PHILOSOPHY 105 (STOLZE). Notes on Stephen Davies, The Philosophy of Art , chapter 6. Four Elements of Human Emotions. Physiological Perceptual (intentional vs. material objects of perception) Cognitive (beliefs and desires) Behavioral Ex: fear
Download Policy: Content on the Website is provided to you AS IS for your information and personal use and may not be sold / licensed / shared on other websites without getting consent from its author.While downloading, if for some reason you are not able to download a presentation, the publisher may have deleted the file from their server.
Notes on Stephen Davies, The Philosophy of Art, chapter 6
“John Coltrane, while not an outspoken activist, was a deeply spiritual man who believed his music was a vehicle for the message of a higher power. Coltrane was drawn to the civil rights movement after 1963. That was the year that Martin Luther King gave his “I Have a Dream” speech during the August 28th March on Washington, raising public awareness of the movement for racial equality. It was also the year that white racists placed a bomb in a Birmingham, Alabama church, and killed four young girls during a Sunday service.
“The following year, Coltrane played eight benefit concerts in support of Dr. King and the civil rights movement. He wrote a number of songs dedicated to the cause, but his song “Alabama,” which was released on Coltrane Live at Birdland (Impulse!,1964), was especially gripping, both musically and politically. The notes and phrasing of Coltrane’s lines are based on the words Martin Luther King spoke at the memorial service for the girls who died in the Birmingham bombing. Mirroring King’s speech, which escalates in intensity as he shifts his focus from the killing to the broader civil rights movement, Coltrane’s “Alabama” sheds its plaintive and subdued mood for a crackling surge of energy, reflecting the strengthened determination for justice.”
(Excerpted from Jacob Teichroew, “Jazz and the Civil Rights Movement: How Jazz Musicians Spoke Out for Racial Equality,” available at http://jazz.about.com/od/historyjazztimeline/a/JazzCivilRights_2.htm)
“To many, the large eloquent canvases of 1950 are Pollock's greatest achievements. ‘Autumn Rhythm,” painted in October of that year, exemplifies the extraordinary balance between accident and control that Pollock maintained over his technique. The words ‘poured’ and ‘dripped,’ commonly used to describe his unorthodox creative process, which involved painting on unstretched canvas laid flat on the floor, hardly suggest the diversity of the artist's movements (flicking, splattering, and dribbling) or the lyrical, often spiritual, compositions they produced.
“In ‘Autumn Rhythm,” as in many of his paintings, Pollock first created a complex linear skeleton using black paint. For this initial layer the paint was diluted, so that it soaked into the length of unprimed canvas, thereby inextricably joining image and support. Over this black framework Pollock wove an intricate web of white, brown, and turquoise lines, which produce the contrary visual rhythms and sensations: light and dark, thick and thin, heavy and buoyant, straight and curved, horizontal and vertical. Textural passages that contribute to the painting's complexity — such as the pooled swirls where two colors meet and the wrinkled skins formed by the build-up of paint — are barely visible in the initial confusion of overlapping lines. Although Pollock's imagery is nonrepresentational, ‘Autumn Rhythm’ is evocative of nature, not only in its title but also in its coloring, horizontal orientation, and sense of ground and space.”