermore, a personal name can change over time, as a person takes on new traits and loses old traits. It could also be different in different contexts, such as with nicknames, stage names, etc.

With modern state-building, the problem of illegible naming became acute. Consequently, a common naming system of Patronymic surname was promoted at the expense of informal local naming systems. Whereas in Europe, patronymy was the exception in 14th century, it became the norm in 19th century. This process reached its logical conclusion with the national identification number, which allows unique identification of any citizen across their entire lifespan. It is purely a naming system for the state administration, completely devoid of any personal or local meaning.[10]

This state-sponsored standardization apparatus is clearly visible in Iceland, where the Icelandic Naming Committee maintains an official list of approved Icelandic given names.

### Modernist housing

Modernist architecture is an architecture style based on modern construction materials, particularly glass, steel, and reinforced concrete, and the idea that form should follow function (functionalism). When applied to architecture intended for human residence, it is called modernist housing.

The main proponent of architectural modernism, Le Corbusier, designed the Unité d'habitation residential housing principle, and implemented it first in La Cité Radieuse, Marseille, completed in 1952. With 337 apartments of 23 different layouts, over 12 stories, all suspended on large pilotis, it remains popular and in use to this day. In 2016, it was added to the UNESCO World Heritage List for its importance to the development of modernist architecture.[11]

Kin Ming Estate, completed in 2003 in Tseung Kwan O, consists of 10 housing blocks of New Harmony I design, housing about 22,000 people.

Modernist housing has been implemented extensively in the form of high-rise apartment buildings in Asian cities with high urban densities. Two illustrative examples are Hong Kong and Singapore. In Hong Kong in the year 2020, 2.1 million residents were in public housing, which is 28% of the total population. In terms of households, 0.8 million households were in public housing, which is 43% of all households.[12][13]

In Singapore, public housing is administered by the Housing and Development Board, first formed in 1960. While its original mission was to build cheap flats for the poor,[14] it later expanded its mission to plan and develop public housing for all Singapore residents.[15] In the year 2020, 78.7% residents live in public housing, decreasing from a high of 88.0% in 2000. There was a concurrent rise in residents living private condominiums and other kinds of apartments, from 6.5% to 16.0%. The rest 5% live in "landed properties", a proportion that remained stable since 2000.[16]

For many critics of high modernism, the Pruitt–Igoe housing project illustrated both the essential unlivability of Bauhaus-inspired box architecture, and the hubris of central planning. Its demolition on July 15, 1972, was the day “modern architecture died”, according to Charles Jencks.

Despite its origin in the west, modernist housing projects have met with far less success in Western countries. The most iconic failure is the Pruitt–Igoe housing project, a housing complex of 33 buildings, of 11 stories each, first occupied in 1954. Living conditions rapidly deteriorated, and it was demolished in 1972. It came to become a symbol of the failures of urban renewal, public-policy planning and public housing. Some,[17] such as the architectural historian Charles Jencks,[18] and journalist Tom Wolfe,[19] argued that it demonstrated the error of architectural modernism itself.

These claims are problematized both by the long-term functioning of modernist housing projects outside of the United States, as well as by multiple counter-narratives developed within, such as explaining that the tenant selection process selected people unprepared for urban living,[20] or that the geometry of design precluded the direct surveillance for preventing crime.[21] The legacy of Pruitt–Igoe remains contested, both between architects concerning the benefits and faults of architectural modernism, and between general political observers concerning the benefits and faults of public housing, or high modernism in general.[22][23]

### Development in the Soviet Union

Despite its frequent association with the West, high modernism also took root in the Soviet Union, particularly under Nikita Khrushchev. Following Joseph Stalin's death, Khrushchev reoriented Soviet policy to embrace many features of Western scientific modernity, filtered through a socialist lens. Soviet high modernism emphasized the role of rational planning, scientific expertise, and state-directed progress as tools to eliminate exploitation and social inequality.[24]

In the social sphere, the Soviet vision extended beyond economic development, aspiring to reconstruct society itself through the cultivation of the “New Soviet Man” a selfless, collectivist citizen devoted to the goals of socialism.[25]

While both the United States and the Soviet Union sought to modernize the developing world during the Cold War, it was the authoritarian regimes, particularly the USSR, that most enthusiastically embraced high modernism as a comprehensive blueprint for state-led transformation.[26]

In practice, Soviet high modernism manifested in both architectural reform and large-scale infrastructure projects. Khrushchev’s tenure saw the mass construction of Khrushchyovka apartments: prefabricated, utilitarian housing units designed for speed, efficiency, and affordability.[27] At the same time, the USSR invested heavily in scientific facilities, hydroelectric dams, and transportation networks, all intended to demonstrate the power of socialist planning and progress.[28]

These developments were not just economic; they also aimed to reshape social life. Urban environments were redesigned to encourage collectivist living, discourage class stratification, and model a technologically advanced, post-capitalist society. In this way, the Soviet variant of high modernism blended utopian ambition with rigid state planning.

### Development in the third world

Geographer Peter J. Taylor argues that high modernism is predicated upon a false optimism in the transformative power of science and technology contributed to confusion in the modernization process, especially in the case of third world countries striving to develop according to Western principles of modernization.[29]

Following the successes of the Marshall Plan in Europe, economists turned their attention towards development in the Third World in the aftermath of the Second World War.[30] Contemporary development theory stressed the necessity of capital accumulation and modernization in order for underdeveloped countries in Asia, Africa and Latin America to 'catch up' to the developed Western nations.[31] Post-World War II development schemes were problematized by a focus on economy (ignoring the political, social and institutional impediments to growth), as well as its assumption that conditions in developing countries were the same as those in Europe that experienced success under the Marshall Plan.[32] Modernization theory built upon previous ideas of sociocultural evolution from the previous century, constructing a global hierarchy based on economic development.[33] In this worldview, Western countries were the most developed, while the rest of the world (particularly countries that had just experienced decolonization) still possessed traditional, pre-modern economies. In order to advance beyond this traditional state, the third world would therefore need to emulate developed Western countries, through optimistic social engineering endeavours.[34]

The overwhelming enthusiasm for the power of science and technology to manage the human and natural world encouraged regimes to attempt monumental development projects that would rapidly catapult developing countries into Western-style development.[35] High modernism emphasized spatial order as rational design; by standardizing, simplifying and ordering physical space, otherwise complex concepts or entities could be made legible and more easily controlled, including economies.

### Brasília

Main article: Engineering:Brasília

During the first half of the twentieth century, Brazil was a primarily agricultural nation that was economically reliant on the United States. Beginning in the 1950s, Brazilian elites sought to reinvent Brazil's economy through import substitution industrialization. The modernization of the Brazilian economy was also accompanied by grand designs to improve education, culture, health care, transportation systems, community organization, property distribution, and administration in order to spark a new sense of national agency in the population.[36]

Part of this grand vision for Brazil's future was the relocation of the nation's capital from the coastal Rio de Janeiro to a new inland site named Brasília. Essentially located in the wilderness, Brasília was to be a “single-function, strictly administrative capital,” says political scientist and anthropologist James C. Scott.[37] Here, long-considered plans for a new capital were finally able to come to fruition thanks to global enthusiasm for the potential of technology. Brasília's massive scale, rational design and cultural offerings, all built from the ground up in the forests of Brazil made it the ultimate manifestation of high modernity.[38] The project's chief architect, Oscar Niemeyer, was strongly influenced by Soviet high modernism in his prescriptions for the new capital as the Soviet Union began to slowly open up to the rest of the world in a new period of internationalism.[39] Despite the cultural and ideological differences of the two countries, both shared common ground in their determination to modernize, strong state authority and a strong belief in the doctrine of high modernity.[40]

The new Brazilian capital was completed in under four years and was presented to the world upon its completion in 1960 as the epitome of urban modernism.[41] The city was planned as a manifestation of Brazil's future as a modern, industrialized power, creating a completely new city that would then create a new society.[42] Based on the master plans of the Congrès International d’Architecture Moderne (CIAM), Brasília's urban space was oriented around mobility, uniformity and functionality, achieved through the elimination of corridor streets (seen as the source of disease and criminality) and the creation of indistinguishable residence sectors based on occupation, known as ‘’superquadra’’.[43]

Total state control of development was critical to the creation of utopian high modernist cities by the CIAM, as it prevented conflict between the planned ideal society and the incoherence of imposing this model on existing conditions.[44]

Following the completion of the city, it became apparent that Brasília’s high modernist design had overlooked the complexities of urban space and had overestimated the ability of functional, rational design to improve socio-political order. Planners’ focus on orienting mobility in the city around automobile traffic had eliminated the street as a place for public gathering; the removal of street corners in favour of cul-de-sacs and open space (punctuated by monumental sculptural and architectural forms like the Cathedral of Brasília and the National Congress Building) discouraged pedestrian traffic, traditional social networking and organic growth of public space.[45] The organization of Brasília's settlement similarly restricted social space by collectivizing residents according to their occupation in the ‘’superquadra’’, transforming the private sphere of the home into a space where the individual was ‘symbolically minimized.’ [46] While these ‘’superquadra’’ featured their own educational, entertainment, recreational and retail facilities to meet any perceivable need of the city’s residents, these perceived needs were based on European models from CIAM and architect Le Corbusier. Furthermore, the aesthetic monotony and scale of the city’s built environment created feelings of isolation, forced conformity and disorientation among residents; there also existed a stark contrast between the wealthier residents living in the centre of the city and the poorer residents situated along the city’s margins.[47]

### Inuit and the Canadian military

State reliance on high modernity to control human populations during the Cold War was not limited to the US. In Canada, the construction of the Distant Early Warning Line increased Euro-Canadian activity in the north, disrupting the traditional lifestyle of local Inuit populations and the arctic landscape in the process.[48] Prime Minister John Diefenbaker's promise to build "a nation in the [north] ... patterned on our way of life" resulted in towns and houses patterned on southern Canadian models that ignored the cultural and geographical context of the Arctic.[49]

The newly constructed towns of Frobisher Bay and Inuvik were ambitiously designed by federal officials to overcome the previously 'uninhabitable' arctic environment and rapidly incorporate the Inuit into the modern age;[50] however, the disregard for the local conditions and opinions of northerners resulted in spatial segregation of Inuit and military personnel in the two towns. In pursuit of a modernized, self-sufficient northern settlement, state-led projects to stabilize the nomadic Inuit in towns disrupted native resource-based economies and contributed to spatial segregation, social inequity, health problems and cultural dislocation.[51]

## In the arts

### Visual arts and music

Cultural critic Bram Dijkstra criticizes "high modernism" as an austere, abstract, and anti-humanist vision of modernism:

Much of the post-WWII high modernism in America and the rest of the western world is antihumanist, hostile to notions of community, of any form of humanism. It becomes about the lack of meaning, the need to create our own significance out of nothing. The highest level of significance, that of the elite, becomes abstraction. So the concept of the evolutionary elite arises again, deliberately excluding those who 'haven't evolved.'[52]

High modernism is exemplified in the writings of Clement Greenberg, who described an opposition between "avant-garde" art and "kitsch" in his essay Avant-Garde and Kitsch.[53] Composer Milton Babbitt's well-known essay "Who Cares if You Listen" describes "efficiency", an increase in "the number of functions associated with each component", "a high degree of contextuality and autonomy", and an "extension of the methods of other musics" as being among the traits possessed by contemporary serious music,[54] though the words "modernism" and "modernist" do not occur in the article, and "modern" occurs only in a quotation with reference to Beethoven and Tchaikovsky.

### Literature

The term "high modernism" as used in literary criticism generally lacks the pejorative connotations it has in other contexts. High literary modernism, on the contrary, is generally used to describe a subgenre of literary modernism, and generally encompasses works published between the end of the First World War and the beginning of the Second.[55] Regardless of the specific year it was produced, high modernism is characterized primarily by a complete and unambiguous embrace of what Andreas Huyssen calls the "Great Divide".[56] That is, it believes that there is a clear distinction between capital-A Art and mass culture, and it places itself firmly on the side of Art and in opposition to popular or mass culture. (Postmodernism, according to Huyssen, may be defined precisely by its rejection of this distinction.)

## See also

* High culture
* High Middle Ages, a periodization correspondent to high modernity
* Fordism
* Manifest Destiny
* New Frontier
* Scientism
* Technocentrism
* Technological utopianism
* Techno-progressivism
* Progress
* United States in the 1950s

## References

1. ↑ James C. Scott, Seeing Like a State: How Certain Schemes to Improve the Human Condition Have Failed (New Haven, CT: Yale University Press, 1999), p. 4.
2. ↑ "The Best-Laid Plans". https://archive.nytimes.com/www.nytimes.com/books/98/04/19/reviews/980419.19graylt.html?__hsfp=1773666937&__hssc=12316075.1.1525305600145&__hstc=12316075.07430159d50a3c91e72c280a7921bf0d.1525305600142.1525305600143.1525305600144.1.
3. ↑ Scott, pp. 4-5; Peter J. Taylor, Modernities: A Geohistorical Interpretation (Minneapolis, MN: University of Minnesota Press, 1999), pp. 18, 32.
4. ↑ Scott, p. 94-96
5. ↑ Taylor, pp. 14, 40-41.
6. ↑ Volker H. Schmidt, "Multiple Modernities or Varieties of Modernity?" Current Sociology 54, no. 77 (2006): p. 80; Taylor, p. 39.
7. ↑ Tobias Rupprecht, "Socialist High Modernity and Global Stagnation: A Shared History of Brazil and the Soviet Union During the Cold War," Journal of Global History 6, no. 3 (2011): p. 522; Scott, pp. 88-89.
8. ↑ Scott, p. 5, 94.
9. ↑ World and Its Peoples: Eastern and Southern Asia, p. 36
10. ↑ Scott, James C.; Tehranian, John; Mathias, Jeremy (January 2002). "The Production of Legal Identities Proper to States: The Case of the Permanent Family Surname" (in en). Comparative Studies in Society and History 44 (1): 4–44. doi:10.1017/S0010417502000026. ISSN 1475-2999. https://www.cambridge.org/core/journals/comparative-studies-in-society-and-history/article/abs/production-of-legal-identities-proper-to-states-the-case-of-the-permanent-family-surname/BA957F9C274070A336A67C75CDA384C0.
11. ↑ "The Architectural Work of Le Corbusier, an Outstanding Contribution to the Modern Movement". United Nations Educational, Scientific, and Cultural Organization. https://whc.unesco.org/en/list/1321.
12. ↑ Hong Kong Housing Authority (2021-03-31). "香港房屋委員會年報 Hong Kong Housing Authority Annual Report". https://www.housingauthority.gov.hk/mini-site/haar2021/en/common/pdf/1_Key_Figures_ENTC.pdf.
13. ↑ Census and Statistics Department (Hong Kong) (14 January 2022). "Housing and Property". https://www.censtatd.gov.hk/en/scode100.html.
14. ↑ "Coming: A housing record". The Straits Times (Singapore): p. 7. 6 July 1960. https://eresources.nlb.gov.sg/newspapers/Digitised/Article/straitstimes19600706-1.2.78.
15. ↑ "HDB | About Us". https://www.hdb.gov.sg/cs/infoweb/about-us.
16. ↑ Department of Statistics, Ministry of Trade & Industry, Republic of Singapore (September 2021). "Population Trends, 2021, ISSN 2591-8028". https://www.singstat.gov.sg/-/media/files/publications/population/population2021.pdf.
17. ↑ Woodhouse, David; Blake, Peter (September 1977). "Reviewed work: Form Follows Fiasco, Why Modern Architecture Hasn't Worked, Peter Blake". Journal of Architectural Education 31 (1): 48. doi:10.2307/1424542. ISSN 0149-2993. http://dx.doi.org/10.2307/1424542.
18. ↑ Jencks, Charles (1984). The Language of Post-Modern Architecture. New York: Rizzoli. p. 9. ISBN 978-0-8478-0571-6.
19. ↑ Wolfe, Tom (1982) (in en). From Bauhaus to Our House. Pocket Books. ISBN 978-0-671-45449-4. https://books.google.com/books?id=Yx25t-JgAicC.
20. ↑ Kronus, Sidney; Moore, William (June 1970). "The Vertical Ghetto: Everyday Life in an Urban Project". Social Forces 48 (4): 546. doi:10.2307/2575593. ISSN 0037-7732. http://dx.doi.org/10.2307/2575593.
21. ↑ Oscar., Newman (1973). Defensible space : people and design in the violent city. Architectural Press. ISBN 0-85139-136-2. OCLC 632410127.
22. ↑ Heathcott, Joseph (2012-09-01). "Planning Note: Pruitt-Igoe and the Critique of Public Housing". Journal of the American Planning Association 78 (4): 450–451. doi:10.1080/01944363.2012.737972. ISSN 0194-4363. https://doi.org/10.1080/01944363.2012.737972.
23. ↑ Bristol, Katharine G. (May 1991). "The Pruitt-Igoe Myth". Journal of Architectural Education 44 (3): 163–171. doi:10.2307/1425266. ISSN 1046-4883. https://rasmusbroennum.files.wordpress.com/2011/11/1991-bristol-pruitt-igoemyth.pdf.
24. ↑ Scott, James C. (1998). Seeing Like a State: How Certain Schemes to Improve the Human Condition Have Failed. Yale University Press. pp. 262–270. ISBN 978-0300078152.
25. ↑ Hellbeck, Jochen (2000). "Fashioning the Stalinist Soul: The Diary of Stepan Podlubnyi (1931–1939)". Kritika: Explorations in Russian and Eurasian History 1 (4): 867–897. doi:10.1353/kri.2000.0038.
26. ↑ Westad, Odd Arne (2005). The Global Cold War: Third World Interventions and the Making of Our Times. Cambridge University Press. pp. 97–105. ISBN 978-0521703147.
27. ↑ Brumfield, William (1997). Landmarks of Russian Architecture. University of Washington Press. pp. 250–252. ISBN 978-0295976084.
28. ↑ Josephson, Paul R. (1995). "Projects of the Century in Soviet History: Large-Scale Technologies from Lenin to Gorbachev". Technology and Culture 36 (3): 519–559.
29. ↑ Taylor, p. 18.
30. ↑ Lwazi Siyabonga Lushaba, Development as Modernity, Modernity As Development (Dakar, Senegal: Counsel for the Development of Social Science Research in Africa, 2009), pp. 2-4; Kimber Charles Pearce, ‘’Rostow, Kennedy, and the Rhetoric of Foreign Aid’’ (East Lansing, MI: Michigan State University Press, 2001), p. 29.
31. ↑ Pearce, p. 3.
32. ↑ Zaheer Baber, “Modernization Theory and the Cold War,” ‘’Journal of Contemporary Asia’’ 31, no. 1 (2001): p. 74.
33. ↑ Lushaba, pp. 2-3
34. ↑ Walt Whitman Rostow, “The Stages of Economic Growth: A Non-Communist Manifesto (1960),” in ‘’From Modernization to Globalization: Perspectives on Development and Social Change’’, ed. J. Timmons Roberts and Amy Hite (Malden, MA: Blackwell Publishers, Ltd., 2000), pp. 100-101.
35. ↑ Schneider notes in his evaluation of James Scott’s analysis of villagization in Tanzania that development failures in this period were not always attributable to ‘’high’’ modernism. In the case of Tanzanian villagization, modernization projects were driven by policy makers acting on their own hubris as creators of a modern state, rather than as proponents of scientific rationality. Schneider, pp. 32-33
36. ↑ Anthropologist Tanya Li notes that in addition to the well-known “high modern, state-driven projects of rural and urban planning,” regimes also conducted modernization initiatives through less conspicuous methods of education and technologies of management (including maps, censuses and surnames). James Holston, “The Spirit of Brasília: Modernity as Experiment and Risk,” in ‘’City/Art: The Urban Scene in Latin America,’’ ed. Rebecca E. Biron (Durham, NC: Duke University Press, 2009), p. 92; Tanya Li, “Beyond the ‘State’ and Failed Schemes,” ‘’American Anthropologist’’ New Series 107, no. 3 (2005): p. 386; Rupprecht, pp. 507-508
37. ↑ Scott, p. 118
38. ↑ Rupprecht, p. 508
39. ↑ Rupprecht, p. 510
40. ↑ Rupprecht, p. 509
41. ↑ Holston, 86.
42. ↑ Holston, p. 93; Scott, p. 120
43. ↑ Holston, p. 96; Scott, p. 125.
44. ↑ Holston, p. 93.
45. ↑ Holston, pp. 94-95; Scott, pp. 120-121, 126.
46. ↑ Holston, p. 97.
47. ↑ Holston, p. 103; Scott, pp. 127, 130.
48. ↑ Matthew Farish and P. Whitney Lackenbauer, "High Modernism in the Arctic: Planning Frobisher Bay and Inuvik," Journal of Historical Geography 35 (2009): p. 520.
49. ↑ Peter C. Dawson, "Seeing Like an Inuit Family: The Relationship Between House Form and Culture in Northern Canada," Études/Inuit/Studies 30, no. 2 (2006): 120; Farish and Lackenbauer, pp. 518, 535, 538.
50. ↑ Farish and Lackenbauer note that while Canada did not possess an authoritarian government to enforce high modernist planning, the limited political agency of native northerners in the early years of the Cold War allowed the Canadian government and military to administer their plans in a similar manner to authoritarian regimes. Farish and Lackenbauer, pp. 517, 521.
51. ↑ Dawson, p. 117; Farish and Lackenbauer, pp. 537–539.
52. ↑ Interview with Bram Dijkstra, conducted by Ron Hogan, for beatrice.com. (Accessed Aug. 17, 2006)
53. ↑ Clement Greenberg, Avant-Garde and Kitsch
54. ↑ Milton Babbitt, "Who Cares if You Listen" (originally in High Fidelity, Feb. 1958)
55. ↑ Kavaloski, Joshua (2014). High Modernism. Boydell & Brewer. ISBN 9781571139108. https://www.jstor.org/stable/10.7722/j.ctt5vj759.
56. ↑ Andreas Huyssen, After the Great Divide: Modernism, mass culture, Postmodernism, (Bloomington: Indiana University Press, 1986)

* v
* t
* e

Modernism

Milestones|

* Le Déjeuner sur l’herbe (1862–1863)
* Olympia (1863)
* A Sunday Afternoon on the Island of La Grande Jatte (1886)
* Mont Sainte-Victoir (1887)
* The Starry Night (1889)
* Ubu Roi (1896)
* Verklärte Nacht (1899)
* Le bonheur de vivre (1905–1906)
* Les Demoiselles d'Avignon (1907)
* The Dance (1909–1910)
* The Firebird (1910)
* Afternoon of a Faun (1912)
* Nude Descending a Staircase, No. 2 (1912)
* The Rite of Spring (1913)
* In Search of Lost Time (1913–1927)
* The Metamorphosis (1915)
* Black Square (1915)
* Fountain (1917)
* The Cabinet of Dr. Caligari (1920)
* Six Characters in Search of an Author (1921)
* Ulysses (1922)
* The Waste Land (1922)
* The Magic Mountain (1924)
* Battleship Potemkin (1925)
* The Sun Also Rises (1926)
* The Threepenny Opera (1928)
* The Sound and the Fury (1929)
* Un Chien Andalou (1929)
* Villa Savoye (1931)
* The Blue Lotus (1936)
* Fallingwater (1936)
* Waiting for Godot (1953)

Literature|

* Guillaume Apollinaire
* Djuna Barnes
* Tadeusz Borowski
* André Breton
* Mikhail Bulgakov
* Anton Chekhov
* Joseph Conrad
* Alfred Döblin
* E. M. Forster
* William Faulkner
* Gustave Flaubert
* Ford Madox Ford
* André Gide
* Knut Hamsun
* Jaroslav Hašek
* Ernest Hemingway
* Hermann Hesse
* James Joyce
* Franz Kafka
* Arthur Koestler
* D. H. Lawrence
* Wyndham Lewis
* Thomas Mann
* Katherine Mansfield
* Filippo Tommaso Marinetti
* Guy de Maupassant
* Robert Musil
* Katherine Anne Porter
* Marcel Proust
* Gertrude Stein
* Italo Svevo
* Virginia Woolf

Poetry|

* Anna Akhmatova
* Richard Aldington
* W. H. Auden
* Charles Baudelaire
* Luca Caragiale
* Constantine P. Cavafy
* Blaise Cendrars
* Hart Crane
* H.D.
* Robert Desnos
* T. S. Eliot
* Paul Éluard
* Odysseas Elytis
* F. S. Flint
* Stefan George
* Max Jacob
* Federico García Lorca
* Amy Lowell
* Robert Lowell
* Mina Loy
* Stéphane Mallarmé
* Marianne Moore
* Wilfred Owen
* Octavio Paz
* Fernando Pessoa
* Ezra Pound
* Lionel Richard
* Rainer Maria Rilke
* Arthur Rimbaud
* Giorgos Seferis
* Wallace Stevens
* Dylan Thomas
* Tristan Tzara
* Paul Valéry
* William Carlos Williams
* W. B. Yeats

Visual art|

* Josef Albers
* Jean Arp
* Balthus
* George Bellows
* Umberto Boccioni
* Pierre Bonnard
* Georges Braque
* Constantin Brâncuși
* Alexander Calder
* Mary Cassatt
* Paul Cézanne
* Marc Chagall
* Giorgio de Chirico
* Camille Claudel
* Joseph Cornell
* Joseph Csaky
* Salvador Dalí
* Edgar Degas
* Raoul Dufy
* Willem de Kooning
* Robert Delaunay
* Charles Demuth
* Otto Dix
* Theo van Doesburg
* Marcel Duchamp
* James Ensor
* Max Ernst
* Jacob Epstein
* Paul Gauguin
* Alberto Giacometti
* Vincent van Gogh
* Natalia Goncharova
* Julio González
* Juan Gris
* George Grosz
* Raoul Hausmann
* Jacques Hérold
* Hannah Höch
* Edward Hopper
* Frida Kahlo
* Wassily Kandinsky
* Ernst Ludwig Kirchner
* Paul Klee
* Oskar Kokoschka
* Pyotr Konchalovsky
* André Lhote
* Fernand Léger
* Franz Marc
* Albert Marque
* Jean Marchand
* René Magritte
* Kazimir Malevich
* Édouard Manet
* Henri Matisse
* Colin McCahon
* Jean Metzinger
* Joan Miró
* Amedeo Modigliani
* Piet Mondrian
* Claude Monet
* Henry Moore
* Edvard Munch
* Emil Nolde
* Georgia O'Keeffe
* Méret Oppenheim
* Francis Picabia
* Pablo Picasso
* Camille Pissarro
* Man Ray
* Odilon Redon
* Pierre-Auguste Renoir
* Auguste Rodin
* Henri Rousseau
* Egon Schiele
* Georges Seurat
* Paul Signac
* Alfred Sisley
* Edward Steichen
* Alfred Stieglitz
* Henri de Toulouse-Lautrec
* Édouard Vuillard
* Grant Wood
* Lin Fengmian

Music|

* George Antheil
* Milton Babbitt
* Jean Barraqué
* Béla Bartók
* Alban Berg
* Luciano Berio
* Nadia Boulanger
* Pierre Boulez
* John Cage
* Elliott Carter
* Aaron Copland
* Heitor Villa-Lobos
* Henry Cowell
* Henri Dutilleux
* Morton Feldman
* Henryk Górecki
* Josef Matthias Hauer
* Paul Hindemith
* Arthur Honegger
* Charles Ives
* Leoš Janáček
* György Ligeti
* Witold Lutosławski
* Olivier Messiaen
* Luigi Nono
* Harry Partch
* Krzysztof Penderecki
* Sergei Prokofiev
* Luigi Russolo
* Erik Satie
* Pierre Schaeffer
* Arnold Schoenberg
* Dmitri Shostakovich
* Richard Strauss
* Igor Stravinsky
* Karol Szymanowski
* Edgard Varèse
* Anton Webern
* Kurt Weill
* Iannis Xenakis

Theatre|

* Edward Albee
* Maxwell Anderson
* Jean Anouilh
* Antonin Artaud
* Samuel Beckett
* Bertolt Brecht
* Anton Chekhov
* Friedrich Dürrenmatt
* Jean Genet
* Maxim Gorky
* Walter Hasenclever
* Henrik Ibsen
* William Inge
* Eugène Ionesco
* Alfred Jarry
* Georg Kaiser
* Maurice Maeterlinck
* Vladimir Mayakovsky
* Arthur Miller
* Seán O'Casey
* Eugene O'Neill
* John Osborne
* Luigi Pirandello
* Erwin Piscator
* George Bernard Shaw
* August Strindberg
* John Millington Synge
* Ernst Toller
* Frank Wedekind
* Thornton Wilder
* Stanisław Ignacy Witkiewicz

Film|

* Ingmar Bergman
* Anton Giulio Bragaglia
* Luis Buñuel
* Marcel Carné
* Charlie Chaplin
* René Clair
* Jean Cocteau
* Maya Deren
* Alexander Dovzhenko
* Carl Theodor Dreyer
* Viking Eggeling
* Sergei Eisenstein
* Jean Epstein
* Robert J. Flaherty
* Abel Gance
* Isidore Isou
* Buster Keaton
* Lev Kuleshov
* Fritz Lang
* Marcel L'Herbier
* Georges Méliès
* F. W. Murnau
* Georg Wilhelm Pabst
* Vsevolod Pudovkin
* Jean Renoir
* Walter Ruttmann
* Victor Sjöström
* Josef von Sternberg
* Dziga Vertov
* Jean Vigo
* Robert Wiene

Dance|

* George Balanchine
* Merce Cunningham
* Clotilde von Derp
* Sergei Diaghilev
* Isadora Duncan
* Michel Fokine
* Loie Fuller
* Martha Graham
* Hanya Holm
* Doris Humphrey
* Léonide Massine
* Vaslav Nijinsky
* Alwin Nikolais
* Alexander Sakharoff
* Ted Shawn
* Anna Sokolow
* Ruth St. Denis
* Helen Tamiris
* Charles Weidman
* Mary Wigman

Architecture|

* Marcel Breuer
* Gordon Bunshaft
* Jack Allen Charney
* Walter Gropius
* Hector Guimard
* Raymond Hood
* Victor Horta
* Friedensreich Hundertwasser
* Philip Johnson
* Louis Kahn
* Le Corbusier
* Adolf Loos
* Konstantin Melnikov
* Erich Mendelsohn
* Pier Luigi Nervi
* Richard Neutra
* Oscar Niemeyer
* Hans Poelzig
* Antonin Raymond
* Gerrit Rietveld
* Eero Saarinen
* Rudolf Steiner
* Edward Durell Stone
* Louis Sullivan
* Vladimir Tatlin
* Paul Troost
* Ludwig Mies van der Rohe
* Frank Lloyd Wright

Related|

* American modernism
* Armory Show
* Art Deco
* Art Nouveau
* Ashcan School
* Avant-garde
* Ballets Russes
* Bauhaus
* Buddhist modernism
* Constructivism
* Cubism
* Dada
* Degenerate art
* De Stijl
* Der Blaue Reiter
* Die Brücke
* Ecomodernism
* Expressionism
* Expressionist music
* Fauvism
* Fourth dimension in art
* Fourth dimension in literature
* Futurism
* Grosvenor School of Modern Art
* Hanshinkan Modernism
* High modernism
* Imagism
* Impressionism
* Incoherents
* International Style
* Late modernism
* Late modernity
* Lettrism
* List of art movements
* List of avant-garde artists
* List of modernist poets
* Lyrical abstraction
* Minimalism
* Modern art
* Modernity
* Neo-Dada
* Neo-primitivism
* New Objectivity
* Orphism
* Post-Impressionism
* Postminimalism
* Postmodernism
* Reactionary modernism
* Metamodernism
* Remodernism
* Romanticism
* Second Viennese School
* Structural film
* Surrealism
* Symbolism
* Synchromism
* Tonalism
* Warsaw Autumn

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