Creative Rebellion for the Twenty-First Century: The by Diana Boros

By Diana Boros

Utilizing political philosophy to argue the necessity for social and public artwork initiatives to join the typical lives of usa citizens, Boros creates a brand new synthesis of philosophical rules to aid the political price of public paintings.

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Additional resources for Creative Rebellion for the Twenty-First Century: The Importance of Public and Interactive Art to Political Life in America

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As Marcuse, Foucault, and others have described, capitalism has grown from a system of laissez-faire supply and demand with a focus on profit to one that has transferred the assembly-line perspective to the realm of the psychological. In a democracy, when individual needs—private needs— are consistently felt in tandem with the majority that has created them, liberation from the “established reality”14 is imperative if both authentic individual freedom and the desire to participate in public life are to be accessed.

CHAPTER 1 EVERYDAY REBELLION: USING TOCQUEVILLE TO ARGUE THE NEED FOR A REVITALIZATION OF AMERICAN SOCIETY AND DEMOCRACY THROUGH ART Each individual allows himself to be attached because he sees that it is not a man or a class but the people themselves that hold the end of the chain. . Choosing the representatives of this power from time to time . . will not prevent them from losing little by little the faculty of thinking, feeling, and acting by themselves. Alexis de Tocqueville, Democracy in America M any thinkers in the Western tradition—Marx, Nietzsche, Freud, Camus, Marcuse, Gramsci, Beauvoir, among others—have critiqued our experience of everyday life and the role both society and the state play in that reality.

Both are important to public and social life; all art in the public, even mass-produced or redundant art, creates a stronger sense of pride and interest in the public, which is vital to a sincere feeling of community,12 but it is transcendent or visionary art that encourages within people the expansion of their imaginative capabilities, their true independence (knowledge of self ), and likewise, their sense of empathy. 13 16 C R E AT I V E R E BE L LION Indirectly political artistic experience does not require that the artistic experience invoke specific or tangible political concerns.

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