DOCSLIB.ORG

Arts and Facts. Fiction, Non-Fiction and the Photographic Medium (Edited Version - Copyright Material Removed)

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Arts and Facts. Fiction, Non-Fiction and the Photographic Medium (Edited Version - Copyright Material Removed) ARTS AND FACTS. FICTION, NON-FICTION AND THE PHOTOGRAPHIC MEDIUM (EDITED VERSION - COPYRIGHT MATERIAL REMOVED) Paloma Atencia-Linares UCL Submitted for the degree of PhD in Philosophy September 2013 1 I, PALOMA ATENCIA-LINARES, confirm that the work presented in this thesis is my own. Where information has been derived from other sources, I confirm that this has been indicated in the thesis. 6th September, 2013 Paloma Atencia-Linares 2 To the memory of Claudia, Consuelo and María. Three strong women. 3 ABSTRACT In this thesis, I deal with the rarely discussed issue of how the nature of a representational medium—in this case photography—affects or contributes to the classification of works as fiction or non-fiction, and I provide a novel view on the relation between photographs and documentary works. Part I focuses on issues concerning the nature of photographic representation, its special relation with the real and its purported fictional incompetence. Part II takes up issues concerning the nature of fiction and non-fiction with an emphasis on the category of non- fiction/documentary, and examines its application to photography. Firstly, I discuss the claim, put forward by Kendall Walton, according to which photographs, in virtue of being depictive, are or favour fiction. I deny that this is so, although I argue that Walton’s claim is frequently misunderstood. Then, I address the more intuitive claim that photographs favour non-fiction. I argue that, if this is so, it is not because photographs are fictionally incapable. Photographs, I claim, can depict ficta by photographic means. However, this is consistent with saying that photographs bear a special relation with the real: (1) photographs are typically natural ‘signals’; they are handicaps and indices (Green 2007, Maynard-Smith and Harper 2004)—and thereby typically factive; and (2) photographs are documental images, images that support an experience that preserves the particularity of the original scene. These features contribute to non-fiction/documentary. To see how, I discuss various views on the nature of documentary and I propose an alternative account based on Stacie Friend’s ‘Genre Theory’. Finally, I discuss the application of the categories of fiction and non- fiction to photography. I claim that although these are active genres in the medium, it is more accurate to speak about factual and non-factual photography, where the former is a more basic category. This, in turn, is a consequence of the nature of the medium itself. 4 TABLE OF CONTENTS Abstract ...................................................................................................................................... 4! Table of Contents ...................................................................................................................... 5! Table of Figures ......................................................................................................................... 7! Acknowledgements ................................................................................................................. 10! INTRODUCTION .................................................................................................................. 12! PART I ..................................................................................................................................... 22! CHAPTER 1. DEPICTION, IMAGINATION AND FICTION ...................................... 23! 1.!Overview ....................................................................................................................... 23! 2.!Pictures as fictions ....................................................................................................... 24! 3.!Imagination, fiction and pictures. Walton’s legacy. ............................................... 34! 4.!Imagining as the default mode in pictorial representations .................................. 37! 4.1.!Imagining-seeing in films ..................................................................................... 38! 4.2.!Pictorial experience and imagined existence ..................................................... 40! 5.!Imaginings fit for fiction ............................................................................................ 45! 5.1.!Fictive pictures and fictional reference .............................................................. 45! 5.2.!Recreative imagination and fiction ..................................................................... 50! 6.!Conclusion ................................................................................................................... 54! CHAPTER 2. NATURAL IMAGES AND FICTIONAL INCOMPETENCE ................ 56! 1.!Overview ....................................................................................................................... 56! 2.!Natural images ............................................................................................................. 58! 3.!The debate on the fictional incompetence of photography ................................... 62! 4.!Photographic means ................................................................................................... 65! 5.!Objections and replies ................................................................................................ 70! 6.!Natural meaning revisited. Epistemological implications. .................................... 78! 7.!Signals, indices and handicaps .................................................................................. 82! 8.!Scope of the view ......................................................................................................... 93! 9.!A stronger account? Hopkins on factivity, design and proper working .............. 95! 10. Conclusion ............................................................................................................... 101! CHAPTER 3. DOCUMENTAL IMAGES ......................................................................... 102! 1.!Overview ..................................................................................................................... 102! 2.!Photographs as a recognisable perceptual category. (What do we mean by special Phenomenology?) .......................................................................................... 104! 5 3.!Transparency ............................................................................................................. 113! 4.!(Depictive) Traces ..................................................................................................... 118! 5.!Factive pictorial experience ...................................................................................... 125! 6.!Particularity ................................................................................................................ 128! 7.!Explaining particularity ............................................................................................ 134! 7.1! Perceptual experience and photographic experience ..................................... 138! 7.2! Photographic experience, transparency and episodic memory .................... 144! 8.!The documental images view and phenomenology. Summary and clarifications .. ................................................................................................................................ 148! 9.!The documental images view vs. alternative theories. ......................................... 151! 10.!Conclusion ............................................................................................................... 155! PART II .................................................................................................................................. 156! CHAPTER 4. DOCUMENTAL IMAGES AND DOCUMENTARY WORKS ............ 158! 1.!Overview ..................................................................................................................... 159! 2.!From documental to documentary ......................................................................... 159! 3.!What is a documentary work? ................................................................................. 166! 4.!Visible Traces: photography as a necessary condition for documentary .......... 168! 5.!Documentary without photography: Carroll’s Films of Presumptive Assertion 181! 6.!The Genre Theory: photography as a standard feature ....................................... 192! 7.!Conclusion ................................................................................................................. 207! CHAPTER 5. FICTION AND NON-FICTION IN PHOTOGRAPHY ....................... 209! 1.!Overview ..................................................................................................................... 209! 2.!Documentary. Criteria for classification ................................................................ 210! 3.!Documentary. Effects on appreciation ................................................................... 213! 4.!Scepticism about fictional photography ................................................................. 219! 5.!In defense of photographic fiction .......................................................................... 221! 6.!Factual and non-factual. Categories reconsidered ............................................... 227! 7.!The nature of photography and the shaping of a genre ....................................... 234! 8.!Conclusion ................................................................................................................
Load more

Recommended publications
  • UC Santa Barbara UC Santa Barbara Electronic Theses and Dissertations
    UC Santa Barbara UC Santa Barbara Electronic Theses and Dissertations Title Unstill Life: The Emergence and Evolution of Time-Lapse Photography Permalink https://escholarship.org/uc/item/2q89f608 Author Boman, James Stephan Publication Date 2019 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA Santa Barbara Unstill Life: The Emergence and Evolution of Time-Lapse Photography A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Film and Media Studies by James Stephan Boman Committee in charge: Professor Janet Walker, Chair Professor Charles Wolfe Professor Peter Bloom Professor Colin Gardner September 2019 The dissertation of James Stephan Boman is approved. ___________________________________________________ Peter Bloom ___________________________________________________ Charles Wolfe ___________________________________________________ Colin Gardner ___________________________________________________ Janet Walker, Committee Chair March 2019 Unstill Life: The Emergence and Evolution of Time-Lapse Photography Copyright © 2019 By James Stephan Boman iii ACKNOWLEDGMENTS I would like to thank my friends and colleagues at UC Santa Barbara, including the fellow members of my cohort—Alex Champlin, Wesley Jacks, Jennifer Hessler, and Thong Winh—as well as Rachel Fabian, with whom I shared work during our prospectus seminar. I would also like to acknowledge the diverse and outstanding faculty members with whom I had the pleasure to work as a student at UCSB, including Lisa Parks, Michael Curtin, Greg Siegel, and the rest of the faculty. Anna Brusutti was also very important to my development as a teacher. Ross Melnick has been a source of unflagging encouragement and a fount of advice in my evolution within and beyond graduate school.
    [Show full text]
  • Advance Program Notes Powaqqatsi: Life in Transformation Philip Glass Ensemble Friday, November 1, 2013, 8 PM
    Advance Program Notes Powaqqatsi: Life in Transformation Philip Glass Ensemble Friday, November 1, 2013, 8 PM These Advance Program Notes are provided online for our patrons who like to read about performances ahead of time. Printed programs will be provided to patrons at the performances. Programs are subject to change. CENTER FOR THE ARTS AT VIRGINIA TECH presents POWAQQATSI LIFE IN TRANSFORMATION The CANNON GROUP INC. A FRANCIS FORD COPPOLA and GEORGE LUCAS Presentation Music by Directed by PHILIP GLASS GODFREY REGGIO Photography by Edited by GRAHAM BERRY IRIS CAHN/ ALTON WALPOLE LEONIDAS ZOURDOUMIS Performed by PHILIP GLASS and the PHILIP GLASS ENSEMBLE conducted by Michael Riesman with the Blacksburg Children’s Chorale Patrice Yearwood, artistic director PHILIP GLASS ENSEMBLE Philip Glass, Lisa Bielawa, Dan Dryden, Stephen Erb, Jon Gibson, Michael Riesman, Mick Rossi, Andrew Sterman, David Crowell Guest Musicians: Ted Baker, Frank Cassara, Nelson Padgett, Yousif Sheronick The call to prayer in tonight’s performance is given by Dr. Khaled Gad Music Director MICHAEL RIESMAN Sound Design by Kurt Munkacsi Film Executive Producers MENAHEM GOLAN and YORAM GLOBUS Film Produced by MEL LAWRENCE, GODFREY REGGIO and LAWRENCE TAUB Production Management POMEGRANATE ARTS Linda Brumbach, Producer POWAQQATSI runs approximately 102 minutes and will be performed without intermission. SUBJECT TO CHANGE PO-WAQ-QA-TSI (from the Hopi language, powaq sorcerer + qatsi life) n. an entity, a way of life, that consumes the life forces of other beings in order to further its own life. POWAQQATSI is the second part of the Godfrey Reggio/Philip Glass QATSI TRILOGY. With a more global view than KOYAANISQATSI, Reggio and Glass’ first collaboration, POWAQQATSI, examines life on our planet, focusing on the negative transformation of land-based, human- scale societies into technologically driven, urban clones.
    [Show full text]
  • PGE Retro: Philip Glass Ensemble (1969–1983)
    FESTSPILLENEFESTSPILLENE I BERGEN PROGRAM1 2016 I BERGEN KR 20 GRIEGHALLEN PEER GYNT–SALEN FREDAG 27. MAI KL 21:00 PGE Retro: Philip Glass Ensemble (1969–1983) BERGEN 25. MAI — 08. JUNI INTERNATIONAL 2016 FESTIVAL WWW.FIB.NO 1 2 FESTSPILLENE I BERGEN FESTSPILLENE I BERGEN 3 2016 2016 PGE Retro: Philip Glass Ensemble (1969–1983) GRIEGHALLEN PEER GYNT-SALEN Fredag 27. mai kl 21:00 Friday 27 May at 21:00 Varighet: 2 t 25 min inkludert pause Duration: 2 h 25 min including interval Philip Glass komponist, keyboard composer, keyboard Michael Riesman dirigent, keyboard music director, keyboard Lisa Bielawa keyboard, vokal keyboard, voice All kultur er Dan Bora live lydmix live sound mix Peter Hess sopran-, alt- og tenorsaksofon soprano, smal for noen alto and tenor saxophone Jon Gibson fløyte, sopransaksofon flute, soprano Man kan tvile på om Norge er et saxophone Ryan Kelly lyd audio engineer kulturland, men det er sabla mye Eleonor Sandresky keyboard keyboards kultur her. Derfor velger vi vekk Andrew Sterman fløyte, piccolo, bassklarinett flute, nesten alt. Vi skriver om det vi har piccolo, bass clarinet lyst til å diskutere videre etter møtet, Yousif Sheronick, Frank Cassara gjestemusikere, perkusjon guest musicians, percussion etter lunsj og etter kontortid. Fordi Pomegranate Arts, Inc. produksjonsledelse nysgjerrighet smitter, og enighet er production management skrinn jord for nye tanker. Vi kan ikke Linda Brumbach produsent producer love at alle finner sine favoritter hver uke – men vi gjør vårt beste for at Sponset av Sponsored by Morgenbladet alle skal finne noe de er uenig i. Espen Hauglid, kulturredaktør En ukeavis om politikk, kultur og forskning 2 WWW.FIB.NO WWW.FIB.NO 3 4 FESTSPILLENE I BERGEN FESTSPILLENE I BERGEN 5 2016 2016 PHILIP GLASS (1937–) Parts 1 and 2 Fra From CIVIL warS – Cologne section (1984) MUSIC IN 12 PARTS (1971-1974) CIVIL warS #2 Music in 12 Parts ble påbegynt i mai 1971 og ferdigstilt i april 1974.
    [Show full text]
  • Fall 2021 Catalog Download
    Fall 2021 Contents New Titles 5 Collector’s Editions 29 Toiletpaper 51 Backlist 57 Photography 58 Contemporary Art 70 Fashion & Lifestyle 72 Architecture & Design 74 Antiques & Collectibles 74 Distributors 76 Contacts & Press Office 78 New Titles 6 Photography Mike Mandel Zone Eleven Photographs by Ansel Adams Zone Eleven is a reference to Ansel Adams’ Zone System, a method to control exposure of the negative in order to obtain a full range of tonality in the photographic print from the deepest black of Zone 0 to the brightest highlight in Zone 10. Zone Eleven is a metaphor coined by artist Mike Mandel in his challenge to create a book of Adams’ photographs outside of the bounds of his personal work. Many of these photographs were found in the archives of his commercial and editorial assignments, and from his experimentation with the new Polaroid material of the times. For this book, Mandel has unearthed images that are unexpected for Adams, and created a new context of facing Text by Erin O'Toole page relationships, and sequence. Zone Eleven is the product 28 x 23 cm | 11 x 9 inches of Mike Mandel’s research of over 50,000 Adams images 112 pages, 83 b&w, hardbound located within four different archives to present a body of ISBN 978-88-6208-748-3 Fall 2021 Adams’ work that was unknown until now. $55 | €50 | £45 Mike Mandel is well known for his collaboration with Larry Sultan in the 1970s - 1990s. They published 'Evidence' in 1977, a collection of 59 photographs chosen from more than two million images that the artists viewed at the archives of government agencies and tech-oriented corporations.
    [Show full text]
  • A CHARGED EMBRACE Program Notes Bruce
    A CHARGED EMBRACE Program Notes The Harpsichord Resuscitated Bach was so completely out of fashion when he died William Kraft: Quillery for harpsichord (2013) that it wasn’t until a teenaged Felix Mendelsohn re- Gloria Cheng, harpsichord discovered the Saint Matthew Passion through the activities of his aunt, Sarah Levy, an influential sing- Bruce Broughton: Sonata for Cello & Piano (2012) er in Berlin’s most important choral society. She was Andrew Shulman, cello; Robert Thies, piano also a harpsichordist trained by Bach’s eldest son, Veronika Krausas: Sillages for 4 double basses (2013) Wilhelm Friedemann. After a century of neglect and Nico Abondolo, Steve Dress, Christian Kollgaard & Denis five years of editorial and preparational effort, the Trembly, double basses twenty-year-old Mendelsohn conducted the redis- covered work in 1829 with a vast and historically Broughton: Concerto for Cello & Ten Instruments (2015) incorrect chorus nearing 400. According to con- Andrew Shulman, cello; Sara Andon, flute; Keve Wilson, oboe; temporary accounts, the German King and his Eric Jacobs, clarinet; Anthony Parnther, bassoon; Daniel Rosen- boom, trumpet; Allen Fogle, horn; Noah Gladstone, bass trom- entire court attended, and a thousand people were bone; Aron Kallay, piano; Sidney Hopson, percussion; Thomas turned away. That night the direction of music his- Harte, double bass; conducted by Benjamin Wallfisch tory changed: the floodgates opened to the past. In 1924, when Man Ray painted “f” holes on a nude In 1850, the Bach Society (Gesellschaft) was founded photograph of his inamorata Kiki de Montparnasse, to publish all of his known works. That enterprise who was posed to resemble a stringed instrument, was finally completed in 1900.
    [Show full text]
  • Echoes of the Avant-Garde in American Minimalist Opera
    ECHOES OF THE AVANT-GARDE IN AMERICAN MINIMALIST OPERA Ryan Scott Ebright A dissertation submitted to the faculty at the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Music. Chapel Hill 2014 Approved by: Mark Katz Tim Carter Brigid Cohen Annegret Fauser Philip Rupprecht © 2014 Ryan Scott Ebright ALL RIGHTS RESERVED ii ABSTRACT Ryan Scott Ebright: Echoes of the Avant-garde in American Minimalist Opera (Under the direction of Mark Katz) The closing decades of the twentieth century witnessed a resurgence of American opera, led in large part by the popular and critical success of minimalism. Based on repetitive musical structures, minimalism emerged out of the fervid artistic intermingling of mid twentieth- century American avant-garde communities, where music, film, dance, theater, technology, and the visual arts converged. Within opera, minimalism has been transformational, bringing a new, accessible musical language and an avant-garde aesthetic of experimentation and politicization. Thus, minimalism’s influence invites a reappraisal of how opera has been and continues to be defined and experienced at the turn of the twenty-first century. “Echoes of the Avant-garde in American Minimalist Opera” offers a critical history of this subgenre through case studies of Philip Glass’s Satyagraha (1980), Steve Reich’s The Cave (1993), and John Adams’s Doctor Atomic (2005). This project employs oral history and archival research as well as musical, dramatic, and dramaturgical analyses to investigate three interconnected lines of inquiry. The first traces the roots of these operas to the aesthetics and practices of the American avant-garde communities with which these composers collaborated early in their careers.
    [Show full text]
  • General Disclaimer One Or More of the Following Statements May Affect
    General Disclaimer One or more of the Following Statements may affect this Document This document has been reproduced from the best copy furnished by the organizational source. It is being released in the interest of making available as much information as possible. This document may contain data, which exceeds the sheet parameters. It was furnished in this condition by the organizational source and is the best copy available. This document may contain tone-on-tone or color graphs, charts and/or pictures, which have been reproduced in black and white. This document is paginated as submitted by the original source. Portions of this document are not fully legible due to the historical nature of some of the material. However, it is the best reproduction available from the original submission. Produced by the NASA Center for Aerospace Information (CASI) I BELLCOMM, INC. 955 L I ENFANT PLAZA NORTH, S.W., WASHINGTON, D.C. 20024 COVER SHEET FOR TECHNICAL MEMORANDUM TITLE- Apollo 12 Multispectral Photoqraphy TM-70 -2015-1 Experiment DATE- February 20, 1970 FILING CASE NO(S)- 340 A LITHO R(S)- A. F. H. Goetz FILING SUBJECT(S) (ASSIGNED BY AUTHOR(S))- Apollo 12 Photography ABSTRACT The Lunar Multispectral Photography Experiment, S-158, was successfully carried out on Apollo 12. A number of photographs were returned in the blue, green, red and infrared portions of the optical spectrum. Preliminary data n - analysis shows no color boundaries in the frame containing the Fra Mauro formation and the Apollo 13 landing site. Color differences were found in the frame containing Lalande n, establishing the existence of small-scale color differences on the lunar surface.
    [Show full text]
  • Norah Lange's Unhomely Homes
    32 | Cuaderno Internacional de Estudios Human í s t i c o s Norah Lange’s Unhomely Homes Marta Sierra Kenyon College All I could do was to offer you an opinion upon one minor point—a woman must have money and a room of her own if she is to write fiction; and that, as you will see, leaves the great problem of the true nature of woman and the true nature of fiction unsolved. Virginia Woolf, A Room of One’s Own (2). Unhomely Residences: A Room of One’s Own I choose to start with Virginia Woolf‘s remarks, for they pose one of the most fundamental questions in Norah Lange‘s works: What is the relationship between a woman‘s space and her creativity? Woolf makes inseparable the two of them: a room of one‘s own is the condition for both women‘s financial and intellectual independence.1 It is hard to think that those conditions were met in the early twentieth century in Argentina, when civil codes still regarded women as infants.2 It was almost predictable that Norah Lange would adhere to the stylistic codes for women at the period, producing works that exclusively focused on a domestic world depicted as predominantly feminine. And although her contemporary critics read Lange along those lines—including Borges in his introduction to Lange‘s poetry collection La calle de la tarde (The Street in the Evening) (1925)--, her fiction deliberately, and yet subtly, subverts those codes. Her novels, Cuadernos de infancia (Childhood Notebooks) (1937), Personas en la sala (People in the Room) (1950), and Los dos retratos (The Two Portraits) (1956), show women entrapped in a realm of feelings and emotions, a complex domestic world from which they seem unable to escape.
    [Show full text]
  • ~Lag(8Ill BAM 2000 Spring Season Is Sponsored by B~ ~L1 Snri Og Sp;:),On
    March 2000 Brooklyn Academy of Music 2000 Spring Season BAMcinematek Brooklyn Philharmonic 651 ARTS Saint Clair Cemin, L'lntuition de L'lnstant, 1995 ~lAG(8Ill BAM 2000 Spring Season is sponsored by B~ ~L1 Snri og Sp;:),on Brooklyn Academy of Music Bruce C. Ratner Chairman of the Board Karen Brooks Hopkins Joseph V. Melillo President Executive Producer in association with Pomegranate Arts Inc. presents Philip on Film Running times: BAM Howard Gi lman Opera House Anima Mundi & Anima Mundi & Music for Film March 21, 2000, at 7:30pm Music for Film will Koyaanisqatsi/Live! March 22, 2000, at 7:30pm run for approximately Powaqqatsi/Live! March 23 & 24, 2000, at 7:30pm 90 minutes, with one Dracula: The Music and Film March 25, 2000, at 7:30pm & 20-minute intermis­ March 26, 2000, at 3pm sion; Koyaanisqatsi will run for approxi­ Original Music by Philip Glass mately 85 minutes, with no intermission; Performed by Philip Glass Powaqqatsi will run and the Philip Glass Ensemble: Lisa Bielawa , Dan Dryden , for approximately Jon Gibson , Philip Glass , Richard E. Peck Jr., Michael Riesman , 102 minutes, with no Eleanor Sandresky, & Andrew Sterman intermission; Dracula: The Music and Film with guest musicians will run for approxi­ Frank Cassara , Alexandra Montano, Valerie Naranjo, & Peter Stewart mately 80 minutes, with no intermission. Sound Design Kurt Munkacsi Musical Director Michael Riesman Production Management Pomegranate Arts, Inc. 17 Philip on F;ilm For the Philip Glass Production Stage Manager Doug Witney Ensemble Live Monitor Mix Steve Erb Assistant Sound Engineer Kevin Reilly Music Production Euphorbia Productions Music Publishing Dunvagen Music Publishing Press Representation Annie Ohayon Media Philip Glass and the Ensemble wish to thank Ladd Temple, Uoyd Trammel, John Fera, and the Peavey Corporation for their generous support and the use of the DPMC8X keyboards.
    [Show full text]
  • BTEC Specialist Qualifications Internally Assessed
    Pearson BTEC Level 1 Award in Photography Specification BTEC Specialist qualification For first teaching September 2010 Issue 2 Edexcel, BTEC and LCCI qualifications Edexcel, BTEC and LCCI qualifications are awarded by Pearson, the UK’s largest awarding body offering academic and vocational qualifications that are globally recognised and benchmarked. For further information, please visit our qualification websites at www.edexcel.com, www.btec.co.uk or www.lcci.org.uk. Alternatively, you can get in touch with us using the details on our contact us page at qualifications.pearson.com/contactus About Pearson Pearson is the world's leading learning company, with 35,000 employees in more than 70 countries working to help people of all ages to make measurable progress in their lives through learning. We put the learner at the centre of everything we do, because wherever learning flourishes, so do people. Find out more about how we can help you and your learners at qualifications.pearson.com This specification is Issue 2. Key changes are listed in the summary table on the next page. We will inform centres of any changes to this issue. The latest issue can be found on the Pearson website: qualifications.pearson.com This qualification was previously known as: Pearson BTEC Level 1 Award in Photography (QCF). The QN remains the same. References to third party material made in this specification are made in good faith. Pearson does not endorse, approve or accept responsibility for the content of materials, which may be subject to change, or any opinions expressed therein. (Material may include textbooks, journals, magazines and other publications and websites.) All information in this specification is correct at time of publication.
    [Show full text]
  • Thesis Hum 2020 Ballen Amanda.Pdf
    On Rearing an Ugly Head: Joel-Peter Witkin and the Mysticism of the “Ugly Aesthetic” Amanda Ballen BLLAMA002 A dissertation submitted in fulfilment of the requirement for the award of the degree Master of Arts UniversityUniversity of Cape Cape Town Town Faculty of Humanities 2020 1 The copyright of this thesis vests in the author. No quotation from it or information derived from it is to be published without full acknowledgement of the source. The thesis is to be used for private study or non- commercial research purposes only. Published by the University of Cape Town (UCT) in terms of the non-exclusive license granted to UCT by the author. University of Cape Town COMPULSORY DECLARATION This work has not been previously submitted in whole, or in part, for the award of any degree. It is my own work. Each significant contribution to, and quotation in, this dissertation from the work, or works, of other people has been attributed, and has been cited and referenced. Signature: Date: 5 March 2020 2 ABSTRACT The contemporary photographer, Joel-Peter Witkin, has described his remaking of some of the most iconic paintings in the history of art as a “divine revolt”. However, there are no attempts to unravel the meaning of this project nor to analyse the visual changes that Witkin has made. This thesis argues that Witkin’s re-creations serve to subvert the negation or diminishment of ugliness in art history’s depictions of the mystical, and to present the experience of ugliness as alternatively inherently Godly. Through engaging in the problems in philosophical aesthetics, it contrasts the notions “aesthetically ugly” (a quality that cannot be objectively identified and studied because it ascribes aesthetic non-worth) with the “ugly aesthetic”, which refers to the “perceptive-felt” experience of an object.
    [Show full text]
  • Symphonic and Concert Composers
    No. 01-618 IN THE 6XSUHPH&RXUWRIWKH8QLWHG6WDWHV ———— ERIC ELDRED, et al., Petitioners, v. JOHN D. ASHCROFT, In his official capacity as Attorney General, Respondent. ———— On Writ of Certiorari to the United States Court of Appeals for the District of Columbia Circuit ———— BRIEF OF AMICI CURIAE SYMPHONIC AND CONCERT COMPOSERS JACK BEESON, CHEN YI, JOHN CORIGLIANO, JOHN DUFFY, HAROLD FARBERMAN, PHILIP GLASS, ADOLPHUS HAILSTORK, JENNIFER HIGDON, LIBBY LARSEN, TANIA LEÓN, STEPHEN PAULUS, GEORGE ROCHBERG, NED ROREM, AUGUSTA READ THOMAS, MELINDA WAGNER AND RICHARD WERNICK IN SUPPORT OF RESPONDENT ———— I. FRED KOENIGSBERG * GAELA K. GEHRING FLORES WHITE & CASE LLP 1155 Avenue of the Americas New York, NY 10036-2787 (212) 819-8200 * Counsel of Record Attorneys for Amici Curiae WILSON-EPES PRINTING CO., INC. – (202) 789-0096 – WASHINGTON, D. C. 20001 TABLE OF CONTENTS Page TABLE OF AUTHORITIES ......................................... iii INTERESTS OF AMICI CURIAE................................. 1 SUMMARY OF ARGUMENT ..................................... 8 ARGUMENT................................................................. 9 I. RECOGNITION OF, AND REMUNERA- TION FOR, THE LIFE WORK AND LEGACY OF CREATORS OF SYMPHONIC AND CONCERT MUSIC IS USUALLY LONG-DELAYED ............................................ 9 II. THE CTEA RATIONALLY PROMOTES THE PROGRESS OF SCIENCE AND USEFUL ARTS BY ALLOWING FOR FAIR COMPENSATION AND ENCOURAGING CREATIVITY, INVESTMENT, PRESERVA- TION, PROMOTION AND DISSEMINA- TION IN FIELDS IN WHICH AN ARTIST’S WORK IS RECOGNIZED VERY LATE IN LIFE OR POSTHUMOUSLY ........................... 13 A. The CTEA Provides Fair Compensation for the Enrichment of American Culture through Symphonic and Concert Musical Works........................................................... 13 B. The CTEA Promotes American Culture by Extending Copyright for Existing Symphonic and Concert Music.................... 15 1. The CTEA Ensures a Proper Legacy to the Composer’s Heirs............................
    [Show full text]