In order to put attention on themselves, so as to increase their own popularity, once in a while artists make use of the logic of scandal. And to be specific, by provoking. — However, I found my self being bored to death by this. Why?
Stanley Cavell interconnects the questions “What is art?” and “What is the importance of art?” He discovers that only movies are generally important, while music, paintings, novels etc. are not. In describing the conditions under which movies are made, he prepares the answers for the question “What is film?”
In “More of The World Viewed” of his The World Viewed Stanley Cavell claims that movies provide the myth of lived democracy against the myth of ruled democracy. But they cannot provide it by showing democracy at work, since that would made it a mere utopia. He explains this by referring to the 30ies’ comedies.
When it comes to some creations of modern art some people claim that they or their children could do this as well. Are they overrating themselves or their children? And can you find some criteria, at least one criterion, to distinguish a child’s picture from a modern artist’s painting? A playful and slippery attempt to revolve around these questions and respective answers.
Cavell heightens this statements about movie stars into a very surprising, worth of thinking about and challenging one. He writes: The stars “realized the myth of singularity” (p.35), wherefore “movies have an inherent tendency toward the democratic, or anyway the idea of human equality” (p. 34). – What are his reasons to state such a daring thesis?
A stage character is an independent entity created by a playwright. Contrary to this, a movie star is doubly bound. It’s bound to a single performer and to the public. How Stanley Cavell comes to this idea and what this idea means I will explain in the following.
Creative demolition of a hyper-controlled conduct of life and risking blush by living one’s live as a work of art. How? A conversation between David Eugene Edwards, Wim Vandekeybus and Michel Foucault.
links: Jack Pezanosky (4 Jahre), rechts: „Laburnum“ (1954) von Hans Hoffman Wohl jeder Mensch fühlt es: Wir alle sprechen ein und dieselbe Sprache, wenn wir lieben. Dann verstehen wir uns […]