Dan: yes, that's the project, and you are right, the residents trashed it. It has become the architectural beginning of pomo because of the idea that the residents trashed it because of its alienating style, not because they were animals. Or, perhaps they were acting like animals because of the socio-economic-architectural prison they found themselves in. Note the subtitle to Jameson's book.
The changes you and I mention all flow from the late 60s early 70s; there was an intellectual change also, as I'm sure you know: it's often been said the social revolution inthe west at that time was fomented in part by the intellectual class, i.e. the university professors.
Skylark: I was thinking primarily of the second-order kind of thought and art, such as the second book of DQ where the characters are recognized as characters from the first book. This kind of thinking runs throughout Welles's art, and is I think distinctly pomo, but only fully flowers in the 70s in TOSOTW and Fake. This is, of course, what philosophy is, as well, which is why, I believe, most people don't like Welles: they don't want mutli-level/perspective ironic art where you have to work at meaning, they want Star wars and Jaws, where the irony and self-consciousness in unintended by the artist and the work is apparently straightforward.
Last edited by Tony
on Mon Sep 01, 2008 3:53 am, edited 1 time in total.