&object0=js|800|600|80|80|0|0|100|0|19|0|0|background_style9.jpg|1|0|0|0& &autoPlayOn=0& &navobjectsVisible=1& &numberOfSlides=3& &numberOfObjects1=7& &object1_1=js|900|675|30.8|30.8|-31|220|60|0|0|1|0|Atomic_Bomb.jpg|2|0|0|0& &object1_2=r|439|48|100|100|158|370|100|0|19|0|1& &object1_3=t|380|100|100|100|5|15|100|1|19|left|1|5|4|0|0|16|0|0|0|1|THE WORLD WAR II CULTURAL MATRIX& &object1_4=t|200|100|100|100|426|12|100|0|0|center|1|5|4|0|5|14|0|0|0|2|An Overview of the WWII Cultural Matrix& &object1_5=t|620|100|100|100|9|54|100|1|6|left|1|5|1|0|1|14|0|0|0|0|OUR DIVISION OF the World War II Cultural Matrix into three eras is based on political and social events which have given a global shape to the entire period. The Second World War itself yielded two images -- the atomic bomb and the Holocaust -- that have cast a shadow over everything that followed. Then, the Cold War that grew out of World War II provided a situation in which the Soviet Union and its allies battled the United States and its allies by using much of the rest of the world as a "back yard" for their struggle. This cruel strategy kept the world on edge and had devastating effects on many nations, but it also prevented the Third World War that many thought was inevitable. With the end of the Cold War on November 21st, 1990, the World War II Cultural Matrix entered its current era, which we call the "End of the World." For us, "end of the world" may signify three things: & &object1_6=t|420|100|100|100|209|216|100|1|6|left|1|13|1|0|1|14|0|0|0|0|1. the "post-Cold War" situation, with all its complexities 2. literary and cinematic visions which appeal to apocalyptic notions of some drastic terminus, after which a radically new situation emerges 3. movements and expressions that call for a new (or old!) mode of being human - a mode that would lead humankind away from the kind of world it has created& &object1_7=b|0|0|100|100|169|388|3|16|1|13|1|0|20|AN OVERVIEW OF THE WWII CULTURAL MATRIX|-10|0|1|4|WWIICM_Cultural_Matrix_Overview.pdf& &numberOfObjects2=14& &object2_1=r|417|54|100|100|217|355|100|0|19|0|2& &object2_2=t|380|100|100|100|5|15|100|1|19|left|1|5|4|0|0|16|0|0|0|1|THE WORLD WAR II CULTURAL MATRIX& &object2_3=t|265|100|100|100|377|12|100|0|0|center|1|5|4|0|5|14|0|0|0|2|VALUES and PERSPECTIVE of the WWII Cultural Matrix& &object2_4=r|618|287|100|100|13|62|90|0|6|0|1& &object2_5=js|640|480|61.9|61.9|-120|263|50|0|4|1|0|chaos.jpg|2|0|0|0& &object2_6=t|587|100|100|100|17|66|100|0|6|left|1|5|1|0|1|16|0|0|0|1|Symbolized by the atom bombs that ended World War II, _______________ is the value that integrates the diverse values of the World War II Cultural Matrix. In combination with ________________ , _______________ drives a society that might be described as a "technopoly," referencing a society that values efficiency (a value deriving from the model of a machine) over values that derive from human standards. Four values in particular stand out in a value-system which is integrated by technology: The Value System which is integrated by technology is dominated by relationships of conflict among the values in the system, and we might use the overarching categories of " " (values which SUPPORT technology) and " " (values which OPPOSE technology) as primary headings for the two sides of the conflict. This value system had made ____________ the highest conceivable perspective for most people, to the degree that "Relativism" is now usually referred to as "Tolerance."& &object2_7=t|101|100|100|100|390|68|100|1|8|center|1|3|4|0|0|12|0|0|0|2|TECHNOLOGY& &object2_8=t|101|100|100|100|141|110|100|1|8|center|1|3|4|0|0|12|0|0|0|2|TECHNOLOGY& &object2_9=t|115|100|100|100|17|110|100|1|8|center|1|17|4|0|0|12|0|0|0|2|BUREAUCRACY& &object2_10=t|187|100|100|100|425|177|100|1|3|center|1|5|4|0|2|10|0|0|0|2| - TOYS - SIZE - SPEED - - INFORMATION - & &object2_11=t|101|100|100|100|11|258|100|0|8|center|1|13|1|0|0|14|0|0|0|2|OBJECTIVE& &object2_12=t|101|100|100|100|362|258|100|0|8|center|1|13|1|0|0|14|0|0|0|2|SUBJECTIVE& &object2_13=t|101|100|100|100|128|298|100|0|8|center|1|18|1|0|0|16|0|0|0|2|RELATIVISM& &object2_14=b|0|0|100|100|240|372|3|16|1|13|1|0|20|VALUES cx26 PERSPECTIVE OF THE WWII CM|-9|0|1|4|WWIICM_Values_and_Perspectives.pdf& &numberOfObjects3=7& &object3_1=t|380|100|100|100|5|15|100|1|19|left|1|5|4|0|0|16|0|0|0|1|THE WORLD WAR II CULTURAL MATRIX& &object3_2=r|489|108|100|100|142|305|100|0|4|0|1& &object3_3=js|768|768|36.2|36.2|381|43|100|0|0|1|0|Digital-Tech.jpg|5|0|0|0& &object3_4=t|265|100|100|100|377|12|100|0|0|center|1|5|4|0|5|14|0|0|0|2|Primary Source Artifacts of the WWII Cultural Matrix& &object3_5=t|330|100|100|100|147|312|100|0|0|left|1|13|1|0|2|20|0|0|0|1|Primary Sources FROM and THROUGH The Atomic Cafe IN and OF The Digital Cafeteria& &object3_6=b|0|0|100|100|467|367|3|16|1|3|1|0|26|CLICK HERE|-12|0|1|4|ww2cm_primary_sources.html& &object3_7=t|384|100|100|100|12|66|100|0|0|left|1|5|1|0|0|16|0|0|0|2|In the aftermath of the Second World War and the onset of the Cold War, we can see the affect of ATOMIC FRAGMENTATION on the artifacts and primary sources of the era. Artistic primary sources present themselves as a SUBJECTIVE response to the growing prevalance of OBJECTIVE realities. Then, as we move from the Atomic Cafe into the current era of the DIGITAL CAFETERIA, we can view and digest new signals in the blossoming millenium of a blended response in all artistic expressions; the dawing of the age of a SINGULARITY.&