SUBJECTIVITYan emphasis on impressionism and subjectivity in writing; anemphasis on HOW seeing (or reading or perception itself) takesplace, rather than on WHAT is perceived. An example of thiswould be BIG BROTHER.
SHALLOW - NESSa movement away from the apparent objectivity provided byomniscient third-person narrators, ﬁxed narrative points of view,and clear-cut moral positions. THE BLAIR WITCH PROJECT is agood example of this.
INTERTEXTUALITYa blurring of distinctions between genres, so that poetry seemsmore documentary (as in T.S. Eliot or ee cummings) and proseseems more poetic (as in Woolf or Joyce). It becomes acceptable tomerge other people’s ideas into your work as along as you clearlyshow you are doing it. Material can be gathered from any placeand time.
NON-LINEAR NARRATIVEan emphasis on fragmented forms, discontinuous narratives, andrandom-seeming collages of different materials.
KNOWING-NESSa tendency toward reﬂexivity, or self-consciousness, about theproduction of the work of art, so that each piece calls attention to itsown status as a production, as something constructed and consumedin particular ways.
MINIMALISM. a rejection of elaborate formal aesthetics in favour of minimalistdesigns and a rejection, in large part, of formal aesthetic theories, infavour of spontaneity and discovery in creation.
ANYTHING GOESA rejection of the distinction between "high" and "low" or popularculture, both in choice of materials used to produce art and inmethods of displaying, distributing, and consuming art.
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