ABSTRACT
This chapter focuses on modern art as the location of modernity. It imbibes Arjun Appadurai, Michel Foucault, and Ashis Nandy as offering complementary stances on modernity and the subsequent globalisation of intra-European relations after the Industrial Revolution. An attempt to define mythological materialism's phenomenology is an exercise in semiotics of both sociology and anthropology; as such, international law has understandably avoided myth for history. International law has been a language of colonisation and modernisation. During the early fourteenth and fifteenth centuries, when colonisation was more a fashion—a form of artistic expression—than a planned activity, the ideology of the French, English, Dutch, and the like was to see themselves helping in the development of the rest of the world. The Greek political thoughts, later idealised in Germanic imaginations, showed a fear of mythology when philosophers like Plato called for banishing myth for a modern political history.
