9/30 classic/modern

I think an interesting quote we discussed was Habermas' notion that "a modern work becomes a classic because it has once been authentically modern" (99). My understanding of this led me to think that something has to be noticeable and have an impact to be remembered. Usually, to do this, it must be modern (on the cutting edge/new/etc.). Once it has made an impact, it becomes worthy of remembrance. When The Strokes released their debut album in 2001, everyone thought they were doing something new, they were the reinventors or rock, and they sparked a new musical awakening. For this, everyone since has been compared to them. Just as they are compared to The Velvet Underground. In this, they become classic (or will), because they are remembered for their distinction and ingenuity. Also, we talked about what has happened to culture and who is in control of it. Feeding off of The Strokes some more, they say “Whose culture is this and does anybody know?” They recognize like others that we don’t really control this culture. Higher powers impose a certain culture which we conform too. They sell culture to us.
I also think Habermas' statement that "the idea of being modern changed with the belief, inspired by modern science, in the infinite progress of knowledge and in the infinite advance towards social and moral betterment" is alluring (99). I always think the idea of "infinite progress of knowledge" is great. I would never question that our society has an increase in data/information/etc, but certain knowledge has been lost. So how do we account for this? Orr in "What Is Education For" would argue that we lose knowledge of our land and the knowledge we think we have has unplanned consequences and does not guarantee decency.

Kelsey. 9/30.
The Strokes. Whatever Happened?
Orr. "What Is Education For?"