Territory: Branding (the world’s largest include Coca-cola, Microsoft, IBM and Nokia) Philosophy: Existentialism, notably that of Jean-Paul Sartre(1905-80), (right). The aim of my project is to explore the world of branding and assess the relevant applications of existentialism. I shall examine how an investigation into existential freedom can reveal new and intriguing insights into the world of brands. I consider the significance of branding to my own existential freedom, (and issues including brand loyalty), asking such questions as: In what way does branding affect my freedom? Is my freedom diminished by brand loyalty? Is brand loyalty merely a symptom of existential freedom; perhaps an inevitable outcome in light of the vast choice offered? Is it a safe option, to avoid anguish and anxiety over my freedom, to choose the big brand? Through investigating our everyday existence, I hope to explore, the relationship between ourselves, our freedom, and branding. I aim to develop these ideas through the work of Jean-Paul Sartre, and existential philosophy, which itself has undergone considerable change, from its birth to its present-day form. However the most important element of change, that I discuss in my project, is the movement from my own existential freedom in relation to brands, to the existential freedom of the brand itself –an existential brand/’brand existentialism’.
Tag: Sartre
TERRITORY: Lost In Translation. Sofia Coppola’s beautifully written and emotively shot film Lost in Translation contains many themes that are very pertinent to philosophical discussion. The isolation of the leads Charlotte and Bob (Scarlett Johansson and Bill Murray) is palpable, enhanced to moments of hystericization in the mise-en-scene. The film follows the tentative growth of the protagonist Charlotte and the unhappily married film star Bob. CONCEPTS: Deleuzian film theory Sartrean theory of the imagination Deleuze’s analysis of film views it as a consciousness. I aim to attempt to analyse my territory in such a way. I will also attempt to analyse Acts of Faith a film for the Short Film Society in this manner. I hope that this will lead to a more profound understanding of the philosophy of film. A new way of broaching the territory without recourse to classical analysis. PRIMARY SOURCES: Deleuze, Gilles, Cinema One, 1986; Deleuze, Gilles, Cinema Two, 1989; Sartre, Jean-Paul, The Psychology of Imagination, 1972
Outline of Place: What is and what makes a person an ‘outsider’? An investigation of selected ‘outsiders’ with reference to and analysis of Albert Camus’ Outsider and The Rebel, Jean-Paul Sartre’s Nausea, theory of existentialism and the sociology of deviance; why some people choose to be outsiders or rebel against society. I will be looking into the reasons of why some people simply cannot be part of society. Typical outsiders keep to themselves; they are existentialist types and stay out of people’s way, looking out mainly only for themselves; refusing to be emotionally attached in any way. Camus’ character Meursault, in The Outsider, has the mind and curiosity of a child, he does not understand the rules of life, he does not act accordingly as people would expect one to act in society. He cannot however get away with it like a child could; the distraction of things in a room is overpowering when he should be listening to people and behaving a proper way. He is condemned for this and sentenced to death, as he is unwilling to pretend any emotions or defend himself with little white lies in the court of justice. One must however not compare this to Socrates, who refused to deny his beliefs for the sake of life; it an absurd attitude this outsider has towards society that inevitably dooms him. Aim: This project will be a piece by piece report and examination of these selected texts, with philosophical reasoning applied as to why these outsiders simply do not fit into society and are not considered to be the norm. Their thinking and mentality will be examined; what exactly this indifferent, unsocial attitude signifies and why it is this way. Answers to absurd behaviour and this completely different perspective of life will result through this investigation. Criticisms by and for authors will feature as well as points of views. References: Main Texts: Camus, Albert The Outsider & The Rebel, Sartre, Jean-Paul Nausea & selected texts on Existentialism, Analysing Texts and Commentaries: Becker, Howard Outsiders: Sociology of Deviance, Thody, Philip Albert Camus 1913-1960, Wilson, Colin The Outsider, A selection of definitive websites will be used also.
Contribution to the book of change: Aim To show there is a link between philosophical theory and popular American culture in an attempt to bridge the gap between humans and things around them Concepts/ Key words Existentialism and ideas from philosophers such as Sartre and Camus. Popular American culture namely The Simpson’s Objectives To illustrate that the following picture although stereotypically American with busy highways and mega capitalism does not represent popular American culture. To see if there is a link between the heroes of Sartre, Camus and Nieztsche and some of the Simpson’s characters To determine whether Homer is the authentic individual that Sartre and Camus dreamed of? Or is Bart the übermensch that Nietzsche depicted who could rise above Christian morality and create a new moral code? Project Territory The Simpson’s TV show Sources Jean Paul Sartre, Albert Camus, Friedrich Nieztsche, Mark Conrad……….
Whether its freedom based on John Locke’s natural justice, reflected in Goya’s work, or Sartre’s existentialist and progressive notions, evident in Picasso’s work, the Modern period has done much to influence the contemporary concept of what it is to be free. Both artists were Spanish and these works portray the violent political turbulence of their times. Locke theorised that the state played a major role in determining an individual’s freedom and hence put forward a theory for the reformation of the legal system, as a means of according the ordinary man with freedom. This concept culminated in the theory of natural justice, which formed the basis for the civil rights movement and ultimately the contemporary English legal system. Underlying Locke’s theory was a Modernist faith in reason and the drive for progress. The modern individual was actively involved in this progress and was more reasoned in their judgement of the world. Early Modernity brought a greater emphasis on reason in all aspects of life and freedom was achieved through rationality, as the rational man was free to determine his will. Goya clearly demonstrates such values in his work. He was progressive, both in his technique and in his subject matter. Ordinary people became the subject, reflecting Locke’s conviction in their importance and, as is evident, the way politics affects their basic liberties. Which Freedom? Towards the end of the nineteenth century there was a shift in thinking which rejected some of Modernity’s earlier values, this mood was lead by Sartre and captured by Picasso. Sartre probably captured the general mood of High modernity with his existential theory. He did not believe that there was a fixed universal nature of man like Locke therefore man must decide his own nature and existence-how he lives. Man may feel some angst at the responsibility of freedom but we must make a conscious choice to create meaning for our lives and as there is no universally morality then our decisions take on a greater significance. The only foundation for human values is human freedom and absolute freedom constitutes absolute responsibility. Picasso reflected such tendencies, towards the individual’s mind and the deconstruction of previous theories, through his highly progressive work. He focused on representing the feeling that his subject gave him, as opposed to the reality, like Goya, whilst deconstructing the form. The liberty Picasso utilised in his work is, perhaps, the ultimate proof of Modernity’s contribution to individual freedom.