Word: much
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Dates: during 1990-1999
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That's why so much Roman culture survived the disintegration of the Western Empire. The most prolific memes had long since spread to Byzantium if not beyond, and would keep replicating themselves even as Western Europe struggled to regroup. Thus the astrolabe would eventually be reintroduced to the area via Islamic culture, which thrived during the early Middle Ages. Meanwhile, in Asia, key memes would arise--the spinning wheel, even printing--and some would migrate all the way to Europe...
...benefits that keep us plugging into the Internet, it can be alienating. (Is it just me, or is e-mail a much poorer substitute for face-to-face contact than a phone call is? And if so, why am I letting e-mail crowd out my phone calls?) There is indeed the sense sometimes that, like neurons, we subordinate ourselves to the efficiency of the larger whole--that technology wins in the end, that culture trumps biology. As Emerson put it, "There are two laws discrete, Not reconciled,--Law for man, and law for thing; The last builds town...
...Karl Marx, "All that is solid melts into air"--was melting already, as of 1911, and forming large and inconvenient puddles on the floor, quite insusceptible to the morally muscular moppings of outraged critics. Here one directs the reader to the foldout chart elsewhere in these pages. Prepared with much disputatious--not to say rebellious--muttering by this magazine's critics, it lists the century's "best" work in every facet of the arts. Its most interesting aspect is the intensely clustered dates of the works representing the major expressive forms...
...need not choose between these visions. Both are true. Both are untrue. What we need to do is wonder at how firmly this brief, incredibly fecund period set the terms of the cultural argument that would preoccupy the rest of the century. The shock of the new drew much of its reshaping, revolutionary force from frustration with outworn artistic conventions and had been gathering strength and energy out of repression and dismissal for at least 50 years...
Lost in the bogs of Celtic myth, Yeats--unlike many of his peers in the modernist pantheon--was not much interested in modern design and architecture's streamlining ways. Or in the ability of books and magazines more and more perfectly to replicate artistic icons past and present. Or in the capacity of the movies to create their own time and space, independent of observed reality. We must imagine him, instead, mourning with the great critic Walter Benjamin the destruction of the artwork's "aura" or magic, deriving from its uniqueness, its firm roots in a specific historical place...