Outline: I aim to explore the concept of anxiety, loss of meaning and absurdity of life as presented within “Existentialist” narrative. In evoking these ideas from specific novels I will analyse them more precisely with relation to Martin Heidegger’s concept of anxiety. Territory: In particular I will be studying Jean-Paul Sartre’s Nausea, Albert Camus’ The Outsider, Fyodor Dostoyevsky’s Notes from Underground, and Leo Tolstoy’s A Confession. In examining these texts I hope to explore how the idea of loss of meaning is presented and focus particularly upon the individual’s coming to terms with the absurdity of life. Philosophical Material: The philosopher that I have chosen to focus on is Martin Heidegger and particularly his concept of anxiety within his work What is Metaphysics? Here Heidegger produces an account which indicates how the individual is able to think about and question their own existence and how, through the state of anxiety, they are able to reflect upon “the nothing” that appears on their horizon of thought. As well as analysing What is Metaphysics? I shall also use Heidegger’s Being and Time, On the Essence of Truth and The Origin of the Work of Art to indicate the significant role that this concept of anxiety plays within his greater philosophy. Where Heidegger builds upon a philosophy considering the individual I shall also look at the work of Emmanuel Levinas, who concentrates on a more social philosophy, in order to bring contrast to Heidegger’s thought. In his struggle to come to terms with a finite existence Leo Tolstoy was torn between suicide and religion. The struggle of the individual’s existence is the concept that lies at the heart of my project.
Category: Stage 3
Territory: The territory I have considered in this project in order to understand the changing nature of identity is that of advertising in contemporary society. I have explored the history of advertising, the psychology of advertising and some advertising techniques that are used by companies to persuade. Concepts: The key concepts I have engaged with in this project are: – Loss of agency -Fragile nature of identity -Identity given by society -Identity in flux. Key questions I have engaged with are: -How is our identity formed in modern society? -How has it changed over time? -What are the influential factors on identity? -How do advertising agencies target individuals? -What methods do they use?
This project is an investigation into the discourse of advertising in our contemporary late capitalist society. This study shall attempt to assess the role advertising plays in manipulation of the masses and its relation to mass media in capitalist society. My aim is to assess whether advertising is a central tool of deception in the commodity driven culture of capitalism Advertising has changed dramatically since the time of the industrial revolution. The division of labour and the beginning of mass production due to the industrialisation that has created far more of a ‘need’ to advertise and stay one step ahead of competitors. This I would stipulate is due to the onslaught of late capitalism, globalisation and commodity infatuation of the consumer. Ongoing advancement in technology has created an environment in modern society by which there are more and more means of mass broadcasting. The industrial revolution was the catalyst for this. The use of advertising has metamorphosed from a simple presentation of information on a product to the public in a manner to inform of use and content of a product; to an ambience creating, aesthetic tool merged with mass media creating a barrage on the senses. Branding and heritage of brand has outplayed use, image out mustering purpose The end product of Advertising’s growth through the mass media is its immanence in society, and its ability to shape the ideas and behaviour, as well as formation of self of the individual.
Territory: Graffiti. Object: Graffiti Art. Graffiti as an art movement and global phenomenon, originates in the early 1970’s in New York City. The unique dynamics of the city gave rises to an artistic battleground of expression in a cultural climate of alienation and class divide. As the youth at the heart of American capitalism struggled to gain recognition, the graffiti subculture was born. Using unconventional mediums and the alternative canvas of the urban landscape, graffiti, enveloped the city, the nation and eventually the entire world. Philosophical Concept: Heidegger- The Origin of the work of art. Heidegger’s intent is always to bring us closer to the understanding of Being. Art in its origin, is art; the happening of truth of a people’s historical existence. Great artworks in the current tradition of aesthetics are ripped away from their essential truth when classed as objects to be judged and experienced in pleasure, losing their authenticity and ability to ‘set-up’ a world and ‘set-forth’ the earth. Graffiti’s philosophical relevance: The Truth of Being. Graffiti writing rose out of a particular ‘world’, a horizon of disclosure dominated by capitalist alienation. The struggle of the youths in New York City was a battle of resistance to authority and conformity that led to an artistic battle of expression. In graffiti’s expression, the ‘world’ of the American culture is opened up, the ‘earth’ rips through this ‘world’ in the form of undefined and sublime images of the New York subway trains, taking us out of our everyday world and reminding us of other existing realities. We forget the mysteriousness of truth in its dual essence of aletheia, and the works of the original underground graffiti movement disclose this struggle of world and earth; the truth of Being. It is this struggle that graffiti writers sought to sustain in their works, therefore, graffiti did not originate from art but rather from the truth of a people’s historical existence; the historical truth of being.
Yves Klein produced over one thousand “works” during the seven year period he devoted to painting. Although he is most commonly associated with his monochrome canvases (leading the patenting of his own International Klein Blue; IKB), Klein’s work is not abstract but conceptual. However prolific, his production was not the end goal of his efforts, but rather only an “interval” in his spiritual accomplishment; the quest for pure sensibility; the quest for the void. Klein fought all his creative life the “French defect” (as his role model Eugene Delacroix first spoke in his journals) the obsession with line, compositional prison bars of our own contrivance that delineate and concretize existence, drawing boundaries for our emotional and spiritual life. His works are a final and fatal wounding for painting-the impossibility of painting thereafter. This project is an attempt to chart the aesthetic progression of his painting towards the immaterial and the revelation of the artistic project situated in the quotidian. A pictorial quest for ecstatic and immediately communicable emotion; the painting of a future anticipated in the present.
In this project I examine the working class in Britain and compare the conditions that they have to work in the time of Marx and now. My main objective here is to show that the working class exist as a class and a narrative, and to disprove Lyotard’s famous claim that we no longer through narratives. I intend also to show that capitalism is unfair and that it is not a system that the working classes can benefit from. I provide a solution and conclude that through Vattimo’s philosophy of pluralism, and Lyotard’s theory of language games, capitalism can be destabilised, which would therefore help the working class. Habermas is briefly explored with reference to his claim that ‘modernity is dominant but dead’. In this sense modernity can be compared to the values of the working classes today, as research shows their values to be dormant in the postmodern society. Research for this project involved concentrating on the ‘White Season’ this spring which the BBC2 produced. The ‘White Season’ aired programmes about the working class today, and how times have changed. There is also an array of class reports and books that I focus on as well, and to explore my territory of class conditions in Marx’s era, I looked at in depth The Conditions of the Working Class in England (1993) by Engels. To apply philosophical concepts to my project in order to prove influence, I looked at Vattimo’s The Transparent Society (1992), and Nihilism and Emancipation (2004), Lyotard’s The Postmodern Condition (2005), and The Communist Manifesto (1973) by Marx and Engels, amongst others. I feel that my project is of wider importance because I am exploring the effects that the capitalist system has on the class system, and this is a factor that can affect everyone. On completion of this project, my knowledge of the working class and the philosophical concepts I applied to it is greater, and more accurate than before.
Aims. The main aim of this project is to look at the topic of capital punishment and determine if it is a viable form of punishment or if it is simply inhumane. I will look at and consider the methods used and look at religion and determine if a society is responsible for allowing or not allowing capital punishment as a method of punishment. I will also look at how society has changed over the years and determine how this has influenced the perception of capital punishment. Concepts. Primarily I will look at the topic of capital punishment and I will consider the work of Durkheim and his views on society. I will also use Nietzsche as my secondary philosopher and I will consider his works on ethics. Although ethics will not be the main focus of this project I feel that I am unable to discuss capital punishment without using ethics in some part. I may also use some Enlightenment work to justify or oppose the use of capital punishment. Sources. I intend to use a wide variety of sources for this project including both primary and secondary texts. I will use both Durkheim’s, ‘The Division of Labour in Society’ and Nietzsche’s ‘On the Genealogy of Morals’ and ‘Beyond Good and Evil’. I will also use some journals and also look at works by Rousseau, Rawls, Lyotard along with Roger Hood’s book, ‘The Death Penalty: A Worldwide Perspective’. The internet will also provide invaluable when researching capital punishment.
Since the beginning of man, the question of what happens to us when we die has been one of the fundamental questions of ‘life’. It seems to be up to the individual as to what one believes the answer to the question is, and these beliefs vary widely. From those who believe in a definite happening after we die, to those who believe nothing happens, from those who believe we can’t possibly know, to those who believe we could find out before we get there. In this project I will look at different beliefs in the afterlife, whether religious, atheistic, or agnostic and try to see how possible it is to know what happens to us when we die, and whether people’s beliefs are based on fact, fantasy or faith. I will discuss a number of different views of the afterlife, outlining the fundamental attributes of each belief, and evidence for holding such beliefs. I will also discuss the ritual surrounding people’s death and how important these are to the loved ones of the deceased and how they vary depending on what one believes happens after death. I will also examine why people hold these views of the afterlife and how strong these views are and how they affect the lives and deaths of the believers.
The perspectivism that allowed modernists to enlarge and emancipate ideas within one single and complex reality has been lost to a fragmentation of many realities that both coexist and collide within a single framework. Where, on one hand, modernists can be accused of using individual ideals to achieve communal emancipation, the postmodernist shift has meant that these have become so fragmented and ambiguous as to be lost within their numerous realities. We are experiencing a “crisis of Enlightenment thought” the very notion from which it was born. Either Postmodernism exists as a radical break from Modernism, or it is simply a revolt within itself: to a particular type of high Modernism. Questions whether it has revolutionary potential by virtue of its juxtaposition to all forms of meta-narratives, or if it is simply the commercialisation of Modernism. The central aim in my project is to use architecture as a metaphor for understanding the current shifts in the subject and knowledge. I will use Jameson to underline the Marxist structure of commoditization and fetschization of architecture, countering that with Derrida and Deconstruction. Primarily I want to attempt to understand the shift which has occurred within the subject within its global capitalist surroundings. Thinkers: Habermas, Lyotard, Jameson, Derrida, Deleuze
Territory: The Collapse of the Soviet Union. Theorists: Kant, Hegel and Fukuyama. Philosophical Concepts: Universal History, End of History and Progress. Within this project I have discussed the idea that the collapse of the Soviet Union has brought an end to history. This was the theory put forward by Francis Fukuyama in his 1989 Article ‘The End of History.’ This idea is rooted in the idea of a universal history, it does not suggest that there is an end of events, it suggests that the development or evolution of society has reached its final phase with the Capitalist Liberal Democracy. Fukuyama relies on Hegel for much of his inspiration, the evolution of society follows Hegelian Dialectics, essentially a thesis being overturned by an antithesis, then a synthesised thesis is produced until another antithesis is created. For Kant history is bounded in morality, progressing from a state of nature towards a universal cosmopolitan state. Kant believes that man’s asocial sociability forces the individual to develop towards civilised society, ultimately allowing freedom under external laws within a republican constitution. I have looked at this idea of Kantian Progress in relation to Gorbachev’s restructuring (Perestroika) of the Soviet Union. Progress can also be seen looking at the development of political systems, towards a system which values the autonomous individual, and believes in representative rule of the people.
Territory: Capital Punishment using ‘Ted Bundy’ and ‘The Life of David Gale’ to explore arguments for and against this form of punishment. Personalised Content: The discussion of these films is supported by information that has appeared in the media after the execution of Saddam Hussein, which has brought capital punishment back into the society’s consciousness. I have noticed a change in attitudes towards capital punishment and a trend in the reasons why it has gathered support. The threat of terrorist attacks and the increase in violent crime in society has brought about increased support for the death penalty. Prior to 2001 it was generally found that people opposed the death penalty on moral grounds, however it is now gained the greatest amount of support in recent history. The increase of support surrounding the death penalty has brought about further ethical implications, including discussion of methods used and debate over whether criminals should be allowed to die with dignity. Philosophical Content: I was interested in considering how certain ethical theories would link with capital punishment, in particular the theories put forward by Kant and Mill. I wished to link the films used to one of the theories in order to gauge whether they assisted in supporting or rejecting the particular standpoint. I linked ‘The Life of David Gale’ to Kant’s view outlined in his ‘Groundwork to the Metaphysics of Morals’ and found that the film just reinforced Kant’s view that it is acceptable to use capital punishment as a form of retribution. The argument in ‘David Gale’ is against capital punishment, but is so weakly constructed that it only assists in showing the strengths of Kant’s work. ‘Ted Bundy’ was linked to Utilitarianism as at the end of the film we see a celebration at the death of a serial killer, showing that at times capital punishment may produce the greatest happiness for the greatest number,
To explore noise and its theoretical underpinnings. Drawing on the work of Deleuze and Guattari, I wish to argue that noise appears as a perpetual deterritorialization of music. Over the course of the twentieth century there arose an increased difficulty to distinguish music from its counterparts of silence and noise. It was not until Luigi Russolo’s 1913 essay The Art of Noises that noise was encouraged to be used in musical composition, consequently liberating musicians from the antiquity of harmony and rhythm which dominated musical discourse for centuries. Noise today can be found permeating numerous musical acts. However, my intention was to examine those artists whom present noise with no melodic retrieval, who remain with noise as noise. My main referral was the work and philosophies of Masami Akita (Merzbow) a quintessential figure within noise music. Attali suggested that music, the codification of noise and silence “prefigures new social relations.” Likewise, I wanted to examine noise as a possible marker of temporal and cultural difference. Territories and Change: Drawing on the work of Deleuze and Guattari, I argued that noise is a perpetual deterritorialization of music. Capitalism brings with it both restrictions but also the possibility to escape such restrictions. Just as the human is encouraged to live creatively within capitalism, noise artists likewise attempt to exist creatively within music, challenging conceptions of how music is to be defined and created. That is, noise artists such as Merzbow trace lines of flight in an attempt to resist stratification. In this sense I also examined noise as an example of a smooth space and a rhizome. Noise however cannot escape musical strata entirely; rather it remains within music, forever on its periphery challenging what it is we define as music. It thus seems that the ethos or idiom of noise is dependent upon musical strata. Noise therefore must remain within music as extra-idiomatic, that is, a sense from within music that it is uncontainable. In examining noise as a perpetual deterritorialization of music, I was examining a change in musical conceptions as they have been hitherto and as they may come in the wake of the possibilities opened up by noise.
Lenny Bruce was a controversial American comedian in the 1960’s. He spoke about sex, religion and what it is to be obscene. It was not just the content of Lenny’s act that was thought to be obscene it was also the language he used. As a result of this he was charged with obscenity. This project looks at Lenny’s work and whether he was obscene or whether he was a moral philosopher. He claimed that had the court allowed him to see his work in context and allowed him to perform his act as evidence they would not find him obscene. His act was instead read out by a policeman or written down and used as evidence. However is there a distinction between speech and writing? Is context singular? Is what is obscene a fact or just an interpretation? Looking at the change in views on the binary opposition of speech and writing from Plato to Derrida this project will discuss whether had Lenny been allowed to perform his act in court would the decision of the court been different.
TERRITORY: The exploitation of animals in genetic engineering. CHANGES: * Advancements in technology and therefore genetic engineering. * Attitudes towards illness and genetic defects. Potential changes: * Media hysteria towards genetic engineering. * The world as we currently know it to be. CONCEPTS: Ethical theorists – Peter Singer and Donna Haraway. Plus briefly also including; eugenics and the teachings of; Green-Peace, Catholicism, Judaism and Buddhism. Throughout my project I analyse the different forms of justifications offered for exploiting animals including; 1. Efficiency and practicalities. 2. Gaining knowledge and understanding. 3. Improving the environment. 4. Improving the human race. 5. Medical advancements. I offer examples for each of these justifications taken from Channel Four’s three-part documentary ‘Animal Farm’ broadcast on 19/3/07, 26/3/07 and 2/4/07. These justifications are juxtaposed with the work of Singer and Haraway, I also offer brief assessments of genetic engineering by; the philosophy of Eugenics, Green-Peace, Catholicism, Judaism and Buddhism in order to assess whether or not the exploitation of animals in genetic engineering can be justified.
Objectives. It is my intention to demonstrate in my essay that colonialism still takes place across the world today, and that it finds its foundations entrenched firmly within the same prejudices which were used to justify the type of colonialism typical of 19th century Europe. For this purpose I will concentrate my investigation upon the most notorious and long-running of available examples; namely, the Israeli-Arab conflict and the Israeli occupation of Palestinian territories and the Palestinian people. As well as showing Israel to be a Western colony of the oldest and most classical type, Israel can be seen as a colony not just for its own sake, but as part of a wider Western “project” and belief system. Concepts. All of the above investigations will be conducted after an introduction to Foucault’s conceptions of Discourse and Power, which will themselves be applied to the investigation, as I believe they aptly provide an explanation for everything that has taken place regarding Palestine since the 19th century. I will also be depicting this narrative as part of a larger, even global Discourse. Sources. I will use Edward Said’s book Orientalism to explain how, in Foucaultian terms, a contrasting image of the East as opposed to the enlightened West was created over centuries until it has reached its current form which allows the West to justify the colonization of the Arab world, several books by Foucault, including Madness and Civilization and Discipline and Punish. This will be accompanied by a scrapbook containing translated Israeli newspaper articles which will be referenced in the main body of work in order to support my claims regarding the workings of Israeli media discourse in perpetuating the above beliefs. Articles will refer not only to political events reflecting the reality of Israeli society’s perception of itself and its Arab population; they will also be used to illustrate the way in which the media in Israel contributes to Israeli colonialism through its irresponsible (and at time perhaps deliberate) use of everyday words and concepts.
Aims and Objectives • To being by establishing and exploring the shift towards Capitalism and more importantly, how and why it came about. • To show, through the work of Deleuze and Guattari, how MySpace is a product of Capitalism. • To illustrate how and why society has changed with the production of MySpace. Overview of Territory: MySpace is a social networking website which consists primarily of an interactive, user-submitted network of friends. The site consists of personal profiles with photos, music, videos, and blogs, attracting a billion page views every day. The company consists of over 106 million accounts and gains over 230,000 new registrations a day. MySpace is currently the fifth most popular English speaking website in the world, while 82% of online visits to social networking websites are made to MySpace. Key Change: The redistribution of labour with the move to the city saw a new emerging middle class with the bourgeois controlling the factories and their profit. The old hierarchy and values of the feudal system are replaced by money which operates as the universal source and bearer of all value. The emerging economic system of a world where money is the centre of social organisation is Capitalism. Capitalism creates desire in a fundamentally unpredictable way in a society where fortunes are made and lost. Through the use of marketing and advertising, Capitalism is able to unleash desire and channel it towards our fixation with money itself in a society structured around the capacity to earn. Philosophical Concepts To Be Explored • MySpace as a rhizome • Pre-personal desires • The processes of deterritorialization and reterritorialization • The major and minor movements • Identity. Sources: The Key source for my investigation will be Deleuze and Guattari’s A Thousand Plateaus. In addition to this, I will refer to Capitalism and Schizophrenia.
Aim: To analyse whether or not the internet can be said to form a functional rhizomatic system and from this analysis to discuss what this implies for the future management or control of the structures that exist therein. Sources: Deleuze and Guattari – A Thousand Plateaus and Anti-Oedipus, Manuel Castells – The Internet Galaxy
The main focus for this project will be on the work of Michel Foucault (see photo), looking at sexuality in terms of the discourse and power structures which have created and moulded it. Ultimately, I wish to use sexuality as an example of discourse which permeates our deepest pleasures and desires. These desires in turn are what create our identities and govern our relationship with the world. There is therefore a need to differentiate between animal (or biological) desire and social (or discursive) desire, the former being the framework within which the latter exists. Foucault’s work stresses the importance of our awareness of discourse and the violence through which it is enforced and subsequently the need to live with a critical attitude which he calls ‘the art of not being governed.’ Bibliography: Michel Foucault – The History of Sexuality: 1, Didier Eribon – Insult; the Making of the Gay Self, Georges Bataille – Story of the Eye, Deleuze and Guattari – Anti-Oedipus, Destricted (DVD)
Chomsky maintains that children acquire language due to the principle of Universal Grammar. The child responds to the evidence in his or her environment and creates a core grammar. Children are open to acquiring any human language but ends up acquiring one in particular. Chomsky’s Projection Principle, Binding and Government principles are innate structures within the language faculty in the child’s mind. These principles are reinforced with what the child hears in his or her environment and are present from the beginning of their life. Rather than the child going through a learning process to possess these principles, it is more the case that they are applied; the child’s grammatical competence automatically incorporates them. By contrast, Foucault maintains that discourse is a regulated set of statements and refers to a set of unwritten laws and practices. Foucault distinguishes between discourse and reality—’discourse’ is a system through which we perceive reality; the term can by no means be substituted for the term ‘language.’ I have divided my project loosely into the following chapters: Background, aims and evaluation of the National Literacy Strategy — has the NLS changed in the period 1996-2006? Has it achieved its aims? How is the NLS implemented at Key Stage 1? Is it effective for children with S.E.N? Chomsky’s language acquisition and his idea of Universal Grammar, versus theories that language is acquired through social interaction — which is more convincing? Are Chomsky’s ideas of Universal Grammar relevant today? What would he say about the NLS as it is used today? Is Foucault’s discourse consistent with Chomsky’s ideas? Is Foucault useful when dis- Some primary literature I have used: Chomsky, N. Reflections on Language (1976) Pantheon Books: Great Britain; Chomsky, N. and Foucault, M. The Chomsky-Foucault Debate on Human Nature (2006) The New Press: New York; Chomsky, N. (Ed. N. Anshen) Knowledge of Language: Its Nature, Origin and Use (1986) Praeger Publishers: New York; DfEE The Implementation of the National Literacy Strategy (1997) Government Publishing; DfEE National Literacy Strategy: Review of Research and other Related Evidence; Hardman, F., Smith, F., and Wall K. An Investigation into the Impact of the National Literacy Strategy on the Literacy Learning of Pupils with Special Educational Needs in Mainstream Primary Schools University of Newcastle Upon Tyne
Modern art is generally understood to be any art created between the late 19th century and the 1970s. Following the emergence of photography, art was no longer needed as direct representation so artists turned to abstraction and experimentation. Modern art is a blanket term for all artistic movements in this period, as well as the avant-garde. Postmodern art is generally believed to be in some way opposed to an aspect of modern art, experimenting with genres, cultures and mediums not previously considered. It is art following modern art, and some areas of contemporary art. It accepts past styles and traditions, unlike modern art, as well as embracing new media. Lyotard did not distinguish modern art and postmodern art in the traditional way described above, he believed that postmodern art was always at work within modern art; it is the avant-garde in all its forms, it is whatever is new and progressive about modern art, forcing it into new territory. He therefore said that something must be postmodern (new and disruptive) before it can become modern (acceptable). Although the postmodern eventually becomes the modern, it never entirely loses its ability to shock and disturb. He believed that modern art showed us that the unpresentable exists, while postmodern art attempted to present it. This paradoxical task leaves in the viewer a mixture of pleasure and pain, known as Kantian sublime. Lyotard thought the ultimate task of art to be presenting the unpresentable, which is fulfilled by the avant-garde, in which matters of taste and public opinion simply aren’t important. The sublime is the feeling when the imagination is pushed to the limit, causing pain as the individual is faced with something beyond them, which they have no control over and are faced with their true position in the world. Pleasure follows this as our reason reasserts itself and we become aware of the superiority of human reason over perception. The mathematical sublime is when we are confronted with an object unbelievably large, so we cannot see and comprehend it as a whole. The dynamical sublime refers to our confrontation with something far more powerful than us, in which case we are aware of our own mortality and insignificance. Having looked at Lyotard’s postmodernism and postmodern art in detail, with both Lyotard’s examples and my own, I will conclude with a brief examination of the works of Anderson and Jameson, as they provide arguments both for and against Lyotard’s work, taking their own examples to illustrate points made.