Research Journal of Armin Medosch

The Postmodern Condition, A Report on Knowledge, by Francois Lyotard, first published in French in 1979, was not the first book to carry the word postmodern in its title, but probably one of the most influential ones in the long term, with both its warnings and sometimes its overly optimistic assumptions about the future of knowledge in a computerised society. Reading it now what is perplexing is the rather one-sided reception it has got. While Lyotard's critique of meta-narratives and the proposed switch to language games has characterised the postmodern debate, his ambiguity about the development of science and the university under the condition of neoliberalism appears to have been given much less consideration by his followers.

I found this book, History and Class Consciousness, Georg Lukacs, London, Merlin Press 1971-1990, very enlightening, confirming my interest in Marx and consolidating the idea to inquire the possibility of working with dialectical materialism as a methodology for my PhD. Thus I have transcribed copious notes from this book, interspersed with a few notes to myself where further to look, in terms of the continuity of this type of thought, as well as its critique. Publishing those notes in this group may or may not be of value to anyone else, I do it nevertheless.

This is a relatively short mental note to myself, an attempt to address a basic methodological issue which I have been thinking about while reading economic and political theory over the past few days. I don't mean to address all the issues relating to practice-led PhDs. This is also not specifically about my own work, although I am affected by it. The problem which poses myself in renewed urgency is as follows.

Notes on Das Altern der Moderne1 by Peter Bürger. Peter Bürger, Professor emeritus for literature and aesthtic theory, author of the Theory of the Avant-Garde2, a seminal text in art theory of the 20th century, in this collection of articles written between 1983 and 2000, re-examines some of the main concepts already at the heart of his earlier work, such as the difference between Modernism and the avant-garde, the historic avant-garde's often repeated ambition of bringing art and life together, and what constitutes the failure as well as the success of those movements. While the hopes of the historic avant-garde of permanent transformations of the social world were not rewarded, avant-garde ideas, slogans, strategies and aesthetic methodologies of the Futurists, dadaists and Surrealists have found a permanent place in the cultural 'history' by having entered the endless recycling relationships of contemporary culture via popular culture. Slightly different the case, then with Modernism, because it never had, or purpoted not to have, such a strong social agenda, yet here the name of the art movement is identical with the name of an age: modernity. In this respect, Bürger asks the fascinating question about the aging of modernity and how we became postmodern (or not).

• 1. Bürger P. 
  2001.  Das Altern der Moderne : Schriften zur bildenden Kunst.
• 2. Bürger, Peter. 
  1984.  Theory of the avant-garde.

This book by the French master historian is probably one of the most influential in research methodologies. One point of critique to be kept in mind is by F.Kittler who says that Foucault's method only works for periods in history which are mainly marked by book production and that he had no way of transferring that methodology to the age of electronic media. Not entirely sure if Kittler is right as he puts so much emphasis on the 'media apriori'.

In this text a collection of notes on the book Bauhaus (1999), by Jeannine Fiedler and Peter Feierabend (editors) and in particular the introduction Bauhaus - geschichtlich by Andreas Haus, is used as a starting point for further reasonings about the ideas and motivations of the historic avant-garde in general and Bauhaus in particular, and why that matters for contemporary practices. Key issues are the development of arts and arts and crafts within an increasingly industrial economy, art/-isanal working methodologies and relationships with science and new technologies, and the notion of the artistic or artisianal community as a driver of social change.