1. 'Modern' as a term is important to explore for the reason that it has become ingrained in the cultural conciousness, popularised and insitutionalised (take for example the popular awareness this country has for such an institution as Tate Modern). The word 'modern' has recieved usage in English from the 16th century. By the mid 19th centyry the term meant 'contemporary', thus, between 1843-1860, John Ruskin in his volume of writings 'Modern Painters', was really using the term to refer to painters of the day, such as Pre-Raphaelites, who we today would not consider to be 'modern artists'. However, by the end of the mid 19th century, and into the early 20th century, the term 'modern' began to take on a flabour of something 'improved', 'better than before'. The 20th century meaning of 'modern' as something 'improved' is inextricably linked to a modern consumer culture in which products are sold on the basis of a 'new is better' philosophy: take for example washing powder and the way it's manufacturers rattle on in their adverts; "new improved", "whiter than ever before". Thus we can conclude that the term 'modern' implies positive meanings, so much so, that even politicians- Tony Blair for example- will talk about a "modernised Labour Party" and "a modern Britain".
2. 'Modernity'. The idea of 'modern' then, is a linked to the idea of progress. The idea of progress is central to our understanding of 'modernity' and the significant changes that took place broadly between 1750-1950. This process of modernisation did not, obviously, happen overnight, although we can fix it historically as being aligned to the processes of industrialisation and urbanisation. Central features of 'modernity' are: The City- the city has become the site for 'modern' experience and developed as a magnet for those in the country during the period of industrialisation. Communicatio- with the advert of rapid transport systems, rail and road (the rail network has become fully established by 1840), steamships and the telegraph, communications flourished, changing the character of society (people's mobility- but also the mobility of the printed image). Effective communications are necessary to promote the idea of change. Progress- implict in the notion of modernity is the idea that change is for the better. The goal of modernity has been to create a better life for people. There is therefore a utopian ideal inherent within the idea of modernity. Rationality and Reason- aligned to the ideas of progress are the ideas that the only way to improve humanity is to reject religious systems of rule and replace them with the notion of the civalised state. Scientific progress and intellectual investigation (Englightenment concepts), are taken as being a far better route to further our existence than religion. We therefore see in the period in question a secularisation of our society; fewer people go to Church or follow religion, and societies are today ruled by governments, with the Church playing much more of a minor role.
3. 'Modernism' is the term used to describe the cultural expressions of modernity in relation to the experience of modernity. Theroretical features identified with modernism in art and design include: Social Morality- In essence, there was a 'utopian' flavour to the modernist 'project'. Truth- In design, it was agreed that designs should not be illusionary to create false impressions. Technology- Modernists embraced new technologies. Also, design initiative had to allow for the mass production of goods- thus, simple forms were preferred over complex ones. Function- The idea that form of an object should be dictated by it's function; "Form Follows Function". The shift away from ornate decoration was politically inspired- fancy decoration and ornamentation was equated with the burgeoisie and decadent frippery. Progress- Implicit in the notion of modernity and modernism is the idea of change for the better. The goal of modernity and modernism has been to create a better life for people. The modernist project therefore sought to embrace the tools of technology. In the aftermath of World War I (The Great War 1914-1918), it was felt that such a tragedy and waste of life could not happen again. The feeling therefore in the 1920's was one of optimism and that modernism would direct the way towards a progressive society. Anti- Internationalism- For the modernist, it was an appealing idea that a design/artwork would be instantly recognisable to an international audience. Part of this internationalist tendancy derived from the post WWI attuitude towards the need to bring countries together. TRANSFORMATION OF CONCIOUSNESS- There was a belief held amongst modernists that design and art could change the way people think. Underlying the Town Planing Movement and mass housing projects was the idea that such projects would improve the people who made use of them. THEOLOGY- Modernism was adopted almost as a religion. It constitured a set of beliefs which sat within a context where people felt they were living in a 'new age'. The term 'Zeitgeist' refers to this feeling of "the spirit of the age".
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