Journal articles on the topic 'Kohlberg, Lawrence, Moral development. Emotions'

AbstractThe substantial work on cognitive moral development (CMD) by Lawrence Kohlberg and James Rest popularized the use of this construct in the literature on business ethics. This construct has been prominently used in models attempting to explain ethical/unethical behavior in management, marketing, and accounting, even though Kohlberg did not intend for the construct to be used in that manner. As a predictor of behavior, CMD has been attacked on the theoretical level, and its empirical performance has been weak. This article uses another established construct, which seems to satisfy the central criticisms of CMD, as a means of testing those complaints. The comparative multidimensional ethics scale (MES) substantially outperforms CMD, operationalized using Rest's Defining Issues Test, in every test. These results seem to suggest that other options perform better than CMD when the purpose is to model ethical/unethical behavior or even ethical judgment.

A decline in moral is among the impacts of technological development. For this reason, Thomas Lickona and Lawrence Kohlberg developed a concept of moral development, a concept which has also been discussed in the Holy Quran. Lickona stated that moral development stages are started with the ownership of moral knowledge (moral knowing) and move to moral feeling and moral action. Kohlberg stated that there are six stages in moral development. The stages are in three phases. First phase is called pre-conventional, which consists of stage 1 and stage 2. In this phase, people are more concerned about being right and wrong and getting reward or punishment. The next phase is called conventional phase, which consists of stage 3 and stage 4. In this level, people are more driven by internal motivation and how they are perceived by society. The final phase is post conventional phase, consisting of stage 5 and stage 6. In this level, people are able to independently interpret moral values and are driven by more universal values. The Quran divided the stages into some classes which are mentioned as ulul ilm (those of knowledge), ulin nuha (those of intelligence), ulil abshar (those of vision), ulil albab (those of understanding), ulil amri (those in authority), ulil aidi (those of strength) dan ulil azmi (those of determination).

This paper reflects on the work of Lawrence Kohlberg and Carol Gilligan as a missing chapter in the counseling curricula, and discusses the explanatory power of each theory. The paper illustrates how Kohlberg's theory mirrors the “separate” truth of theories of development, and the alternative truths suggested by Gilligan.

Based on differing theories of moral development proposed by Lawrence Kohlberg, Martin Hoffman, and John Gibbs, this paper posits that listening to Bruce Springsteen’s music can increase moral growth. Scores of Springsteen songs parallel psychological techniques used to increase moral development, such as being exposed to two or more beliefs that are contradictory, social perspective-taking by listening to moral dilemmas, gaining empathy with the distress that another person experiences, hypothetical contemplation, and meta-ethical reflection. Through qualitative-based autoethnographical storytelling, the author outlines how his moral development was enabled through such Springsteen songs as “Factory,” “Highway Patrolman,” “Independence Day,” “Johnny 99,” and “Used Cars,” as well as two self-disclosures from Springsteen’s Live 1975-85 album.

In this article the authors present results from research that tested well-established assumptions and explored longstanding dissatisfactions concerning questions about the relationship between moral development and religious development. Relying upon classical constructs derived from the work of Lawrence Kohlberg, Fritz Oser, and certain of their colleagues, the authors translated, revalidated, and employed a measure developed by John Gibbs for the measurement of moral judgment, and developed, validated, and employed a new measure of religious judgment for the purpose of comparing moral judgment and religious judgment levels in a population of French-speaking Belgian adolescents and young adults. Their findings introduce the beginning of a large-scale empirical effort in the testing of claims central to the literature of developmental psychology and the practice of developmental education where moral and religious judgment are concerned. The results of their research also raise a series of interesting questions about conflict and convergence in moral and religious development. Readers are invited to regard these findings both as a source of reinvigoration for the constructivist case about the relatedness of moral and religious development, and as an opportunity to enquire collaboratively into a series of perplexing questions which arise therein.

<p>El presente artículo pretende realizar un acercamiento a los estudios sobre el razonamiento moral humano desarrollados por Lawrence Kohlberg<a href="file:///C:/Users/windows/Dropbox/Doctorat/Articles%20en%20revistes/Daimon%20n%C2%BA63/La%20%C3%A9tica%20del%20cuidado%20y%20Carol%20Gilligan%20-%20Daimon%2063.doc#_ftn1">[1]</a> así como a la crítica realizada por parte de Carol Gilligan a dicho trabajo. Abordaremos pues, la teoría del desarrollo moral de Kohlberg, adentrándonos en los niveles morales preconvencional, convencional y postconvencional, con el objetivo de discernir si esta explicación evolutiva de la moralidad humana adquiere un carácter universal, o si por el contrario, se refiere a las estructuras morales de un grupo humano concreto. Más tarde, nos introduciremos en la crítica de Gilligan<a href="file:///C:/Users/windows/Dropbox/Doctorat/Articles%20en%20revistes/Daimon%20n%C2%BA63/La%20%C3%A9tica%20del%20cuidado%20y%20Carol%20Gilligan%20-%20Daimon%2063.doc#_ftn2">[2]</a> hacia dichos niveles morales, haciendo hincapié en la necesidad de incorporar las particularidades contextuales en la noción de razonamiento moral para definir un nivel postconvencional contextualista, que nos permita confrontar las nociones de ética de la justicia y ética del cuidado.</p><div><br /><hr size="1" /><div><p><a href="file:///C:/Users/windows/Dropbox/Doctorat/Articles%20en%20revistes/Daimon%20n%C2%BA63/La%20%C3%A9tica%20del%20cuidado%20y%20Carol%20Gilligan%20-%20Daimon%2063.doc#_ftnref1">[1]</a> Kohlberg, L., <em>The Philosophy of Moral Development</em>, San Francisco, Harper &amp; Row, 1981.</p></div><div><p><a href="file:///C:/Users/windows/Dropbox/Doctorat/Articles%20en%20revistes/Daimon%20n%C2%BA63/La%20%C3%A9tica%20del%20cuidado%20y%20Carol%20Gilligan%20-%20Daimon%2063.doc#_ftnref2">[2]</a> Gilligan, C., <em>In a Different Voice: Psychological Theory and Women’s Development</em>, Cambridge, Harvard University Press, 1982.</p></div></div>

The paper discusses the ethical views of Carol Gilligan that emerged to dispute the theory of six stages of moral development developed by Lawrence Kohlberg. In his opinion, women tend to reach the higher stages of his scale less frequently than men do. According to C. Gilligan this does not evidence the moral supremacy of men over women, but the faulty de- sign of the research tool. In her opinion, the Kohlbergian conception was based on an ethics of justice that took into account an exclusively male point of view. Women, whose voice is not heard in the public sphere, adopt a different type of ethics, namely the ethics of caring. C. Gilligan believes that it is necessary to promote this specific type of female ethics in order to overcome male dominance which is harmful both for women and men. Introducing a fe- male ethics will make it possible to refute the ‘double lie’ underlying patriarchal civilization. The lie involves (1) the assumption that male ethics are universal; and (2) female concealment of their own models of moral reasoning.

Straipsnyje analizuojami argumentai, pagrindžiantys paralelizmą tarp kognityvinės ir moralinės raidos. Keliamas klausimas, ar šios dvi universalios raidos formos yra fundamentaliai tarpusavyje susijusios, jei taip, tai kokiu būdu? Straipsnyje keliamiems uždaviniams spręsti visų pirma privalu pateikti universalius šio paralelizmo tipus. Tam geriausiai pasitarnauja Lawrenso Kohlbergo pateikta chrestomatine tapusi kognityvinės ir moralinės raidos komplementarumo hierarchija, savo ruožtu įkvėpta J. Piaget idėjų. Nors Kohlbergo sistema padeda struktūruoti psichologinius ir moralinius procesus, konstruoti praktinę veiklą numatančius argumentus, joje yra daug keblumų, kuriuos ir pasistengsime išryškinti bei aptarti. Visų pirma, straipsnyje kritiškai analizuojami pamatiniai Kohlbergo pateikti asmens raidos viziją apibūdinantys principai. Antra, kvestionuojamas bendrasis šios vizijos principas, tai yra paralelizmas tarp kognityvinės ir moralinės brandos. Pamatinių Kohlbergo sistemos aspektų pristatymas, revizija, kritika ir yra šio straipsnio probleminė ašis. Moralės filosofijos bei kognityviosios psichologijos gretinimas iš naujo pateikia pamatinius šių disciplinų teorinės žiūros objektus – žmogaus pažintinę veiklą ir moralinę brandą. Tai leidžia ne tik praplėsti kognityviosios psichologijos nagrinėjamų problemų lauką, bet ir parodyti, kaip naudojant kognityviosios psichologijos metodologiją, psichologija gali prisidėti prie moralės filosofijos problemų sprendimo. Straipsnio tematika reikalauja tarpdisciplininio požiūrio, todėl leidžia svarbiausiuose probleminiuose kognityvumo ir moralės problematikos laukuose sudurti filosofiją ir psichologiją, kartu numatant platesnes išvadas šių disciplinų savivokos klausimais. Pagrindiniai žodžiai: moralinė raida, kognityvinė raida, raidos stadijos, moralės filosofija, psichologija.Cognitive Psychology and Moral Philosophy: How Strong are Parallels between Cognitive and Moral Development?Evaldas Kazlauskas, Mindaugas Briedis Summary The analysis presented in the article is devoted to the implied parallelism between cognitive and moral development. We discuss whether these universal aspects of human development are fundamentally interrelated, and if the answer is yes, then how this is possible. In order to reach our tasks, we refer to the widely known theory of cognitive and moral development formulated by Lawrence Kohlberg who was directly influenced by the prominent Swiss scientist Jean Piaget. Kohlberg’s theory of moral development emphasizes cognitive processes as the key component in moral judgments. Development of cognitive abilities has a huge impact on moral development. Although Kohlberg’s stages of moral development enable to structure cognitive and in a broader sense the psychological processes and probably help to predict moral actions, there are a number of weak arguments in his theory which we discuss in thes article. Presentation of Kohlberg’s theory, as well as its revision, and critics are the key points of the article. A juxtaposition of moral philosophy and cognitive psychology reveals new trends in the analysis of relevant moral issues, while the main focus of these different fields is still contradictory – human cognitive processes and moral maturity. Utilization of cognitive psychology defining moral issues while using cognitive methods definitely broadens the scope of cognitive psychology, and contributes to moral philosophy. The interdisciplinary approach to psychology and philosophy which we choose in the article enables us to confront the complex issues of cognition and the moral problems using different approaches, and at the same time we conclude that this discussion contributes to a broader understanding of the role and boundaries of both psychology and philosophy. Keywords: moral development, cognitive development, stages of development, moral philosophy, psychology.

O objetivo deste trabalho é revelar as perspectivas de desenvolvimento moral contidas nas diretrizes pedagógicas do Sistema Nacional de Atendimento Socioeducativo - SINASE/2006, analisadas sob a luz da teoria construtivista das obras de Jean Piaget e Lawrence Kohlberg. Segundo estes autores, a autonomia moral é alcançada por meio de relacionamentos cooperativos, em que se estabelece uma relação de diálogo e respeito entre os sujeitos. Já o SINASE, enquanto conjunto ordenado de princípios, regras e critérios que envolvem a execução de medidas socioeducativas aos adolescentes em conflito com a lei, objetiva promover o desenvolvimento destes defendendo um alinhamento conceitual estruturado em bases éticas e pedagógicas. Ambos enxergam na educação, no respeito e na interação entre o sujeito e o mundo, meios de contribuir na formação de um sujeito autônomo, solidário e capaz de se relacionar melhor consigo mesmo e com os outros, cujos princípios e valores se tornarão os norteadores para uma tomada de decisão em detrimento de uma obediência irrefletida, baseada no medo e na punição. Diante de um quadro agravante de violência envolvendo o público infantojuvenil é fundamental que as bases, que sustentam os direitos e norteiam os serviços sejam constantemente ressignificadas para que as práticas alcancem os resultados esperados.Palavras-chave: SINASE. Adolescentes. Desenvolvimento.AbstractThe objective of this work is to reveal the moral development prospects contained in pedagogical guidelines SINASE, analyzed in the light of the constructivist theory of Piaget and Kohlberg’s works. According to these authors the moral autonomy is achieved through cooperative relationships that establish a relationship of dialogue and respect among subjects. Whereas SINASE as an ordered set of principles, rules and criteria involves the educational measures execution for young offenders, aiming to promote the development of adolescents defending a conceptual alignment with structured ethical and pedagogical bases. Both sighted in education, respect and interaction between the subject and the world, means to contribute to the formation of an autonomous subject, supportive, able to relate better with himself or herself and with others, the principles and values will become the guiding for a decision-making at the expense of an unthinking obedience based on fear and punishment. Faced with a worsening situation of violence involving children and youth it is essential that the underpinning rights and guide services are constantly reinterpreted so that the practices achieve the expected results.Keywords: SINASE. Adolescents. Development.

This paper seeks to explain the moral development of early childhood in the view of Lawrence Kohlberg. Research on Kohrlberg's development so far has been more targeted at the development of elementary age students to adults. This paper tries to analyze moral development at an early age, or age 4-6 years. Early Childhood according to Kohrlberg experienced a phase of moral development in the first stage (pre-conventional phase). In this period the child's moral development is influenced by the behavior of adults around the child (role model). The moral development of children does not occur suddenly but is attempted and intentional, in other words to achieve moral development in early childhood it is necessary to have moral education for early childhood. The interesting thing is that this moral development is always biased with a sense of injustice. Lawrence Kohlberg suggested that in conducting moral education should always be done with a sense of justice. Because justice is a major recognition of the same level and position, and become the most basic and general measuring tool. This discussion uses the method of library research. The results of this study indicate that educators (teachers) especially in early childhood in understanding the moral development of children, in addition to going through stages of moral development must also pay attention to justice in applying the stages of moral development.Keywords: Thought Lawrence Kohlberg, Early Childhood, Education Abstrak Tulisan ini berusaha menjelaskan tentang perkembangan moral anak usia dini dalam pandangan Lawrence Kohlberg.Penelitian tentang perkembangan Kohrlberg selama ini lebih banyak menyasar pada perkembangan peserta didik usia dasar sampai dewasa.Tulisan ini mencoba menganalisis perkembangan moral pada usia dini, atau usia 4-6 tahun. Anak Usia Dini menurut Kohrlberg mengalami fase perkembangan moral pada tahap yang pertama (fase pra konvensional). Pada masa ini perkembangan moral anak dipengaruhi oleh perilaku orang dewasa disekitar anak (suri tauladan). Perkembangan moral anak tidak terjadi dengan tiba-tiba tapi diusahakan dan disengaja, dengan kata lain untuk mencapai perkembangan moral anak usia dini maka perlu adanya pendidikan moral untuk anak usia dini. Hal yang menarik adalah bahwa perkembangan moral ini selalu biasdengan rasa ketidakadilan. Lawrence Kohlberg menyarankan dalam melakukan pendidikan moral hendaknya selalu dilakukan dengan rasa keadilan.Karena keadilan adalah suatu pengakuan utama terhadap tingkat dan kedudukan yang sama, dan menjadi alat ukur yang paling dasar dan umum.Pembahasan ini memakai metode penelitian kepustakaan. Hasil dari penelitian ini menunjukkan bahwa pendidik (guru) terutama pada anak usia dini dalam memahmi perkembangan moral anak, disamping melalui tahapan-tahapan perkembangan moral juga harus memperhatikan keadilan dalam menerapkan tahapan perkembangan moral.Kata kunci: Pemikiran Lawrence Kohlberg, Anak Usia Dini, Pendidikan

<p> </p><p>Pendidikan karakter sangat berperan dalam membentuk kepribadian siswa sebagai agen perubahan. Banyak pendidik tidak memahami hubungan yang sangat tertutup antara moral dan karakter. Selama ini pendidik hanya mengaktualisasikan konsep pendidikan karakter sebagai produk yang siap digunakan oleh siapa saja, kapan saja dan kepada setiap orang tanpa mendalam memahami teori dasar yang mendasari lahirnya konsep. Selain itu, tahap perkembangan moral peserta didik berpartisipasi dalam proses pencapaian sukses dampak besar dari pendidikan karakter. Tulisan ini diharapkan memberikan wawasan pendidik untuk mampu memahami terutama keberadaan aspek moral dan perkembangan, sehingga melalui pemahaman ini, mereka akan mendapatkan teknik pendidikan karakter yang efektif dan memiliki relevansi dengan peserta didik. Kajian ini menggunakan metode penelitian kepustakaan. Hasil dari pembahasan didapatkan bahwa pendidik perlu memahami konsep Lawrence Kohlberg pada tahap perkembangan moral, pendidik perlu menerapkan tiga komponen utama pendidikan karakter yang meliputi moral yang mengetahui, perasaan moral, dan perilaku moral sebanding dengan aspek moral dan perkembangan.</p><p><strong>Kata kunci: pendidikan, karakter, pengembangan, moral</strong></p><p><em>IN</em><em>TERVENTION OF LAWRENCE KOHLBERG’S MORAL DE- VELOPMENT THEORY IN THE DYNAMICS OF CHARACTER EDUCATION. Character education is very important in forming the students’ personality as agents of change. Many educators do not understand the closed relationship between the moral and character. During this period, educators only actualize the character educational concept as a product that is ready to be used by anyone, anytime and to any person without deeply understanding the basic theory underlying the birth of the concept. Moreover, the learners’ moral development stages participate in the process of achieving a big impact success of character education. This article is expected that educators could comprehend especially the existence of moral and developmental aspects, so that through this understanding , they will get an effective character educational techniques and have relevance to the learners. This study uses library research. Te result of this study is that the educators need to understand the Lawrence Kohlberg concept on moral developmental stages, educators are able to implement the three main components of character education.</em></p><p><em>Keywords: character, education, moral, </em><em>dev</em><em>e</em><em>lo</em><em>pm</em><em>en</em><em>t</em></p><p><strong><br /></strong></p>

The article presents an innovative method of characterization of literary characters. It is known that the moral attitudes and the process of their formation equally raises the interest of psychologists and writers, which gives an absolute freedom to use psychological-philosophical theory for opening the character of literary characters. Moral development theory of American philosopher Lawrence Kohlberg is used for a new purpose in this work, which is the main novelty of the article. Literary character is assessed according to Kohlberg’s stages of moral development and is defined to which level it is relevant according to Kohlberg’s developed scale. Famous characters of two well-known Georgian writers Vazha-Pshavela and K. Gamsakhurdia have been selected for observation. The article is based on two articles already published by the author, which follows: ”Concept of Freedom and characters of Vazha-Pshavela” and “Jacob wrestling with God”, As a prototype of Constantine Arsakidze In K. Gamsakhurdia's historical novel “The right hand of the Great master".

The present text presents a pedagogical account about an exhibition of the works of the Norwegian painter: Edvard Munch, in a class of higher education. The exhibition closes a teaching unit on morals and ethics, where Lawrence Kolhberg's theory of moral development was approached. The experiences demonstrated how the students' interaction was largely satisfactory and how the use of art in the classroom can be an auspicious formation experience, provided that the objective conditions, that is, the proper preparation and organization of didactic aspects, as well as mediation pedagogic it enables a kind of "awareness of the student to contemplation".ResumoO presente texto apresenta um relato pedagógico sobre uma exposição das obras do pintor norueguês: Edvard Munch, em uma turma de ensino superior. A exposição encerrou uma unidade didática sobre moral e ética, na qual a teoria do desenvolvimento moral de Lawrence Kolhberg foi abordada. A experiência evidenciou como a interação dos alunos foi amplamente satisfatória e como o uso da arte em sala de aula pode ser uma experiência formativa auspiciosa, contanto que as condições objetivas, isto é, a devida preparação e organização dos aspectos didáticos, tanto quanto a mediação pedagógica possibilitem uma espécie de "sensibilização do olhar" discente.Palavras-chave: Arte, Edvard Munch, Educação, Moral e Ética.Keywords: Art, Edvard Munch, Education, Moral, Ethic.ReferencesASSIS, Eliasaf Rodrigues de et al. Lawrence Kohlberg e os anos de chumbo: demandas por justiça e a procura pela moralidade pós-convencional. ETD - Educação Temática Digital Campinas, SP v.20 n.1 p. 276-297 jan./mar.2018.BISCHOFF, Ulrich. Edvard Munch: Imagens de vida e de morte. São Paulo: Paisagem, 2006.BOFF, Leonardo. Saber Cuidar: ética do humano - compaixão pela Terra. Petrópolis: Editora Vozes, 1999.CLARKE, Jay A. Becoming Edvard Munch - Influence, anxiety, and myth. Chicago: The art institute of Chicago, 2009.KOHLBERG, Lawrence. The philosophy of moral development. San Francisco: Harper & How Publishers, 1981.LA TAILLE, Yve de. Moral e ética: Dimensões intelectuais e afetivas. Porto Alegre: Artmed, 2006.YOSHIKAI, Livia Midori Okino. A estratégia de discussão de dilemas morais e o desenvolvimento moral de adolescentes. Monografia apresentada ao Departamento de Psicologia como requisito para obtenção do título de Bacharel em Psicologia. São Carlos: UFSCar, 2004.

Does the arrival of the network society mean we are now a culture of collectors, a society of sharers? We mused about these questions while assembling this M/C Journal issue, which has its genesis in a past event of ‘shared’ confusion. Alex Burns booked into Axel Bruns’s hotel room at the 1998 National Young Writer’s Festival (NYWF) in Newcastle. This ‘identity theft’ soon extended to discussion panels and sessions, where some audience members wondered if the NYWF program had typographical errors. We planned, over café latte at Haddon’s Café, to do a co-session at next year’s festival. By then the ‘identity theft’ had spread to online media. We both shared some common interests: the music of Robert Fripp and King Crimson, underground electronica and experimental turntablism, the Internet sites Slashdot and MediaChannel.org, and the creative possibilities of Open Publishing. “If you’re going to use a pseudonym,” a prominent publisher wrote to Alex Burns in 2001, “you could have created a better one than Axel Bruns.” We haven’t yet done our doppelgänger double-act at NYWF but this online collaboration is a beginning. What became clear during the editorial process was that some people and communities were better at sharing than others. Is sharing the answer or the problem: does it open new possibilities for a better, fairer future, or does it destroy existing structures to leave nothing but an uncontrollable mess? The feature article by Graham Meikle elaborates on several themes explored in his insightful book Future Active: Media Activism and the Internet (New York: Routledge, London: Pluto Press, 2002). Meikle’s study of the influential IndyMedia network dissects three ‘compelling founder’s stories’: the Sydney-based Active software team, the tradition of alternative media, and the frenetic energy of ‘DiY culture’. Meikle remarks that each of these ur-myths “highlights an emphasis on access and participation; each stresses new avenues and methods for new people to create news; each shifts the boundary of who gets to speak.” As the IndyMedia movement goes truly global, its autonomous teams are confronting how to be an international brand for Open Publishing, underpinned by a viable Open Source platform. IndyMedia’s encounter with the Founder’s Trap may have its roots in paradigms of intellectual property. What drives Open Source platforms like IndyMedia and Linux, Tom Graves proposes, are collaborative synergies and ‘win-win’ outcomes on a vast and unpredictable scale. Graves outlines how projects like Lawrence Lessig’s Creative Commons and the Free Software Foundation’s ‘GNU Public License’ challenge the Western paradigm of property rights. He believes that Open Source platforms are “a more equitable and sustainable means to manage the tangible and intangible resources of this world we share.” The ‘clash’ between the Western paradigm of property rights and emerging Open Source platforms became manifest in the 1990s through a series of file-sharing wars. Andy Deck surveys how the ‘browser war’ between Microsoft and Netscape escalated into a long-running Department of Justice anti-trust lawsuit. The Motion Picture Association of America targeted DVD hackers, Napster’s attempt to make the ‘Digital Jukebox in the Sky’ a reality was soon derailed by malicious lawsuits, and Time-Warner CEO Gerald Levin depicted pre-merger broadband as ‘the final battleground’ for global media. Whilst Linux and Mozilla hold out promise for a more altruistic future, Deck contemplates, with a reference to George Orwell’s Homage to Catalonia (1938), that Internet producers “must conform to the distribution technologies and content formats favoured by the entertainment and marketing sectors, or else resign themselves to occupying the margins of media activity.” File-sharing, as an innovative way of sharing access to new media, has had social repercussions. Marjorie Kibby reports that “global music sales fell from $41.5 billion in 1995 to $38.5 billion in 1999.” Peer-to-Peer networks like KaZaA, Grokster and Morpheus have surged in consumer popularity while commercial music file subscription services have largely fallen by the wayside. File-sharing has forever changed the norms of music consumption, Kibby argues: it offers consumers “cheap or free, flexibility of formats, immediacy, breadth of choice, connections with artists and other fans, and access to related commodities.” The fragmentation of Australian families into new diversities has co-evolved with the proliferation of digital media. Donell Holloway suggests that the arrival of pay television in Australia has resurrected the ‘house and hearth’ tradition of 1940s radio broadcasts. Internet-based media and games shifted the access of media to individual bedrooms, and changed their spatial and temporal natures. However pay television’s artificial limit of one television set per household reinstated the living room as a family space. It remains to be seen whether or not this ‘bounded’ control will revive family battles, dominance hierarchies and power games. This issue closes with a series of reflections on how the September 11 terrorist attacks transfixed our collective gaze: the ‘sharing’ of media connects to shared responses to media coverage. For Tara Brabazon the intrusive media coverage of September 11 had its precursor in how Great Britain’s media documented the Welsh mining disaster at Aberfan on 20 October 1966. “In the stark grey iconography of September 11,” Brabazon writes, “there was an odd photocopy of Aberfan, but in the negative.” By capturing the death and grief at Aberfan, Brabazon observes, the cameras mounted a scathing critique of industrialisation and the searing legacy of preventable accidents. This verité coverage forces the audience to actively engage with the trauma unfolding on the television screen, and to connect with their own emotions. Or at least that was the promise never explored, because the “Welsh working class community seemed out of time and space in 1960s Britain,” and because political pundits quickly harnessed the disaster for their own electioneering purposes. In the early 1990s a series of ‘humanitarian’ interventions and televised conflicts popularized the ‘CNN Effect’ in media studies circles as a model of how captivated audiences and global media vectors could influence government policies. However the U.S. Government, echoing the coverage of Aberfan, used the ‘CNN Effect’ for counterintelligence and consensus-making purposes. Alex Burns reviews three books on how media coverage of the September 11 carnage re-mapped our ‘virtual geographies’ with disturbing consequences, and how editors and news values were instrumental in this process. U.S. President George W. Bush’s post-September 11 speeches used ‘shared’ meanings and symbols, news values morphed into the language of strategic geography, and risk reportage obliterated the ideal of journalistic objectivity. The deployment of ‘embedded’ journalists during the Second Gulf War (March-April 2003) is the latest development of this unfolding trend. September 11 imagery also revitalized the Holocaust aesthetic and portrayal of J.G. Ballard-style ‘institutionalised disaster areas’. Royce Smith examines why, in the aftermath of the terrorist attacks, macabre photo-manipulations of the last moments became the latest Internet urban legend. Drawing upon the theoretical contributions of Jean Baudrillard, Roland Barthes and others, Smith suggests that these photo-manipulations were a kitsch form of post-traumatic visualisation for some viewers. Others seized on Associated Press wire photos, whose visuals suggested the ‘face of Satan’ in the smoke of the World Trade Center (WTC) ruins, as moral explanations of disruptive events. Imagery of people jumping from the WTC’s North Tower, mostly censored in North America’s press, restored the humanness of the catastrophe and the reality of the viewer’s own mortality. The discovery of surviving artwork in the WTC ruins, notably Rodin’s The Thinker and Fritz Koenig’s The Sphere, have prompted art scholars to resurrect this ‘dead art’ as a memorial to September 11’s victims. Perhaps art has always best outlined the contradictions that are inherent in the sharing of cultural artefacts. Art is part of our, of humanity’s, shared cultural heritage, and is celebrated as speaking to the most fundamental of human qualities, connecting us regardless of the markers of individual identity that may divide us – yet art is also itself dividing us along lines of skill and talent, on the side of art production, and of tastes and interests, on the side of art consumption. Though perhaps intending to share the artist’s vision, some art also commands exorbitant sums of money which buy the privilege of not having to share that vision with others, or (in the case of museums and galleries) to set the parameters – and entry fees – for that sharing. Digital networks have long been promoted as providing the environment for unlimited sharing of art and other content, and for shared, collaborative approaches to the production of that content. It is no surprise that the Internet features prominently in almost all of the articles in this ‘share’ issue of M/C Journal. It has disrupted the existing systems of exchange, but how the pieces will fall remains to be seen. For now, we share with you these reports from the many nodes of the network society – no doubt, more connections will continue to emerge. Citation reference for this article Substitute your date of access for Dn Month Year etc... MLA Style Burns, Alex and Bruns, Axel. ""Share" Editorial" M/C: A Journal of Media and Culture< http://www.media-culture.org.au/0304/01-editorial.php>. APA Style Burns, A. & Bruns, A. (2003, Apr 23). "Share" Editorial. M/C: A Journal of Media and Culture, 6,< http://www.media-culture.org.au/0304/01-editorial.php>

In the 2019 documentary Chasing Happiness, recording artist/musician Joe Jonas tells audiences that the band was “living the dream”. Similarly, in the 2012 documentary Artifact, lead singer Jared Leto remarks that at the height of Thirty Seconds to Mars’s success, they “were living the dream”. However, for both the Jonas Brothers and Thirty Seconds to Mars, their experiences of the music industry (much like other commercially successful recording artists) soon transformed into nightmares. Similar to other commercially successful recording artists, the Jonas Brothers and Thirty Seconds to Mars, came up against the constraints of the industry which inevitably led to a forfeiting of authenticity, a loss of creative control, increased exploitation, and unequal remuneration. This work will consider how working in the music industry is not always a dream come true and can instead be viewed as a proverbial nightmare. Living the DreamIn his book Dreams, Carl Gustav Jung discusses how that which is experienced in sleep, speaks of a person’s wishes: that which might be desired in reality but may not actually happen. In his earlier work, The Interpretation of Dreams, Freud argued that the dream is representative of fulfilling a repressed wish. However, the creative industries suggest that a dream need not be a repressed wish; it can become a reality. Jon Bon Jovi believes that his success in the music industry has surpassed his wildest dreams (Atkinson). Jennifer Lopez considers the fact that she held big dreams, had a focussed passion, and strong aspirations the reason why she pursued a creative career that took her out of the Bronx (Thomas). In a Twitter post from 23 April 2018, Bruno Mars declared that he “use [sic] to dream of this shit,” in referring to a picture of him performing for a sold out arena, while in 2019 Shawn Mendes informed his 24.4 million Twitter followers that his “life is a dream”. These are but a few examples of successful music industry artists who are seeing their ‘wishes’ come true and living the American Dream.Endemic to the American culture (and a characteristic of the identity of the country) is the “American Dream”. It centres on “a land in which life should be better and richer and fuller for every man, with opportunity for each according to his ability and achievement” (Adams, 404). Although initially used to describe having a nice house, money, stability and a reasonable standard of living, the American Dream has since evolved to what the scholar Florida believes is the new ‘aspiration of people’: doing work that is enjoyable and relies on human creativity. At its core, the original American Dream required striving to meet individual goals, and was promoted as possible for anyone regardless of their cultural, socio-economic and political background (Samuel), because it encourages the celebrating of the self and personal uniqueness (Gamson). Florida’s conceptualisation of the New American dream, however, tends to emphasise obtaining success, fame and fortune in what Neff, Wissinger, and Zukin (310) consider “hot”, “creative” industries where “the jobs are cool”.Whether old or new, the American Dream has perpetuated and reinforced celebrity culture, with many of the young generation reporting that fame and fortune were their priorities, as they sought to emulate the success of their famous role models (Florida). The rag to riches stories of iconic recording artists can inevitably glorify and make appealing the struggle that permits achieving one’s dream, with celebrities offering young, aspiring creative people a means of identification for helping them to aspire to meet their dreams (Florida; Samuel). For example, a young Demi Lovato spoke of how she idolised and looked up to singer Beyonce Knowles, describing Knowles as a role model because of the way she carries herself (Tishgart). Similarly, American Idol winner Kelly Clarkson cited Aretha Franklin as her musical inspiration and the reason that she sings from a place deep within (Nilles). It is unsurprising then, that popular media has tended to portray artists working in the creative industries and being paid to follow their passions as “a much-vaunted career dream” (Duffy and Wissinger, 4656). Movies such as A Star Is Born (2018), The Coal Miner’s Daughter (1980), Dreamgirls (2006), Begin Again (2013) and La La Land (2016) exalt the perception that creativity, talent, sacrifice and determination will mean dreams come true (Nicolaou). In concert with the American dream is the drive among creative people pursuing creative success to achieve their dreams because of the perceived autonomy they will gain, the chance of self-actualisation and social rewards, and the opportunity to fulfil intrinsic motivations (Amabile; Auger and Woodman; Cohen). For these workers, the love of creation and the happiness that accompanies new discoveries (Csikszentmihalyi) can offset the tight budgets and timelines, precarious labour (Blair, Grey, and Randle; Hesmondhalgh and Baker), uncertain demand (Caves; Shultz), sacrifice of personal relationships (Eikhof and Haunschild), the demand for high quality products (Gil & Spiller), and the tense relationships with administrators (Bilton) which are known to plague these industries. In some cases, young, up and coming creative people overlook these pitfalls, instead romanticising creative careers as ideal and worthwhile. They willingly take on roles and cede control to big corporations to “realize their passions [and] uncover their personal talent” (Bill, 50). Of course, as Ursell argues in discussing television employees, such idealisation can mean creatives, especially those who are young and unfamiliar with the constraints of the industry, end up immersed in and victims of the “vampiric” industry that exploits workers (816). They are socialised towards believing, in this case, that the record label is a necessary component to obtain fame and fortune and whether willing or unwilling, creative workers become complicit in their own exploitation (Cohen). Loss of Control and No CompensationThe music industry itself has been considered by some to typify the cultural industries (Chambers). Popular music has potency in that it is perceived as speaking a universal language (Burnett), engaging the emotions and thoughts of listeners, and assisting in their identity construction (Burnett; Gardikiotis and Baltzis). Given the place of music within society, it is not surprising that in 2018, the global music industry was worth US$19.1billion (IFPI). The music industry is necessarily underpinned by a commercial agenda. At present, six major recording companies exist and between them, they own between 70-80 per cent of the recordings produced globally (Konsor). They also act as gatekeepers, setting trends by defining what and who is worth following and listening to (Csikszentmihalyi; Jones, Anand, and Alvarez). In essence, to be successful in the music industry is to be affiliated with a record label. This is because the highly competitive nature and cluttered environment makes it harder to gain traction in the market without worthwhile representation (Moiso and Rockman). In the 2012 documentary about Thirty Seconds to Mars, Artifact, front man Jared Leto even questions whether it is possible to have “success without a label”. The recording company, he determines, “deal with the crappy jobs”. In a financially uncertain industry that makes money from subjective or experience-based goods (Caves), having a label affords an artist access to “economic capital for production and promotion” that enables “wider recognition” of creative work (Scott, 239). With the support of a record label, creative entrepreneurs are given the chance to be promoted and distributed in the creative marketplace (Scott; Shultz). To have a record label, then, is to be perceived as legitimate and credible (Shultz).However, the commercial music industry is just that, commercial. Accordingly, the desire to make money can see the intrinsic desires of musicians forfeited in favour of standardised products and a lack of remuneration for artists (Negus). To see this standardisation in practice, one need not look further than those contestants appearing on shows such as American Idol or The Voice. Nowhere is the standardisation of the music industry more evident than in Holmes’s 2004 article on Pop Idol. Pop Idol first aired in Britain from 2001-2003 and paved the way for a slew of similar shows around the world such as Australia’s Popstars Live in 2004 and the global Idol phenomena. According to Holmes, audiences are divested of the illusion of talent and stardom when they witness the obvious manufacturing of musical talent. The contestants receive training, are dressed according to a prescribed image, and the show emphasises those melodramatic moments that are commercially enticing to audiences. Her sentiments suggest these shows emphasise the artifice of the music industry by undermining artistic authenticity in favour of generating celebrities. The standardisation is typified in the post Idol careers of Kelly Clarkson and Adam Lambert. Kelly Clarkson parted with the recording company RCA when her manager and producer Clive Davis told her that her album My December (2007) was “not commercial enough” and that Clarkson, who had written most of the songs, was a “shitty writer… who should just shut up and sing” (Nied). Adam Lambert left RCA because they wanted him to make a full length 80s album comprised of covers. Lambert commented that, “while there are lots of great songs from that decade, my heart is simply not in doing a covers album” (Lee). In these instances, winning the show and signing contracts led to both Clarkson and Lambert forfeiting a degree of creative control over their work in favour of formulaic songs that ultimately left both artists unsatisfied. The standardisation and lack of remuneration is notable when signing recording artists to 360° contracts. These 360° contracts have become commonplace in the music industry (Gulchardaz, Bach, and Penin) and see both the material and immaterial labour (such as personal identities) of recording artists become controlled by record labels (Stahl and Meier). These labels determine the aesthetics of the musicians as well as where and how frequently they tour. Furthermore, the labels become owners of any intellectual property generated by an artist during the tenure of the contract (Sanders; Stahl and Meier). For example, in their documentary Show Em What You’re Made Of (2015), the Backstreet Boys lament their affiliation with manager Lou Pearlman. Not only did Pearlman manufacture the group in a way that prevented creative exploration by the members (Sanders), but he withheld profits to the point that the Backstreet Boys had to sue Pearlman in order to gain access to money they deserved. In 2002 the members of the Backstreet Boys had stated that “it wasn’t our destinies that we had to worry about in the past, it was our souls” (Sanders, 541). They were not writing their own music, which came across in the documentary Show Em What You’re Made Of when singer Howie Dorough demanded that if they were to collaborate as a group again in 2013, that everything was to be produced, managed and created by the five group members. Such a demand speaks to creative individuals being tied to their work both personally and emotionally (Bain). The angst encountered by music artists also signals the identity dissonance and conflict felt when they are betraying their true or authentic creative selves (Ashforth and Mael; Ashforth and Humphrey). Performing and abiding by the rules and regulations of others led to frustration because the members felt they were “being passed off as something we aren’t” (Sanders 539). The Backstreet Boys were not the only musicians who were intensely controlled and not adequately compensated by Pearlman. In the documentary The Boy Band Con: The Lou Pearlman Story 2019, Lance Bass of N*Sync and recording artist Aaron Carter admitted that the experience of working with Pearlman became a nightmare when they too, were receiving cheques that were so small that Bass describes them as making his heart sink. For these groups, the dream of making music was undone by contracts that stifled creativity and paid a pittance.In a similar vein, Thirty Seconds to Mars sought to cut ties with their record label when they felt that they were not being adequately compensated for their work. In retaliation EMI issued Mars with a US$30 million lawsuit for breach of contract. The tense renegotiations that followed took a toll on the creative drive of the group. At one point in the documentary Artifact (2012), Leto claims “I can’t sing it right now… You couldn’t pay me all the money in the world to sing this song the way it needs to be sung right now. I’m not ready”. The contract subordination (Phillips; Stahl and Meier) that had led to the need to renegotiate financial terms came at not only a financial cost to the band, but also a physical and emotional one. The negativity impacted the development of the songs for the new album. To make music requires evoking necessary and appropriate emotions in the recording studio (Wood, Duffy, and Smith), so Leto being unable to deliver the song proved problematic. Essentially, the stress of the lawsuit and negotiations damaged the motivation of the band (Amabile; Elsbach and Hargadon; Hallowell) and interfered with their creative approach, which could have produced standardised and poor quality work (Farr and Ford). The dream of making music was almost lost because of the EMI lawsuit. Young creatives often lack bargaining power when entering into contracts with corporations, which can prove disadvantaging when it comes to retaining control over their lives (Phillips; Stahl and Meier). Singer Demi Lovato’s big break came in the 2008 Disney film Camp Rock. As her then manager Phil McIntyre states in the documentary Simply Complicated (2017), Camp Rock was “perceived as the vehicle to becoming a superstar … overnight she became a household name”. However, as “authentic and believable” as Lovato’s edginess appeared, the speed with which her success came took a toll on Lovato. The pressure she experienced having to tour, write songs that were approved by others, star in Disney channel shows and movies, and look a certain way, became too much and to compensate, Lovato engaged in regular drug use to feel free. Accordingly, she developed a hybrid identity to ensure that the squeaky clean image required by the moral clauses of her contract, was not tarnished by her out-of-control lifestyle. The nightmare came from becoming famous at a young age and not being able to handle the expectations that accompanied it, coupled with a stringent contract that exploited her creative talent. Lovato’s is not a unique story. Research has found that musicians are more inclined than those in other workforces to use psychotherapy and psychotropic drugs (Vaag, Bjørngaard, and Bjerkeset) and that fame and money can provide musicians more opportunities to take risks, including drug-use that leads to mortality (Bellis, Hughes, Sharples, Hennell, and Hardcastle). For Lovato, living the dream at a young age ultimately became overwhelming with drugs her only means of escape. AuthenticityThe challenges then for music artists is that the dream of pursuing music can come at the cost of a musician’s authentic self. According to Hughes, “to be authentic is to be in some sense real and true to something ... It is not simply an imitation, but it is sincere, real, true, and original expression of its creator, and is believable or credible representations or example of what it appears to be” (190). For Nick Jonas of the Jonas Brothers, being in the spotlight and abiding by the demands of Disney was “non-stop” and prevented his personal and musical growth (Chasing Happiness). As Kevin Jonas put it, Nick “wanted the Jonas Brothers to be no more”. The extensive promotion that accompanies success and fame, which is designed to drive celebrity culture and financial motivations (Currid-Halkett and Scott; King), can lead to cynical performances and dissatisfaction (Hughes) if the identity work of the creative creates a disjoin between their perceived self and aspirational self (Beech, Gilmore, Cochrane, and Greig). Promoting the band (and having to film a television show and movies he was not invested in all because of contractual obligations) impacted on Nick’s authentic self to the point that the Jonas Brothers made him feel deeply upset and anxious. For Nick, being stifled creatively led to feeling inauthentic, thereby resulting in the demise of the band as his only recourse.In her documentary Gaga: Five Foot Two (2017), Lady Gaga discusses the extent she had to go to maintain a sense of authenticity in response to producer control. As she puts it, “when producers wanted me to be sexy, I always put some absurd spin on it, that made me feel like I was still in control”. Her words reaffirm the perception amongst scholars (Currid-Halkett and Scott; King; Meyers) that in playing the information game, industry leaders will construct an artist’s persona in ways that are most beneficial for, in this case, the record label. That will mean, for example, establishing a coherent life story for musicians that endears them to audiences and engaging recording artists in co-branding opportunities to raise their profile and to legitimise them in the marketplace. Such behaviour can potentially influence the preferences and purchases of audiences and fans, can create favourability, originality and clarity around artists (Loroz and Braig), and can establish competitive advantage that leads to producers being able to charge higher prices for the artists’ work (Hernando and Campo). But what impact does that have on the musician? Lady Gaga could not continue living someone else’s dream. She found herself needing to make changes in order to avoid quitting music altogether. As Gaga told a class of university students at the Emotion Revolution Summit hosted by Yale University:I don’t like being used to make people money. It feels sad when I am overworked and that I have just become a money-making machine and that my passion and creativity take a backseat. That makes me unhappy.According to Eikof and Haunschild, economic necessity can threaten creative motivation. Gaga’s reaction to the commercial demands of the music industry signal an identity conflict because her desire to create, clashed with the need to be commercial, with the outcome imposing “inconsistent demands upon” her (Ashforth and Mael, 29). Therefore, to reduce what could be considered feelings of dissonance and inconsistency (Ashforth and Mael; Ashforth and Humphrey) Gaga started saying “no” to prevent further loss of her identity and sense of authentic self. Taking back control could be seen as a means of reorienting her dream and overcoming what had become dissatisfaction with the commercial processes of the music industry. ConclusionsFor many creatives working in the creative industries – and specifically the music industry – is constructed as a dream come true; the working conditions and expectations experienced by recording artists are far from liberating and instead can become nightmares to which they want to escape. The case studies above, although likely ‘constructed’ retellings of the unfortunate circumstances encountered working in the music industry, nevertheless offer an inside account that contradicts the prevailing ideology that pursuing creative passions leads to a dream career (Florida; Samuel). If anything, the case studies explored above involving 30 Seconds to Mars, the Jonas Brothers, Lady Gaga, Kelly Clarkson, Adam Lambert and the Backstreet Boys, acknowledge what many scholars writing in the creative industries have already identified; that exploitation, subordination, identity conflict and loss of control are the unspoken or lesser known consequences of pursuing the creative dream. That said, the conundrum for creatives is that for success in the industry big “creative” businesses, such as recording labels, are still considered necessary in order to break into the market and to have prolonged success. This is simply because their resources far exceed those at the disposal of independent and up-and-coming creative entrepreneurs. Therefore, it can be argued that this friction of need between creative industry business versus artists will be on-going leading to more of these ‘dream to nightmare’ stories. The struggle will continue manifesting in the relationship between business and artist for long as the recording artists fight for greater equality, independence of creativity and respect for their work, image and identities. 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