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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).Muñoz, José Esteban. Performing Disidentifications1999, In: Disidentifications: Queers of Color and the Performance of Politics. Minneapolis: University of Minnesota. 1-34.-
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Added by: Rossen Ventzislavov
Summary: 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.Olberding, Amy. Looking Philosophical: Stuff, Stereotypes, and Self‐Presentation2015, Hypatia 30 (4):692-707-
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Added by: Deryn Mair ThomasAbstract:
Self‐presentation is a complex phenomenon through which individuals present themselves in performance of social roles. The success of such performances rests not just on how well a performer fulfills expectations regarding the role she would play, but on whether observers find her convincing. I focus on how self‐presentation entails making use of material environment and objects: One may “dress for the part” and employ props that suit a desired role. However, regardless of dress or props, one can nonetheless fail to “look the part” owing to expectations informed by biases patterned along commonplace social stereotypes. Using the social role of philosopher as my example, I analyze how the stereotype attached to this role carries implications for how demographically under‐represented philosophers may self‐present, specifically with regard to dress and decoration. I look, in particular, to the alienation from one's material environment that may follow on the frustration of self‐presentation through bias. One pernicious effect of bias, I argue, is the power it has to deform and distort its target's relation to her physical setting and objects. Where comfort and ease in one's material environment can be a significant ethico‐aesthetic good, bias can inhibit access to, and enjoyment of, this good.
Comment : In this essay, Olberding explores the ways in which a person's material and aesthetic identity will shape their experience of themselves as well as others' perception of their identity. Further, she applies this ethico-aesthetic analysis to the case of the stereotypical aesthetic norms of the philosopher and the broader community of academic philosophy. In particular, she is interested in investigating (and in some ways, challenging) standard philosophical aesthetic norms, and the way these intersect with marginalisation and bias towards members of the philosophical community who do not fit the traditional image of the old, white bearded man philosopher. Olberding's discussion bears obvious relevance to topic areas such as philosophy of aesthetics and themes in feminist philosophy, but her arguments also apply more broadly to questions about self-identity, human relationship to the material, and economic/political/social justice. Since personal aesthetic choices are always influenced by a broad range of factors beyond simply personal preference - such as socio-economic access, ethnic and social culture, political affiliation, etc. - the text would have a wide range of interesting applications in social and political philosophy beyond the subject matter it directly addresses.Shahvisi, Arianne. Colonial monuments as slurring speech acts2021, Journal of Philosophy of Education 55(3):453-468-
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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.Silvers, Anita. From the Crooked Timber of Humanity, Beautiful Things Can Be Made2000, in: Brand, Peg Zeglin (ed.), Beauty Matters, Bloomington: Indiana University Press, pp. 197-221.-
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Added by: Hans Maes
Summary: 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. 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.
Silvers, Anita. From the Crooked Timber of Humanity, Beautiful Things Should Be Made!2011, APA Newsletter, 10(2): 1-5.-
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Added by: Hans Maes, Contributed by: Christy Mag Uidhir
Summary: 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. 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.
Walsh, Andrea N., Dominic McIver Lopes. Objects of Appropriation2012, In Young, James O., and Conrad G. Brunk, eds. The Ethics of Cultural Appropriation: Blackwell Publishing.-
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Added by: Erich Hatala Matthes
Summary: Walsh and Lopes argue that some appropriation can be beneficial and productive: in particular, the appropriation of elements of dominant culture by members of culturally marginalized groups. They explore this idea through discussion of such appropriative artwork by a number of contemporary First Nations artists, which they argue challenges "the assumed alignment of appropriator with oppressor and appropriatee with victim"(227).Comment : This text serves as a useful counterpoint to the general framework employed in much of the other cultural appropriation literature. It is also a useful selection for course units focusing on art practice.- 1
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King, Alex. High Art, Low Art, and the Status of Aesthetics
2014, Aesthetics for Birds, November 18, 2014 [Blog]