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Added by: Ten-Herng LaiAbstract: In this article, I discuss the commemoration of public figures such as Nelson Mandela and Yitzhak Rabin. In many cases, our commemoration of such figures is based on the admiration we feel for them. However, closer inspection reveals that most (if not all) of those we currently honour do not qualify as fitting objects of admiration. Yet, we may still have the strong intuition that we ought to continue commemorating them in this way. I highlight two problems that arise here: the problem that the expressed admiration does not seem appropriate with respect to the object and the problem that continued commemorative practices lead to rationality issues. In response to these issues, I suggest taking a fictionalist position with respect to commemoration. This crucially involves sharply distinguishing between commemorative and other discourses, as well as understanding the objects of our commemorative practices as fictional objects.
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Added by: Chris Blake-Turner, Contributed by: Christy Mag UidhirAbstract: Anniversaries are appropriate times for reflection. On this, the 50th anniversary of the Ameri can Society for Aesthetics, I want to explore a complicated and confusing situation currently facing Anglo-American aesthetics. Works of art were once esteemed as objects of beauty. I In the past several years, however, artists have been accused of encouraging teenage suicide, urban rage, violence against women, and poisoning American culture. Museum directors have been indicted on obscenity charges, and artists and organizations receiving federal grants have been required to sign pledges that they will not pro mote, disseminate, or produce materials that may be considered obscene. Today in America, as in other times and places, artists face de mands for their art to conform to religious and moral criteria. These demands are not new, but they challenge the view that artistic expression falls under the protection of speech guaranteed by the First Amendment.2
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Added by: Chris Blake-Turner, Contributed by: Christy Mag UidhirIntroduction: Along with the vital abilities to cry and to suckle, human neonates are born with remarkable capacities that predispose them for social interaction with others. For example, newborns prefer human faces and human voices to any other sight or sound (Johnson et al. 1991, 11). They can imitate face, mouth, and hand movements and respond appropriately to another person's emotional expressions of sadness, fear, and surprise. It is perhaps less well known that at birth, infants can also estimate and anticipate intervals of time and temporal sequences (DeCasper and Carstens 1980). They can remember these temporal patterns and categorize them in both time and space, and in terms of affect and arousal (Beebe, Lachman and Jaffe 1997). By six weeks of age, these innate perceptual and cognitive abilities permit normal infants to engage in complex communicative interchanges with adult partners--the playful behavior that is commonly or colloquially called "babytalk."
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Added by: Simon Fokt, Contributed by: Christy Mag UidhirPublisher's Note: To Ellen Dissanayake, the arts are biologically evolved propensities of human nature: their fundamental features helped early humans adapt to their environment and reproduce themselves successfully over generations. In Art and Intimacy she argues for the joint evolutionary origin of art and intimacy, what we commonly call love.It all begins with the human trait of birthing immature and helpless infants. To ensure that mothers find their demanding babies worth caring for, humans evolved to be lovable and to attune themselves to others from the moment of birth. The ways in which mother and infant respond to each other are rhythmically patterned vocalizations and exaggerated face and body movements that Dissanayake calls rhythms and sensory modes. Rhythms and modes also give rise to the arts. Because humans are born predisposed to respond to and use rhythmic-modal signals, societies everywhere have elaborated them further as music, mime, dance, and display, in rituals which instill and reinforce valued cultural beliefs. Just as rhythms and modes coordinate and unify the mother-infant pair, in ceremonies they coordinate and unify members of a group. Today we humans live in environments very different from those of our ancestors. They used ceremonies (the arts) to address matters of serious concern, such as health, prosperity, and fecundity, that affected their survival. Now we tend to dismiss the arts, to see them as superfluous, only for an elite. But if we are biologically predisposed to participate in artlike behavior, then we actually need the arts. Even -- or perhaps especially -- in our fast-paced, sophisticated modern lives, the arts encourage us to show that we care about important things.
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Added by: Meilin ChinnPublisher's Note: This book discusses how China’s transformations in the last century have shaped its arts and its philosophical aesthetics. For instance, how have political, economic and cultural changes shaped its aesthetic developments? Further, how have its long-standing beliefs and traditions clashed with modernizing desires and forces, and how have these changes materialized in artistic manifestations? In addition to answering these questions, this book also brings Chinese philosophical concepts on aesthetics into dialogue with those of the West, making an important contribution to the fields of art, comparative aesthetics and philosophy.
Comment: A timely discussion of the influence of the last century’s political, economic, and cultural changes in China upon its philosophical aesthetics. Man’s book addresses a number of key neglected topics of comparative aesthetics between China and the West, contemporary aesthetics and art in Hong Kong, the relation of gender and art in the politics of identity, and the role of tradition in new creative practices. Chapter 4 introduces the leaders of the major schools of aesthetics in new China, including Li Zehou. This text is best used in a comparative aesthetics context, especially in discussions of contemporary aesthetic mediums.
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Added by: Ten-Herng LaiAbstract: This chapter explores why, from a cosmopolitan point of view, we should remember some wars, and furthermore how we should remember them. It contrasts itself with remembering war for partial and/or nationalist purposes, and also deals with the particularity problem, on why people of certain countries should remember their past wars.
Comment (from this Blueprint): There are several articles on why some commemorations are unacceptable. Remembering war appropriately could shed some light on what good commemorations consist in. Moreover, this paper also discusses why some of our war remembrances are suboptimal.
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Added by: Ten-Herng LaiAbstract: This paper argues that public statues of persons typically express a positive evaluative attitude towards the subject. It also argues that states have duties to repudiate their own historical wrongdoing, and to condemn other people’s serious wrongdoing. Both duties are incompatible with retaining public statues of people who perpetrated serious rights violations. Hence, a person’s being a serious rights violator is a sufficient condition for a state’s having a duty to remove a public statue of that person. I argue that this applies no less in the case of the ‘morally ambiguous’ wrongdoer, who both accomplishes significant goods and perpetrates serious rights violations. The duty to remove a statue is a defeasible duty: like most duties, it can be defeated by lesser-evil considerations. If removing a statue would, for example, spark a violent riot that would risk unjust harm to lots of people, the duty to remove could be outweighed by the duty not to foreseeably cause unjust harm. This would provide a lesser-evil justification for keeping the statue. But it matters that the duty to remove is outweighed, rather than negated, by these consequences. Unlike when a duty is negated, one still owes something in cases of outweighing. And it especially matters that it is outweighed by the predicted consequences of wrongful behaviour by others.
Comment (from this Blueprint): This paper highlights several important things. First, statues are blunt tools and express pro-attitudes to the persons they represent as a whole. Second, it sets out a clear standard for removal, and defends the conclusion that we should remove many or even most existing statues. Third, to the question “what if removal incites violence?” this paper provides a good answer. Fourth, a legitimate question is what we should do about statues of wrongdoers of the distant past? The discussion on this here is insightful.
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Added by: Rossen VentzislavovSummary: Fusco's text chronicles the preparation, performance, and public reception of an artwork - "Two Undiscovered Amerindians" - she created in collaboration with Guillermo Gómez-Peña in 1992. The performance was intended as a critique of the contemporary artworld, whose shallow redemptive multiculturalism often sidelined important issues of racial difference and racialized aesthetic perception. It consisted of the two artists spending three days in a golden cage presented, in the manner of live ethnographic spectacles of the not so distant colonial past, as members of an exotic and newly discovered island nation in the Gulf of Mexico. Fusco contends that otherness is always performative and, as such, has held the entire history of performance art - from the Dadaists to the present day - captive. The resulting frequent gestures of appropriation, condescension and erasure discredit the social and intercultural consciousness most performance artists see themselves as representing. Ironically, the strange journey the "Two Undiscovered Amerindians" project has travelled has plentifully confirmed the iniquities the two artists set out to expose.
Comment: While not a philosophical text per se, this article is very helpful in discussions of the political dimension of the contemporary artworld, and the race dynamics within it.
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Added by: Rossen VentzislavovSummary: Goldberg provides a richly illustrated historical account of the intimate connection between identity and performance art. Starting from the feminist art of the 1960's, the recognition and assertion of identity was a fundamental bid for social visibility. The next frontier was social recognition, which concerned ethnic and sexual minorities as much as it did women. The final frontier - political equality - is one that is still out of reach. Still, according to Goldberg, performance art continues to chart new territories of identification. In fact, while at the outset performance art used early feminist writing as inspiration, Goldberg recognizes a gradual reversal - today's feminists are as likely to chart new philosophical directions as they are to follow the exploratory charge of their performance art counterparts.
Comment: This text provides a historical background on the relationship between identity politics and art. It would be useful in classes on performance art, on the social context of art, as well as classes focusing on philosophy or race, gender and sexuality and ways to achieve social visibility.
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Added by: Chris Blake-Turner, Contributed by: Christy Mag UidhirIntroduction: Public art is an oxymoron according to the standards of modernist art and aesthetic theory. Modern philosophical aesthetics focuses almost exclusively on subjective experience and a commodified work of art. Art is taken to be the product of an individual and autonomous act of expression, and its appreciation is, likewise, a private act of contemplation. By contrast, as a public phenomenon, art must entail the artist's self-negation and deference to a collective community. It is interesting to observe that the recognized art of nearly all cultures, including that of the western European tradition prior to the late Renaissance, embraces just such a collective model, indulging the differences among individuals as variant manifestations of a common spirit. The celebrated treasures of Greece and Rome, as well as the Christian works of the Middle Ages and the age of the fresco that succeeded them, do not exalt the private vision of individual artists so much as they bespeak the shared values and convictions of cultural communities, and are accordingly to be found in those edifices and open places where people regularly gather to commemorate those same values and convictions. Privacy was for centuries a privative concept, demarcating the dissociated and limited experience of persons cut off from and below the level of full social humanity.
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Added by: Quentin Pharr and Clotilde TorregrossaAbstract: In this blogpost, King introduces the distinction between high art/highbrow and low art/lowbrow things both in terms of historical and social underpinnings. However King suggests that the distinction need not be cashed out simply in terms of what kinds of objects we choose to experience (e.g. fine wines vs. beer), but should also be understood in terms of the mode of appreciation or engagement we choose or endorse when experiencing certain objects. For instance, we can have a higbrow mode of appreciation towards an object usually considered lowbrow (and vice versa).
Comment (from this Blueprint): A short and illuminating blog post on the distinction between low art/high art, as well as lowbrow/highbrow, which could serve as a helpful introduction or background to the general debate, but also as background on the mechanics of appropriation, as King shows that this distinction doesn't merely rests on a historical or social categorization of objects, but also on our own modes of appreciation: one object could be considered lowbrow by an audience, yet be appreciated (or appropriated) by another audience as highbrow (and vice versa).
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Added by: Rossen VentzislavovSummary: The concept of disidentification is Muñoz' way of capturing the subversion of the token identities assigned by dominant cultural discourse. While this subversion is a common everyday practice for most members of minoritized groups, Muñoz contends that it is in art where it could achieve the political weight that leads to social change. One of the examples Muñoz uses is of gay Latino artist Felix Gonzalez-Torres whose work resists the dominant "representational economy" - it is not explicitly inflected towards and/or recognizable within the traditional symbolic parameters of sexual or ethnic marginalization. In fact, Muñoz sees Gonzalez-Torres' art as exemplary of "tactical misrecognition," i.e. the intentional obfuscation of pre-constituted identification. Performance art is the most natural medium for such misrecognition.
Comment: Best used in classes on sexual or ethnic marginalisation, and the social and political function of art, as well as on the social and political context of art.
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Added by: Ten-Herng LaiAbstract: In recent years, the removal of monuments which glorify historical figures associated with racism and colonialism has become one of the most visible and contested forms of decolonisation. Yet many have objected that there is educational value in leaving such monuments standing. In this paper, I argue that public monuments can be understood as speech acts which communicate messages to those who live among them. Some of those speech acts derogate particular social groups, contributing to their marginalisation in much the way that slurs do. Comparing derogating monuments to slurs is also productive in suggesting morally appropriate responses to their harms. I explore the limits of the use-mention distinction in relation to the harmfulness of slurs and apply this to show that attempting to recontextualise harmful monuments in situ—by, for example, changing the text on an accompanying plaque in order to retain the monument for its educational value—will not solve the problem in most cases. I conclude that the removal of slurring monuments, or their relocation to museum exhibitions dedicated to presenting a more critical view of history, is a more robust and reliable way of protecting against harm, and that this consideration outweighs any purported educational value in leaving monuments in place.
Comment (from this Blueprint): Speech act theory is a very good way to understand why problematic monuments are problematic. It also has some important implications concerning what we ought to do with these monuments and whether they have good educational value. Especially regarding the second thing, the analogy with slurs is an illuminating one. There are better ways to teach the objectionableness of slurs than mentioning them constantly. Similarly, there are better ways to teach historical lessons than preserving problematic monuments.
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Added by: Hans MaesSummary: Starting from our appreciation of cubist portraits, asks why it to commonplace for us to contemplate distorted depictions of faces with eagerness and enjoyment but to be repelled by real people whose physiognomies resemble the depicted ones. Argues that the aesthetic process that permits our attraction to portrayed human anomalies can be expanded so as to offset the devalued social positioning of real people whose physiognomic features are anomalous. Presenting an anomaly as originality rather than deviance is crucial.
Comment: Useful in discussing portraiture and depiction, beauty, as well as the links between aesthetics and ethics.
Artworks to use with this text:
Pablo Picasso, Maya with a Doll (1938)
Cubist portrait of a child. Silvers interestingly compares this to a photo of a child with osteogenesis imperfecta.
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Added by: Hans Maes, Contributed by: Christy Mag UidhirSummary: Follow-up essay on her 'From the Crooked Timber of Humanity, Beautiful Things Can Be Made' (note the one-word difference in the title). Adds the idea that medical professionals have at least a mild duty to cultivate aesthetic judgment of individuals with biological differences. Also makes the case that beauty is not the same thing as attractiveness or normalcy.
Comment: Useful in discussing portraiture and depiction, beauty, as well as the links between aesthetics and ethics.
Artworks to use with this text:
Riva Lehrer, Susan Nussbaum (1998)
This portrait of disability activist Nussbaum invokes Picasso's famous portrait of Gertrude Stein (1906). It is discussed in Garland-Thomson.
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Comment (from this Blueprint): This is a persuasive article arguing for a somewhat counter-intutive conclusion. The fictionalist approach, that what we honour is not the historical figure, but some idealised version of them, seems to capture what we actually do in the real world, even if we think we are not doing this. Do compare the position on eliminativism with Frowe's paper.