Goehr, Lydia. The Imaginary Museum of Musical Works: An Essay in the Philosophy of Music
1992, Oxford University Press.
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Added by: Chris Blake-Turner, Contributed by: Christy Mag Uidhir
Publisher's Note: What is the difference between a performance of Beethoven's Fifth Symphony and the symphony itself? What does it mean for musicians to be faithful to the works they perform? To answer this question, Goehr combines philosophical and historical methods of enquiry. She describes how the concept of a musical work emerged as late as 1800, and how it subsequently defined the norms, expectations, and behavior characteristic of classical musical practice. Out of the historical thesis, Goehr draws philosophical conclusions about the normative functions of concepts and ideals. She also addresses current debates amongst conductors, early-music performers, and avant-gardists.Comment : This is a stub entry. Please add your comments to help us expand itGoldberg, RoseLee. The Art of Ideas and the Media Generation2001, in: Performance Art: From Futurism to the Present. New York: Thames & Hudson. 152-155.-
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Added by: Rossen Ventzislavov
Summary: In this brief historical note, Goldberg outlines the artistic response to the political upheavals of the 1960's. The general spirit of civic disillusionment offered the best conditions for the re-evaluation of art and its supporting social institutions. Not surprisingly, a new animosity emerged towards the objects of art and their claim to aesthetic pleasure. The farthest possible opposite, which many artists readily embraced, was found in conceptual art, which prioritized ideas, relations and experiences over traditional aesthetic categories. Goldberg sees performance art as a potent embodied application of these new artistic concerns, and thus as a rightful heir to conceptual art. Furthermore, each sub-genre of performance art - from body art to live sculpture to discussions and performative scripts - retains a conceptual core that finds its roots in that decade of strife and controversy.Comment : This text offers a historical note on the relationship between conceptual art and performance art, and could be used in aesthetics classes focusing on either of those artsGoldberg, RoseLee. The Body: Ritual, Living Sculpture, Performed Photography2004, In: Performance: Live Art Since the 60's. New York: Thames & Hudson. 94-127.-
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Added by: Rossen Ventzislavov
Summary: Goldberg sees the human body in performance art as a transmitter of erotics, gender tensions, cultural norms and political deviations. While two of the notable early works of performance art featured fully clothed male artists using naked female bodies (Yves Klein's Anthropometries of the Blue Period from 1960 and Piero Manzoni's Living Scupture from 1961), the work of female artists like Shigeko Kubota and Yoko Ono addressed the gender imbalance soon after. Goldberg sees the recognition of the body as "prime, raw material" as one of the central accomplishments of performance art. Through numerous examples she demonstrates how this notion enabled a spectrum of physical signification - from regarding the human body as a mere lump of undifferentiated flesh to capitalizing on its biological intricacies. Because of the irreducible intimacy of shared bodily experience, all creative choices along this spectrum - from the disquietingly erotic, to the anachronistically ritualistic, to the viscerally sacrificial - have affected the way we see art and the world around us.Comment : This historical overview of the use of the human body in early performance art can be in any class on body aesthetics or performance art, and can offer an interesting background reading on erotic art.Goldberg, RoseLee. Identities: Feminism, Multiculturalism, Sexuality2004, In: Performance: Live Art Since the 60's. New York: Thames & Hudson. 128-145.-
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Added by: Rossen Ventzislavov
Summary: Goldberg provides a richly illustrated historical account of the intimate connection between identity and performance art. Starting from the feminist art of the 1960's, the recognition and assertion of identity was a fundamental bid for social visibility. The next frontier was social recognition, which concerned ethnic and sexual minorities as much as it did women. The final frontier - political equality - is one that is still out of reach. Still, according to Goldberg, performance art continues to chart new territories of identification. In fact, while at the outset performance art used early feminist writing as inspiration, Goldberg recognizes a gradual reversal - today's feminists are as likely to chart new philosophical directions as they are to follow the exploratory charge of their performance art counterparts.Comment : This text provides a historical background on the relationship between identity politics and art. It would be useful in classes on performance art, on the social context of art, as well as classes focusing on philosophy or race, gender and sexuality and ways to achieve social visibility.Gonzalez-Arnal, Stella. Personal identity and transsexual narratives2012, in Gonzalez-Arnal, S., Jagger, Gi., and Lennon, K. (eds) Embodied Selves. London: Palgrave Macmillan, pp. 66-83-
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Added by: Adriana Alcaraz Sanchez and Jodie RussellAbstract:
In this article, Gonzalez-Arnal challenges Susan James' embodied conception of personal identity by analysing transexual narratives. According to Gonzalez-Arnal, James' account cannot fully capture the experience of transexual persons since they describe the continuity of their personal (but also gender) identity despite significant changes in their bodies. Gonzalez-Arnal examines how other two theories of personal identity, a reductionist and a dualist one, might provide a better picture of the transexual narratives. After concluding that none the reductionist nor the dualist account does much better than an embodied view of personal identity, Gonzalez-Arnal proposes an improvement to James' view that accommodates transexual experiences, namely, acknowledging the integration of the "inner" self and other's perception of one's body in shaping one's "outer self".Comment (from this Blueprint): This article would be a good pairing to support the reading of James' "The Question on Personal Identity" (2002). In this article, Gonzalez-Arnal presents a compelling counter-example to James' argument that her theory should be preferred over psychological theories on personal identity given the role of embodiment on personal identity. According to James, mainstream thought experiments involving body swaps rarely discuss cases involving two bodies of different gender because they, intuitively, do not bring us to believe that Person A would survive a body swap with a Person B of different gender. Gonzalez-Arnal challenges James' argumentation by presenting the example of transsexuality by showing that their personal identity is preserved even though significant changes in their body take place.Gover, K. E.. Artistic Freedom and Moral Rights in Contemporary Art: The Mass MoCA Controversy2011, Journal of Aesthetics and Art Criticism 69 (4):355-365.-
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Added by: Chris Blake-Turner, Contributed by: Christy Mag Uidhir
Introduction: The concept of artistic freedom, like that of academic freedom, is as potent as it is slippery. Its indeterminacy may in fact lend the concept some power, since it can be uncritically applied to many different kinds of situations involving artists and their creations. Philosopher Paul Crowther has observed that the prevailing conception of artistic freedom is essentially negative in character: it is based 'purely on the absence of ideological or conceptual restraint.' There is a widespread art-world intuition that the creative freedom of the artist should be given virtually absolute precedence in decisions about the creation, exhibition, and treatment of artworks. As a recent controversy involving Swiss artist Christoph Buchel and the Massachusetts Museum of Contemporary Art (Mass MoCA) shows, the dominant conception of artistic freedom also entails freedom from financial and logistical constraints such as museum budgets and exhibition deadlines. In this particular case, the artist and his supporters argued that the museum violated his artistic freedom by attempting to display his unfinished and abandoned artwork against his wishes. As with the Tilted Arc controversy in the 1980s, this case raises provocative questions about the nature of artistic freedom as 'artistic' as it comes into conflict with the needs and interests of the institutions that pay for, exhibit, and, in Mass MoCA's case, construct the work.Govier, Trudy. What’s Wrong with Slippery Slope Arguments?1982, Canadian journal of philosophy. 12(2): 303-316.-
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Added by: Simon Fokt
Content: Govier distinguishes four kinds of slippery slope arguments - conceptual, precedential, causal and mixed - and argues that only the last kind are likely to ever be sound.Comment : Useful in teaching about fallacious arguments in general, and about moral arguments an popular discourse about such arguments in particular.Graham, Jody L.. Does integrity require moral goodness?2001,-
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Added by: Clotilde Torregrossa, Contributed by: Simon Fokt
Abstract: Most accounts of integrity agree that the person of integrity must have a relatively stable sense of who he is, what is important to him, and the ability to stand by what is most important to him in the face of pressure to do otherwise. But does integrity place any constraints on the kind of principles that the person of integrity stands for? In response to several recent accounts of integrity, I argue that it is not enough that a person stand for what he believes in, nor even that he is committed to and stands for what, in his best judgement, is morally right. In our web of moral concepts integrity is internally related to a host of virtues which exclude weakness of will and dogmatism, and presuppose trustworthiness. Integrity requires that the principles stood for must be those that a morally good, morally trustworthy agent would stand for, and that the agent himself is morally trustworthy.2006, Journal of Mass Media Ethics 21 (2 & 3): 177-195.-
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Added by: Rochelle DuFord
Abstract: Some photographs, more than mere representations, are ethical commands, calling us to respond to human suffering. Photos of Abu Graib, like iconic photos of Vietnam, called us to a posture of care, and confronted us with ourselves, with our national domination, and with how we represent ourselves to the world. This article, drawing on Kittay (1999), Butler (2004), and Levinas (1961, 1974, 1985), attempts to untangle the relation among care, domination, and representation. Implications for philosophers and journalists are suggested.Comment : This article would be of most use in a course on media or journalistic ethics--no previous knowledge of the philosophers covered is needed for comprehension. This article would also make an interesting addition to a course on contemporary ethical problems or philosophy of war.Greene, Amanda. Making a Living: The Human Right to Livelihood2019, In Jahel Queralt and Bas van der Vossen (eds.), Economic Liberties and Human Rights. Routledge.-
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Added by: Deryn Mair ThomasAbstract:
In this chapter I argue that we have a human right to livelihood. Although some economic rights have been defended under a human rights framework, such as freedom of occupation and the right to an adequate standard of living, the right to livelihood requires a separate defense. We have a livelihood when we are able to exercise some control over how we generate income and accumulate wealth. I argue that this control is good in itself, and that it leads to two further goods, social contribution esteem and a sense of self-provision. Beyond its being a right per se, having a livelihood also fulfills Joseph Raz’s conditions for being a constitutional right, insofar as it is a right that can be fairly and effectively protected through legal mechanisms, and for being a human right, insofar as it a right that can be suitably enforced through a system of international law.Comment (from this Blueprint): Greene's perspective, although not the same as Penner's, does share some important features, and as a result, she presents an argument for a right to livelihood which can help push students into another set of questions related to this weeks topic. These ask whether having agency over one's material resources and the manner of their acquisition is so important as to be essential, and consequently, whether that can be considered a right. One could also use this text to challenge the dominant rights narrative - perhaps a having a livelihood is essential, but not the sort of good that can be protected by rights. In that case, one could use the text to explore what other ways this important human capability might be protected, and by whom.Can’t find it?Contribute the texts you think should be here and we’ll add them soon!
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