Harvard University Rhythm 0 by Marina Abramovic Discussion

I want you to write a 1500 Words,ouble spaced paper about the performance art piece called “Rhythm 0” by Marina Abramowic. For this piece, the artist agreed to stand in a room for several hours. Members of the audience were told they could do whatever they wanted to her. She had placed 72 objects in the room for their use. Among these objects were a scalpel, a rose, a pen, a gun, honey and other items. Initially, some members of the audience simply turned her around or moved her arms. Eventually, others cut off her clothes and pressed the thorns of the rose into her skin. One even held the gun to her head.

This is what she looked like afterwards.

1. 1. Identify two conflicting approaches to the situation. For example, audience members could just let other audience members hurt the artist or they could step in and try to stop them. Describe each approach.
   2. What decisions or actions would this approach recommend or endorse?
   3. What values would govern or determine such an action or decision?
   4. What would be the likely consequences (or results) of the action or decision?
   5. What would you do in this situation yourself?
   6. If you agree with one of the two approaches you described in #1, why? If you disagree with both of them, what would your own approach be, and what would be the main reason for choosing that approach rather than one of the other two?
   7. Finally, argue whether you think this is art or not. USE THE SOURCES BELOW.

   Please proofread the paper carefully and insure it is clear and well-organized. Also check to be sure you are using exactly the correct word for what you are trying to express and that you use a variety of sentence structures.Please be sure to organize your response with support (citations) for the points you make. You don’t need to do any further research, unless you wish to, but should start with the sources that follow. This assignment is tied to the course learning outcomes about applying philosophy to everyday life and about critically analyzing and evaluating philosophical ideas. It also is tied to communication, a rubric was given to you in the announcements on good communication.

2. 1. Identify two approaches the audience members could take at this performance.
3. What decisions or actions would these approaches recommend or endorse?
4. What values would govern or determine such an action or decision?
5. What would be the likely consequences (or results) of the action or decision?
6. What would you do in this situation yourself?
7. If you agree with one of the two approaches in #1 above, what would be your own reason for making that choice? If you disagree with both of them, what would your own approach be, and what would be the main reason for choosing that approach rather than one of the
8. Explain what would make this choice ultimately the morally right choice for you/
9. Finally, argue whether you think this is art or not. Use THE SOURCES BELOW.

Please proofread the paper carefully and insure it is clear and well-organized. Also check to be sure you are using exactly the correct word for what you are trying to express and that you use a variety of sentence structures.

Please be sure to organize your response with support (citations) for the points you make. You don’t need to do any further research, unless you wish to, but should start with the sources that follow. This assignment is tied to the course learning outcomes about applying philosophy to everyday life and about critically analyzing and evaluating philosophical ideas as well as communication (see announcements.)

SOURCE 1:

this is an excerpt from Wikipedia about Abramovic:

Marina Abramović (Serbian Cyrillic (Links to an external site.): Марина Абрамовић, Serbo-Croatian pronunciation: [maˌrǐːna abˈrǎːmoʋit͡ɕ] (Links to an external site.); born November 30, 1946) is a Yugoslavia (Links to an external site.)-born performance artist (Links to an external site.).[1] (Links to an external site.) Her work explores the relationship between performer and audience, the limits of the body, and the possibilities of the mind. Active for over three decades, Abramović has been described as the “grandmother of performance art.” She pioneered a new notion of identity by bringing in the participation of observers, focusing on “confronting pain, blood, and physical limits of the body.”[2] (Links to an external site.)

https://en.wikipedia.org/wiki/Marina_Abramovi%C4%8…

SOURCE 2:

Aestheticians also question what the value of art is. Is art a means of gaining some kind of knowledge? Is it a tool of education or indoctrination or enculturation? Is it perhaps just politics by other means? Does art give us an insight into the human condition? Does it make us more moral? Can it uplift us spiritually? Might the value of art for the artist be quite different than its value for the audience? Might the value of art to society be different than its value to individuals?

Expertise or Virtuosity (technical artistic skills are cultivated, recognized and admired)The contemporary American philosopher Denis Dutton (1944 – ) has identified seven universal signatures in human aesthetics. Although there are possible exceptions and objections to many of them, they represent a useful starting point for the consideration of aesthetics:

• Non-Utilitarian Pleasure (people enjoy art for art’s sake, and don’t demand practical value of it)
• Style (artistic objects and performances satisfy rules of composition that place them in recognizable styles)
• Criticism (people make a point of judging, appreciating and interpreting works of art)
• Imitation (with a few important exceptions (e.g. music, abstract painting), works of art simulate experiences of the world)
• Special Focus (art is set aside from ordinary life and made a dramatic focus of experience)
• Imagination (artists and their audiences entertain hypothetical worlds in the theatre of the imagination)

The Ancient Greek philosophers initially felt that aesthetically appealing objects were beautiful in and of themselves. Plato (Links to an external site.) felt that beautiful objects incorporated proportion, harmony and unity among their parts. Aristotle (Links to an external site.) found that the universal elements of beauty were order, symmetry and definiteness.

According to Islam, human works of art are inherently flawed compared to the work of Allah, and to attempt to depict in a realistic form any animal or person is insolence to Allah. This has had the effect of narrowing the field of Muslim artistic possibility to such forms as mosaics, calligraphy, architecture and geometric and floral patterns.

Western Medieval art (at least until the revival of classical ideals during the Renaissance) was highly religious in focus, and was typically funded by the Church, powerful ecclesiastical individuals, or wealthy secular patrons. A religiously uplifting message was considered more important than figurative accuracy or inspired composition. The skills of the artisan were considered gifts from God for the sole purpose of disclosing God to mankind.

With the shift in Western philosophy from the late 17th Century onwards, German and British thinkers in particular emphasized beauty as the key component of art and of the aesthetic experience, and saw art as necessarily aiming at beauty. For Friedrich Schiller (1759 – 1805), aesthetic appreciation of beauty is the most perfect reconciliation of the sensual and rational parts of human nature. Hegel (Links to an external site.) held that art is the first stage in which the absolute spirit is immediately manifest to sense-perception, and is thus an objective rather than a subjective revelation of beauty. For Schopenhauer (Links to an external site.), aesthetic contemplation of beauty is the most free that the pure intellect can be from the dictates of will.

British Intuitionists (Links to an external site.) like the 3rd Earl of Shaftesbury (1671 – 1713) claimed that beauty is just the sensory equivalent of moral goodness. More analytic theorists like Lord Kames (1696 – 1782), William Hogarth (1697 – 1764) and Edmund Burke (Links to an external site.) hoped to reduce beauty to some list of attributes, while others like James Mill (1773 – 1836) and Herbert Spencer (1820 – 1903) strove to link beauty to some scientific theory of psychology or biology.

http://www.philosophybasics.com/branch_aesthetics.html (Links to an external site.)

SOURCE 3:

Art and aesthetics during the 20th century questioned the historical ties between morality or religion, beauty and art. Before the 1900s, art was intended to simply record the world in a realistic way. Now, art has other purposes besides inspiring the viewer to be good or depicting something beautiful. Art is currently seen as having many other purposes: revealing hidden cultural truths, helping us to see the world in a new way, and giving visual form to ideas or philosophies or emotions.

Performance art became popular in the late 20th century as “alt-art.” It is an art form with a topical theme that usually includes a live presentation to onlookers and may include acting, dance, music, or painting. Performance art emphasizes the experience for both artist and viewer.