BIBLIOGRAPHY

De Certeau, M. (2011). VII. Walking in the City. In: Rendall. S The

Practice of Everyday Life. 3rd ed. London: University of California
Press. 91-110.

I was interested in looking into De Certeau when considering what I wanted to

do for my final performance. I know that I like small interruptions of the
everyday, gentle happenings, performances that dont intrude but invite. I
was considering De Certeaus section on walking, and how we are controlled
by the paths that are set for us, how we can choose to take those governed
paths or stray from them. I also think there is something fascinating in the
way that one would walk alone as opposed to when walking with company.
Personally when I am walking alone my object is to get from A to B as quickly
and as hassle free as possible. I become particularly good at weaving through
people, taking the right moment to cross the road. However I believe that if
walking with somebody, the main priority is to take the safest, least confusing
route. If I was to walk as I walk alone, the other person may not have the
same reactions as me and be left on the other side of the road.

Geertz, C. Distinguished Lecture: Anti Anti-Relativism, American

Anthropologist, New series, Vol. 86, No. 2. (Jun 1984) pp. 263-278

Reading this article is what gave me the inspiration for my research question. As
an attack on anti anti-relativism, I was applying it originally to Jason and Medeas
culture barriers in the Greek myth. It occurred to me reading de Montaignes
quote;

each man calls barbarism whatever is not his own practicefor we have no other
criterion of reason than the example of idea of the opinions and customs of the
country we live in
One could argue that performance is barbaric to those who are unfamiliar with
it. From here I began to think of ways you could make art civilized, open it up to
a wider demographic, introduce it into everyday life and make it more accessible.
Response to article: http://www.indiana.edu/~wanthro/theory_pages/Geertz.htm

Jackson, S (2011). Social Works: Performing Art, Supporting

Publics. Abingdon: Routledge. 1-42.

I think that community art sometimes gets a bad rap because it seems
under-complicated formally, and so-called avant-garde art gets a bad rap
because it is not legible enough to be politically effective. My hope is that
there could be a bit more tolerance and mutual education on all sides.
Discussions on why certain art forms are not accessible and how to make
them accessible.

Jarvie, I.C. (1996). CULTURAL RELATIVISM. (unpublished)

Enciclopedia delle Scienze Sociali. (1-8), 1-19.

Jarvie approaches culture as though it is a science experiment, culture an

independent variable, customs, traditions, art etcetera as dependent variables

there are no truths or moral principles that transcend culture.

The question is whether there are or can be moral standards by which to judge the
local moral standards of cultures. Are there universal principles that stand as a
control for all the world and its variance of morals.

Cultures are the ultimate authorities on truth and morality. Since they differ, there
are multiple truths and multiple moralities.
Cultural Relativism, for me, makes the world easier to understand, and yet
contrary to it, there are hardly any foundations of beliefs that allow for this
ideology. Most beliefs; Christianity; Islamism; Judaism; all take an ethnocentric
approach that their own way of life is to be preferred to all others.

Muslim, Christian and Jewish societies, for example, are, to the contrary,
convinced that they possess certain knowledge of how the world is and the true
morality handed to them by God.
Generally, cultural relativism is not followed in the belief or religion itself, only in
those who study the multiple different beliefs that exist, for without it they would
be unable to

present other cultures sympathetically, in their own terms

Lefevbre, H. (1991). The Knowledge of Everyday Life . In: Moore, J.

and Trebitsch, M. Critique of Everyday Life. 2nd ed. 6 Meard
Street, London WIV 3HR : Verso. 130-138.

Lefevbre talks about how we are controlled by our needs and desires, how the
everyday keeps society intact. In particular there is a part where he
personifies money and how it talks to each class of society.

Marinetti, F.T. (1909). The Futurist Manifesto. Gazzetta dell'Emilia.

smoking in the theatre creates a unifying ambience between the stage and the
audience.
We want to glorify war the only cure for the world militarism, patriotism,
the destructive gesture of the anarchists, the beautiful ideas which kill, and
contempt for woman. Relate this statement back to cultural and historical
relativism. Now, this seems a ridiculous statement to make, but back in 1901
before the knowledge of the mass destruction that war can cause, before the

tragedy of two world wars, this was deemed an acceptable concept, a form of
pride.

For art can only be violence, cruelty, injustice.

Shah, R. (2013). Dear Stranger, I Love You. London: Lancaster
University and the Live Art Development Agency. 4-16, 18-20.

A public intervention a creative act that happens unexpectedly in public space

They gave the flowers to passers-by, both as a simple gesture of giving, and as a
way of starting conversation. Interventions that are both distinctly public and
profoundly private it is the publicity of it that makes it a performance, and the
privacy of it that allows it to be personal, to touch someone, to make the idea of
performance civilized.
The interventions

interrupted the flow of public space

The trust put into the writers and readers, they themselves are the content of
this performance, everyone and everything else is simply facilitating it.