This document provides a bibliography and brief summaries of several sources related to performance art, cultural relativism, and the everyday. It discusses De Certeau's writing on walking in cities, Geertz's work on anti-anti-relativism and how performance could be made more "civilized" and accessible. Jackson's book discusses how community art and avant-garde art are viewed and how to make various art forms more inclusive. Jarvie approaches culture as a science experiment and discusses whether universal moral standards exist. Lefebvre talks about how society and everyday life are controlled. The document also references the Futurist Manifesto and works by Shah and Lefebvre.
This document provides a bibliography and brief summaries of several sources related to performance art, cultural relativism, and the everyday. It discusses De Certeau's writing on walking in cities, Geertz's work on anti-anti-relativism and how performance could be made more "civilized" and accessible. Jackson's book discusses how community art and avant-garde art are viewed and how to make various art forms more inclusive. Jarvie approaches culture as a science experiment and discusses whether universal moral standards exist. Lefebvre talks about how society and everyday life are controlled. The document also references the Futurist Manifesto and works by Shah and Lefebvre.
This document provides a bibliography and brief summaries of several sources related to performance art, cultural relativism, and the everyday. It discusses De Certeau's writing on walking in cities, Geertz's work on anti-anti-relativism and how performance could be made more "civilized" and accessible. Jackson's book discusses how community art and avant-garde art are viewed and how to make various art forms more inclusive. Jarvie approaches culture as a science experiment and discusses whether universal moral standards exist. Lefebvre talks about how society and everyday life are controlled. The document also references the Futurist Manifesto and works by Shah and Lefebvre.
This document provides a bibliography and brief summaries of several sources related to performance art, cultural relativism, and the everyday. It discusses De Certeau's writing on walking in cities, Geertz's work on anti-anti-relativism and how performance could be made more "civilized" and accessible. Jackson's book discusses how community art and avant-garde art are viewed and how to make various art forms more inclusive. Jarvie approaches culture as a science experiment and discusses whether universal moral standards exist. Lefebvre talks about how society and everyday life are controlled. The document also references the Futurist Manifesto and works by Shah and Lefebvre.
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BIBLIOGRAPHY
De Certeau, M. (2011). VII. Walking in the City. In: Rendall. S The
Practice of Everyday Life. 3rd ed. London: University of California Press. 91-110.
I was interested in looking into De Certeau when considering what I wanted to
do for my final performance. I know that I like small interruptions of the everyday, gentle happenings, performances that dont intrude but invite. I was considering De Certeaus section on walking, and how we are controlled by the paths that are set for us, how we can choose to take those governed paths or stray from them. I also think there is something fascinating in the way that one would walk alone as opposed to when walking with company. Personally when I am walking alone my object is to get from A to B as quickly and as hassle free as possible. I become particularly good at weaving through people, taking the right moment to cross the road. However I believe that if walking with somebody, the main priority is to take the safest, least confusing route. If I was to walk as I walk alone, the other person may not have the same reactions as me and be left on the other side of the road.
Geertz, C. Distinguished Lecture: Anti Anti-Relativism, American
Anthropologist, New series, Vol. 86, No. 2. (Jun 1984) pp. 263-278
Reading this article is what gave me the inspiration for my research question. As an attack on anti anti-relativism, I was applying it originally to Jason and Medeas culture barriers in the Greek myth. It occurred to me reading de Montaignes quote;
each man calls barbarism whatever is not his own practicefor we have no other criterion of reason than the example of idea of the opinions and customs of the country we live in One could argue that performance is barbaric to those who are unfamiliar with it. From here I began to think of ways you could make art civilized, open it up to a wider demographic, introduce it into everyday life and make it more accessible. Response to article: http://www.indiana.edu/~wanthro/theory_pages/Geertz.htm
Jackson, S (2011). Social Works: Performing Art, Supporting
Publics. Abingdon: Routledge. 1-42.
I think that community art sometimes gets a bad rap because it seems under-complicated formally, and so-called avant-garde art gets a bad rap because it is not legible enough to be politically effective. My hope is that there could be a bit more tolerance and mutual education on all sides. Discussions on why certain art forms are not accessible and how to make them accessible.
Jarvie, I.C. (1996). CULTURAL RELATIVISM. (unpublished)
Enciclopedia delle Scienze Sociali. (1-8), 1-19.
Jarvie approaches culture as though it is a science experiment, culture an
independent variable, customs, traditions, art etcetera as dependent variables
there are no truths or moral principles that transcend culture.
The question is whether there are or can be moral standards by which to judge the local moral standards of cultures. Are there universal principles that stand as a control for all the world and its variance of morals.
Cultures are the ultimate authorities on truth and morality. Since they differ, there are multiple truths and multiple moralities. Cultural Relativism, for me, makes the world easier to understand, and yet contrary to it, there are hardly any foundations of beliefs that allow for this ideology. Most beliefs; Christianity; Islamism; Judaism; all take an ethnocentric approach that their own way of life is to be preferred to all others.
Muslim, Christian and Jewish societies, for example, are, to the contrary, convinced that they possess certain knowledge of how the world is and the true morality handed to them by God. Generally, cultural relativism is not followed in the belief or religion itself, only in those who study the multiple different beliefs that exist, for without it they would be unable to
present other cultures sympathetically, in their own terms
Lefevbre, H. (1991). The Knowledge of Everyday Life . In: Moore, J.
and Trebitsch, M. Critique of Everyday Life. 2nd ed. 6 Meard Street, London WIV 3HR : Verso. 130-138.
Lefevbre talks about how we are controlled by our needs and desires, how the everyday keeps society intact. In particular there is a part where he personifies money and how it talks to each class of society.
Marinetti, F.T. (1909). The Futurist Manifesto. Gazzetta dell'Emilia.
smoking in the theatre creates a unifying ambience between the stage and the audience. We want to glorify war the only cure for the world militarism, patriotism, the destructive gesture of the anarchists, the beautiful ideas which kill, and contempt for woman. Relate this statement back to cultural and historical relativism. Now, this seems a ridiculous statement to make, but back in 1901 before the knowledge of the mass destruction that war can cause, before the
tragedy of two world wars, this was deemed an acceptable concept, a form of pride.
For art can only be violence, cruelty, injustice.
Shah, R. (2013). Dear Stranger, I Love You. London: Lancaster University and the Live Art Development Agency. 4-16, 18-20.
A public intervention a creative act that happens unexpectedly in public space
They gave the flowers to passers-by, both as a simple gesture of giving, and as a way of starting conversation. Interventions that are both distinctly public and profoundly private it is the publicity of it that makes it a performance, and the privacy of it that allows it to be personal, to touch someone, to make the idea of performance civilized. The interventions
interrupted the flow of public space
The trust put into the writers and readers, they themselves are the content of this performance, everyone and everything else is simply facilitating it.
