2009 – Page 4 – Philosophy @Newcastle

Addiction in Society: Genetics, Society or the Individual

Since Sotheby’s auction house opened in 1744, the art market has grown and now sells pieces for millions of dollars every day. My project explores the societal and technological changes which have occurred throughout modernity to understand why paintings like The Scream were bought for over $119 million.

Commodity fetishism and the global art market
Using Marx’s exploration of capitalism I focused on what constitutes a commodity and how art has been fetishized. I then incorporated Vattimo’s use of telematics and globalised media to demonstrate capitalisms more recent developments; this enabled me to discuss the role paintings have played in a global billion dollar market. In contrast I also looked back to 15th century artists, to understand if art has become a commodity only with the advent of capitalism and technology.

Mechanical technology and mass production
I used Benjamin’s philosophy of mechanical reproducibility to highlight the importance of technological advancement, especially that of mass reproduction, in selling the image of a work enabling fame and exposure to a wider market.

I also looked to how these factors of the current market affected the minds and work of artists themselves using the philosophy of Andy Warhol, and the artwork of Damien Hurst, Warhol himself, and Julian Opie. All of these artists demonstrated the drive of a capitalist mind-set, have benefited from global exposure, and produce pieces using technology invented in a postmodern age such as laser printing and spinning. My goal was to ultimately demonstrate that the market has changed both the nature of the art which is produced and opened the art world up to everyone on a global scale.

Internally replicable model of the art market
Mass reproduction of famous classical/modern works (such as The Scream and No.1)
Original work becomes more valuable as its image and fame is spread over a global market (both sold for millions)

Acting-analysis: “Emotional Memory” as a Theatrical Interpretation of Psychoanalysis

In my project, I will examine the process of acting, and the emotional experience of becoming a character. Physically looking the part is very different to mentally becoming the part. Stanislavski’s ‘Emotional Memory’ encourages an actor to recall their own memories in order to create a realistic interpretation of a role. Therefore, one must remove themselves from their ‘true self’ in order to create a ‘new self’. From this, I believe an actor must consciously explore their subconscious. Therefore, this concept can be associated with Freud’s examination of the human psyche. Thus, I will compare Emotional Memory with Psychoanalysis. Like actors, Freud’s patients must explore their unconscious. I will examine Psychoanalysis, whereby the relationship between the patient and analyst is crucial for an effective treatment. From this, I will examine ‘free association’ and ‘unconscious formations’: both central features of this Freudian system, aiding the patient on a laborious journey of recovery. Whether in theatre or film, I believe there is a danger in acting. One must be extremely careful in adapting their mentality when becoming a character, in order to remain secure in their ‘true self’. Occasionally, an actor’s addiction to his role can become detrimental, as seen through Heath Ledger’s tragic death in 2008. It is argued that the extreme depth of his role of The Joker in The Dark Knight, combined with his perfect interpretation, led him towards self-destruction. Through acting, one must Psychoanalyse your ‘own self’, when creating a ‘new self’. However, one must be consciously aware of the complexity of the process, and thus intentionally maintain your own mentality.