The picture that…….. …….changed a life
The Brechtian Theatre presents;
The Political Ideology of Karl Marx
Starring: Karl Marx and full supporting cast including Hegel & Kant, Engels, Sartre and Marcuse
Category: Abstracts
During encounters with the Other, one is prone to personality adaptations. Through this inquiry I will be looking at how one can be considered to have one identity as people adopt various personas, in addition to which, my non-philosophical territory will be exploring psychological insights into why these roles seem necessary.
In considering R.D. Laing, it seems that one creates a false self in order to survive in society, and it is distinct from an inner self. Lyotard and Taylor propose that discussions are essential in order to find a sense of self; something to distinguish the self from others, however if one creates a false self to engage with others, what is expressed may not always be a reflection of genuine personal beliefs, as such the authentic self is being ignored in the pursuit to ‘fit in’.
Sartre’s account offers an existentialist approach, and by simply being perceived by the Other one is being given an identity which will differ from person to person due to changes in roles. In which case we have further reason to believe that there is no one identity one can appeal to for an understanding of the self.
To solve this dilemma, I aim to explore Levinas’ notion of the Same as the economy of the Same may be adapted to include social adaptations necessary to relate to the world and others.
Art enables us to interpret the world around us; just as Philosophy encourages us to understand our being in-existence. This project aims to discuss the way in which the art of theatre encourages us to reflect upon the world through a director’s recreation of reality upon a stage.
Heidegger’s notion of ‘being-in-the world’ and language in his work Being and Time, encourages us as beings to come to terms with the idea of Being, otherwise known as Dasein. From this, we are able to grasp the true nature of our existence.
I aim to pay close attention to the Artistic Director Sam Walters of the theatre in-the-round: The Orange Tree Theatre. Being-in-the-theatre is a process of entertainment, whereby as an audience we are faced with characters and scenarios that touch upon aspects of our own lives. Hence, there exists a fine line between forms of real life and the features of ‘make-believe’.
In order to connect the art of theatre with Heidegger’s philosophy, I aim to explore the concept of Being and art in his work The Origin of the Work of Art and Julian Young’s Heidegger’s Philosophy of Art, both of which consider and examine:
– The ‘origin’ of an art-work.
– The unconcealment of a ‘world’ via the metaphysical relationship between ‘earth and world’; shown through the Greek Temple.
– The notion of truth [Wahrheit] revealed through an art-work.
In order to test Heidegger’s thought on language, art and Being, I aim to discuss Alan Ayckbourn’s farcical creation of Taking Steps; a play that explores modern-day issues such as marriage and alcohol. As an audience, we recognise aspects of a ‘taboo’ subject-matter, but preserve our comfort-zone through laughter.
I aim to conclude, that through ‘being-in-the-theatre’ with Heidegger’s Philosophy, we essentially examine our world; and thus come to terms with the truth of our ‘being-in-the-world’.
For Levinas, the human being undergoes an ethical epiphany when it encounters the human Other. The subject, when faced by the Other, is commanded to respect it and care over it. A parent, when faced with the ethical presence of their newborn child, is called to rise to the responsibility and autonomy this human life demands…
16% of children experience serious maltreatment at the hands of their parents
The aim of this project is to explore ethical irresponsibility and the effects of abusive parenting. It shall argue that the experience of abuse distorts a child’s very structure of being. As such, the abuse victim’s understanding of themselves, their place in the world, and their relation to the Other is corrupted. This corruption can lead to difficulties in placing abuse within the construct of a coherent narrative identity. Similarly, it can effect a victim’s ability to appropriately relate to others as Other in later life.
It shall draw on texts from both Levinas’ philosophical discourse and cognitive research. To bring certain abstract concepts to life it shall introduce case studies of abuse victims.
My overall aim: To determine whether art can be free expression or whether it is always constrained by capitalism’s effects.
My objects: The works of; Antonin Artaud, Bertolt Brecht and the film Fight Club.
Philosophy: Heidegger, Vattimo and Adorno.
The concepts I wish to explore include…
Alienation – Does a film that can be bought and sold provoke, as a result, alienation from its message?
Truth – Can a work under a capitalist agenda still give us the semblance of truth? I will contrast Adorno with Heidegger and Vattimo in addressing this.
Is it necessary to adopt Artaud’s methods of enveloping an audience as described in The Theatre of Cruelty in order to freely express under capitalism? And is this compatible with Adorno’s critique of culture?
By the end of the work I will answer the question of the possibility of resistance of capitalism by art. I will have taken into account the postmodern views of Heidegger and Vattimo and contrasted them with the philosophy of Adorno. At the end I will have determined whether any of the artists mentioned have produced any works of originality or if, under capitalism, this is merely an illusion. I will also determine whether a film like Fight Club can be seen as original in its criticism of capitalism.
The object concerning my project is the comic book character The Comedian. In my project I want to investigate how The Comedian can be considered to be evil by conventional morality and yet referred to as a hero. The main objective of my project will be to argue that although the Comedian acts beyond conventional morality, his label as a Hero is very much deserved. He is the epitome of what a Hero should be and so beyond normal considerations.
In my project two other characters from the comic book will also be discussed, Rorschach and Ozymandias, both of which illustrate two alternative moral systems. Rorschach takes on Kant’s Deontological value system that argues for universal morality known as the categorical imperative. It is obvious in the end that due to Rorschach’s moral inclinations he is not able to function as person let alone a hero. Ozymandias on the other hand illustrates Mill’s concept of Utilitarianism. Ozymandias justifies his actions in killing millions of people by arguing that it is for the greater good. Is the sacrifice too great? If it is ever discovered what he did would he still be considered a hero? Both these moral systems are considered to be socially accepted conventions. However I will argue that although they may be acceptable for general society, it is inadequate for a Hero to use either of these moral systems.
Unlike the other “Heroes” Rorschach and Ozymandias, the Comedian’s value system is over and above conventional social morality, he is the creator of his own values. The Comedian accepts that life is absurd and that society is not as civilised as we think it is and so he acts accordingly as the hero we need rather than the kind of hero we want. The Comedian utilises Hegel’s concept of the right of heroes to be the lawgivers in an uncivilised time. They are granted the right to do whatever is necessary to establish a civilised society.
The Philosophers and concepts
Machiavelli – The Prince
Nietzsche – The Overman
Hegel – World Historical individuals
Kant – categorical imperative
Mill – Utilitarianism
– The Eternal Return
– The Rights of Heroes
– Nietzsche’s notions of culture
– Nietzsche’s formation of the self
– Foucault’s aesthetics of existence
– Foucault’s advancement and caring for the “self”
– Ethical advancement and transition
This project will determine whether the ideas of both Nietzsche and Foucault can be translated in to today’s contemporary 21st Century world. The lightning pace of technological and cultural advancement present in today’s society can be viewed as an ethical minefield, and therefore I question whether the two philosopher’s concepts of culture and ethical transition can help 21st Century society in any way shape or form.
In our society we are getting richer and richer and simultaneously less and less happy. Within my stage three project I want to explore how in modern life capitalism and the consumer culture has corrupted our values and as a result people are increasingly driven by an obsessive desire to define themselves by their earnings, possessions, appearance and celebrity. I want to show how this is responsible for the ever rising rates of depression and anxiety in England and America…
Heidegger’s analysis of boredom suggests that our lives lack personal meaning, and where there is a lack of personal meaning, capitalism creates all sorts of diversions and substitutes, mostly in the form of consumption. Through the work of Heidegger, I will reveal how our fundamental needs as beings are not being met. This endless pursuit of unfulfillable desires has created a profoundly impoverished emotional culture, subsequently we are no longer living authentic lives.
A study of the ways in which society has changed as the advancement of mass communication has occurred.
Can we think for ourselves today or is autonomy impossible in this world of unlimited influence?
History of Modernity
• Modernity
• Crisis of modernity
• Postmodernity
Aim: To discus whether we have the ability to be autonomous in society today or are we are too broadly influenced by mass communication.
Territory: various forms of advertising particularly focusing on online advertising today
Philosophical concepts: Marxist ideas of the prevention of uprising, Guy Ernest Debord ‘The Society of the Spectacle’, Jean Baudrillard “The Ecstasy of Communication”
Karl Marx: Here, fashion is nothing but ideological apparatus utilised by the capitalist system in order to manipulate the working class. I have linked these ideas with the collapse of the designer brand ‘Thomas Burberry’ whereby the infamous pattern was adopted by the lower class ‘chav’ and a decline in stature equated with a decline in sales. Deleuze and Guattari: I have drawn on the notion of ‘minor politics’ and art as a ‘becoming’. In a more positive sense, the punk sensation of designer Vivienne Westwood has, as an art form, generated a revolutionary community culture. There exists an issue that fashion is a trivial subject. I intend to challenge this misconception and show how this phenomenon can directly affect our society. I have further deconstructed the ideas of these thinkers and introduced the work of Hans-georg Gadamer, as offering an alternative approach and a distinction between fashion and taste.
In my project I shall explore whether Humanism would set out a better form of morality for the world. I shall examine this with reference to Pico Della Mirandola, who founded renaissance Humanism and who firmly believed that Humanism and Religion could live side by side, and Bertrand Russell, whose philosophy emphasises the importance of scientific empiricism. Humanism is a branch of ethical philosophy that aims to emphasise the importance of human beings being able to determine their own ends. Humanisms rejects the need for belief in religion, and prescribes the worth and dignity of all human beings. Humanists believe that beliefs come from our values, which are determined by our life experience. This life experience can be drawn upon and used to create morals that bring about the dignity of human being’s, and the use of empirical investigation to discover facts about the world around us. I will explore whether religion is to blame for religious hatred and wars. For my case study, I shall examine the religious war in Palestine, between the Palestinians and The Israelis, for occupation of the ‘Holy Land’. I shall explore whether this is a ‘just’ war and whether Humanists would call accuse this war of being unfounded and unjust. Furthermore I shall investigate how Humanism defines spirituality and morality without religious doctrine and whether following Humanism can be spiritual rewarding. I shall also explore: • The History Of Humanism • Life without God • Life without Religion • The Problem of Religion • Morality and ethics of Humanism
Do events in society affect artists in such a way that it is clearly reflected in their work, or is their work completely individual? In my project I look at the Abstract Expressionist movement, in particular Jackson Pollock. My main focus is the effect WW2 had on Artists in America and how Abstract Expressionism emerged as a result of it. I look into the government funding behind the movement and the postwar mood of society. Jackson Pollock is an interesting focus point because not only was he an alcoholic who suffered from depression but his art works, particularly his drip‐paintings, were extremely emotional and well documented. I centre my attention on the drip‐painting era because they demonstrate his connection with his art, his technique was controversial and the result seemed thoughtless and chaotic to some critics. To establish what is to be considered aesthetically pleasing, I will be looking at Kant, this covers how we perceive things as human beings and how our desires and preferences affect what we consider to be beautiful. To explore this idea I am going to focus on Kant’s concept of beauty, where he believes what we perceive as beauty, can be nothing other than subjective because it is the individual’s taste. In essence my project analyses art aesthetically, from both the artist and the people’s point of view. The influences surrounding artists at the time shows how art can be an inevitable result of mass emotion and therefore its popularity does not relate to how aesthetically pleasing it is.
Territory: Nursing. Object: The role of the nurse. Concepts: Informed Consent, Paternalism, Autonomy Change: The role of the nurse over time. Thinkers: Kant, Mill, O’Neill, Foucault, Gadamer. Questions I am going to Consider: Does the paternalistic role doctors and other medical professionals used to take have any ethical basis? Is the more recent move towards advocacy and partnership more ethical? Should informed consent be compulsory in every situation? Which is more important: autonomy or welfare? Sources: Mill, J.S., On Liberty, 1903, London: Longmans, Green and Co.; Gadamer, H-G., Truth and Method, 1975, London: Continuum; Gillon, R., Philosophical Medical Ethics, 1985, Chichester: Wiley; Fairbairn, G. and S. (ed.), Ethical Issues in Caring, 1988, Aldershot: Gower Publishing Company Ltd.
Inspired by the 1980’s setting of Alan Moore’s epic superhero tale, Watchmen, we consider reason and its practical application for the purposes of generating an ideal society. How ideal do we find such a setting? Has utopia been achieved? And if not, what hinders such progress? We centre on Kant’s philosophy which considers the realisation of Utopic conditions via applied rational thought, contrasted to Hobbes who considers the nature of man before rational application. Furthermore, if utopia is desirable, what would be the means to achieve such? To consider such we turn to the Utilitarian actions of Ozymandias!
The films ‘Pierot le Fou’ and ‘La Chinoise’, directed by Jean-Luc Godard, can be said to demonstrate ideas and principles associated with the situationists. These include the society of the spectacle, commodification, and an overall idea of spontaneity. The society of the spectacle is an idea that was developed by Guy Debord, the leader of the situationist movement. It means that our modern society (post-Second World War) governs the lives of its constituents. One can no longer live freely and directly, but is lived through by the mass media. This ties in with the idea of commodification, whereby everything we know has a monetary value set upon it. We cannot help but view everything in this way, and we constantly desire these commodities. The ideas of Guy Debord have origins in the ideas of Hegel and Marx. Firstly, Hegel’s idea of Mind had a particular impact on Debord, as it did on Marx. Hegel claimed our individual minds are connected to the universal Mind. His ‘Phenomenology of Mind’ traces the Mind from a state of consciousness (but unaware of its universal nature) to self-consciousness, or self-awareness. Similarly, when we come into the world, we have consciousness but not self-consciousness. We are given ideality for our consciousness to find meaning; we must “realise this ideality” in order to reach self consciousness (Hegel 1979).
Marx, and other Young Hegelians, converted Hegel’s universal and transcendental Mind to ‘Universal Mind’, meaning the collective of all human minds. Now the story of Mind becomes “path to human liberation” (Singer 1980). Marx also used Hegel’s critique of religion as alienation. The ideas of Feuerbach and his grounding of Hegel’s ideas also intrigued Marx. Feuerbach inverted Hegel’s philosophy, making the finite world the origin of philosophy, but keeping the idea of religion as a cause of alienation. Marx then applied the same inversion to Hegel’s political philosophy. In his publication ‘On the Jewish Question’ he states that it is not the fault of the Jews if they covet money, but of society. Society should be changed in order to eradicate such suffering. We now see the shift from religion to society and money as the chief causes of alienation. This had great impact on Debord and his idea of commodification. He claimed that only by living authentically, by taking one’s life back from the spectacle can one break the fetters of commodification and the alienation caused by money. These ideas are portrayed in Godard’s films, particularly Pierot le Fou, as Pierot and Marianne reject all material possessions such as clothing, cars and money, all things the spectacle seems to tell us we need on a regular basis. There is also spontaneity in the films, as the script does not flow as it would in a typically modern film, but changes between subjects and contexts, often making little sense at all. This is to awaken the audience to the idea that they do not have to adhere to conventions. By contrast, modern films such as ‘American Beauty’, directed by Sam Mendes, does adhere to such conventions, as it is a film that attempts to portray situationist ideas, but fails. It seems the ideas themselves have been made fashionable and swallowed by the spectacle.
For my stage three project I have decided to explore the industrialisation of death in our current society. My examination begins with a look at the gradual change in the perception of death, from the classical age to the modern day. By taking a genealogical approach to this historical change I am able to identify the specific reasons for these changes and reflect upon what significance these changes have on the perceived meaning of death. Beginning with the role in which death played in the Classical Age, I examined how death was once understood as a harsh reality of life to which everyone was made aware through events such as the bubonic plague and the limitations in medical knowledge. After which I explored the gradual development of anatomical pathology in the modern age and the effect that demography, pathology and sociology had and currently have on how death is now approached. In particular I looked at the importance that has been placed on defining death in terms of its physiological cause and the implication that this definition has on each of the specific areas of study I have mentioned. By understanding the changes that have occurred between these two points of history, I highlight the key issues that are involved in the industrialisation of death and what exactly this means in relation to our individual approach to death and our common understanding.
Following this I introduced the philosophical theory of Martin Heidegger and his explanation of death in relation to his phenomenological task to uncover true meaning in ‘Being and Time’. By setting out a brief explanation of how Heidegger attempts to understand the meaning of being in general through human experience, I examine the significance that death has in making possible the discovery of true meaning. From this I moved onto Heidegger’s later work, ‘The Question Concerning Technology’ and his thought on the role of technology in the pursuit of understanding being and the distinction he makes between authentic and inauthentic perception. It is at this point where I applied the issues I raised, in the study of my concept, to Heideggerian theory and translate what effect the industrialisation of death has had on the authenticity of understanding the true meaning of death in the modern day. In conclusion I offered a personal insight to my opinion on the impact that contemporary society has had on our perceived meaning of death and what significance this has to our eventual confrontation with death.
Object – Popular music. • I shall study Schopenhauer in order to establish how ideas concerning music have changed over time. • For Schopenhauer music is a good, an end in itself. • Music is set aside from all the other art forms, it does not simply manifest the ideas of the will but is a direct expression of the will. • Music is the key to suspending will for a moment through an aesthetic break from everyday pain. Adorno. • Popular music is an instrument for another good instead of an end in itself. • The function of the culture industry is ultimately to organise leisure time in the same way as industrialisation has organised work time. • Customers of musical entertainment are themselves objects of the same mechanisms which determine the production of popular music. Their spare time serves only to reproduce their working capacity. • Work leads to mass culture and mass culture leads back to work. Popular music is standardized, and in order to conceal this standardization, the music industry engages in pseudo individualisation. Thus listeners are kept inline by making them forget that what they listen to is already pre digested. Problems with Adorno. Popular music has changed a lot since Adorno who was writing in 1941. Is it still as monolithic as he would have us believe? Does pseudo individualisation really explain things like the advent of rock and roll in 1956, the emergence of The Beatles in 1962 or punk rock in 1976? Popular music from Adorno onwards. Rock and roll as religion – a good in itself. Robert Pielke suggests that rock and roll is most properly understood as a religion that has created a transformation in culture. He compares the 6 characteristics of a religious experience presented by Rudolf Otto with feelings generated from listening to rock and roll or attending a concert. Charles Pressler and Derrida’s outline of ‘The Colossal’ The awe-inspiring concept that rock and roll presents is ‘the colossal’. The presentation of ‘the colossal’ is like an enabling energy that allows a new set of values to be taken onboard by the rock and roll audience.
My key point is to look into the fashion trends of Vivienne Westwood, I shall concentrate on the era of ‘Punk’ where Vivienne Westwood and Malcolm McLaren played a vital role. I shall compare this with the Philosophy of Georges Bataille who had an obsession with obscene things such as Human Sacrifice. Concentrating mainly on his Base Materialism and his writing’s Eroticism and Story of the Eye. Punk……. • Punk first emerged in the mid 1970s in London as an anarchic and aggressive movement. About 200 young people defined themselves as an anti-fashion urban youth street culture. Vivienne Westwood is often cited as punk’s creator, but the complex genesis of punk is also found in England’s depressed economic and socio-political conditions of the mid-1970s. Punk was as much a youthful reaction against older generations, considered oppressive and outdated, as a product of the newly recognized and influential youth culture. Creative and entrepreneurial people, such as Westwood, often contribute to an aesthetic that brings a sub cultural style to the forefront of fashion. Bataille…. This image of a torture victim from Taiwan fascinated Georges Bataille. He thought that “the expression on the man’s face is the ecstasy of sexual pleasure”. Georges Bataille believed, as Hegel did, that ‘history is dead’ that we need to come up with new and exciting ways to take society forward to a new way of living because as it is now it is boring. He believed that the key to this was through art, shocking people into change.
Territory: I chose to consider the use of nanotechnology and drugs when applied to living organisms, more specifically humans, to increase the average life time and explore the ethical implications that may be associated with it. Aim: I intend to explore the socio‐economic effects of a society in which all individuals or a select group have an extended life span, from anything between an additional 50 years of life up to, theoretically, several hundred or even thousands! At the end of my study I intend to consider if such technology can be applied, if it should be applied and in what capacity. Concepts: I shall be considering the philosophical dilemmas presented by specialist scholars in the field of my study as well as deliberating issues I have considered myself. To help me consider these issues I shall apply the philosophies of Mill’s Utilitarianism and Nietzschean thought to see if either, both or neither can agree on specific aspects of the study.
This project began with Bill Drummond’s poster, Notice. For Drummond, the digitization and instant access to music through the internet has rendered recorded music a dead art form. To try and understand Drummond’s perception, I have chosen to examine three moments where technology had altered musical production and dissemination: – (1) The birth of notation. (2) The advent of file-sharing software such as Napster. (3) The rise of house music and ecstasy culture where DJs perform using recorded music. Throughout, I have used Deleuze and Guatarri’s A Thousand Plateaus as a conceptual tool-kit. Drawing on their notion of the rhizome, faciality, the refrain, becoming-imperceptible and micro-politics I have attempted to understand both these three movements and develop an approach to music itself. In order to cast some light on Drummond’s perception of recorded music as a single, irrelevant genre, I have turned to Adorno’s conception of the culture industry. Through Derrida’s Dissemination, I have attempted to show that the dichotomy between recording and performance cannot be sustained and that the musical experience returns the listener to the play of differance.