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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.
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Added by: Chris Blake-Turner, Contributed by: Christy Mag UidhirAbstract: This essay focuses on Schopenhauer's aesthetics and philosophy of art, areas of his philosophy which have attracted the most philosophical attention in recent years. After discussing the subjective and objective aspects of aesthetic experience on his account, I shall offer interpretations of Schopenhauer's theory of the sublime and solution to the problem of tragedy. In addition, I shall touch upon the liveliest interpretive debates concerning his aesthetic theory: the intelligibility of the 'Platonic Ideas' as the objects of aesthetic experience and the very possibility of aesthetic experience within Schopenhauer's system. Another aim of this essay is to suggest how some of Schopenhauer's aesthetic doctrines may be interpreted in a less metaphysically extravagant way. When understood in this manner, contemporary aestheticians might be inclined to take a closer look at Schopenhauer's aesthetic theory and philosophy of art, for it is distinctive in the tradition of Western philosophical aesthetics in its attempt to highlight and balance the hedonic and cognitive importance of aesthetic experiences; in its sensitivity both to the aesthetic experience of nature as well as of art; in the high value placed on the experience of music ; and in the innovative solution to the problem of tragedy it offers
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Added by: Rossen VentzislavovSummary: Sigman studies outrage and offense in the art context. The first important observation she makes is that, often enough, the public's recoiling from a piece of art comes with the assumption that the object of offense is interpretatively transparent. This is because in the absence of art-historical or theoretical wherewithal, we default to pre-conceptual reactions - fear of otherness, loss of our ethical bearings, low self-esteem etc. Since most historical offense-based arguments against art have made a claim that the particular work is demeaning to the public, Sigman carefully lays out the features of demeaning treatment - a mostly intentional act that treats persons as less than persons, usually in an abusive manner. On this description, very few artworks could be considered demeaning. Furthermore, as Sigman shows in her art-historical contextualization of artist Stelarc's performance work Street Suspension, public outrage could be tempered and/or extinguished through attentive engagement with problematic artworks.
Comment: This is a thought-provoking text which can provide good background for a debate on controversial art. It is quite easy to read and features examples which make it accessible for beginners classes on aesthetics, art interpretation, the value of art, and modern art in general.
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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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Added by: Chris Blake-Turner, Contributed by: Christy Mag UidhirAbstract: Following suggestions drawn from both analytic and postmodernist sources, I shall advise revisionist artwriters to follow Fou- cault's caution against conceiving of the artists whose stories are related in arts scholarship as historical persons who originated (that is, were the origins of) their art, and who, consequently, are prior to and separate from it. From this perspective, it is problematic how references to properties external to works of art-properties like gender-function in the kind of artwriting crucial to canonical reform.
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Added by: Hans MaesSummary: As 'always already' racialized object of the white patriarchal look African-Americans have enduringly suffered from having to negotiate notions of the self from a crisis position. The act of self-portraiture for the African-American artist has the value of bestowing upon the self-portraitist a sense of empowerment.
Comment: Useful in discussing portraiture and depiction, as well as empowerment and art's role in power relations in general.
Artworks to use with this text:
Lyle Ashton Harris, Construct #10 (collection of the artist, 1988)
Harris's self-portraits are redemptive and liberatory in their focus on the self. They challenge standard discourse on identity and subjectivity to present a new sign of black power and liberation. Because his photographs expose gender as constructed and performed, they also, in the process, subvert phallocentrism and compulsory heterosexuality.
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Added by: Rossen Ventzislavov, Contributed by: Christy Mag UidhirSummary: Sontag mines the history of philosophical aesthetics and art criticism for the reasons why interpretation has held us under its spell for the last two millennia. One such reason is our insistence on the form/content dichotomy and the vestigial prioritizing of content in the way we talk about art. Another reason is the discursive, and thus political, control that interpretation enables. A third reason is our willingness to sacrifice our unmediated experience of an artwork, and our sensitivity to an artist's intentions, for the sake of interpretative success. To counter these "reactionary, impertinent, cowardly, stifling" tendencies, Sontag proposes an "erotics of art" - a new emphasis on transparence, which favors description and appreciation over interpretation. This critical ethos does not only change the terms of conceptual engagement; it also opens the gates for creative approaches to art which explicitly challenge vestigial modes of meaning-making and meaning extraction. Even though Sontag does not specifically single any of these approaches out, performance art is arguably the most extreme of the potential candidates.
Comment: This text offers a seminal critique of art interpretation and should be included in any course discussing interpretation and criticism.
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Added by: Andrea BlomqvistAbstract: We often have affective responses to fictional events. We feel afraid for Desdemona when Othello approaches her in a murderous rage. We feel disgust toward Iago for orchestrating this tragic event. What mental architecture could explain these affective responses? In this paper I consider the claim that the best explanation of our affective responses to fiction involves imaginative desires. Some theorists argue that accounts that do not invoke imaginative desires imply that consumers of fiction have irrational desires. I argue that there are serious worries about imaginative desires that warrant skepticism about the adequacy of the account. Moreover, it is quite difficult to articulate general principles of rationality for desires, and even according to the most plausible of these possible principles, desires about fiction are not irrational.
Comment: This would function well as a required reading in a week on why we have emotional reactions to fiction, probably in a course for senior undergraduate students. It is suitable for a philosophy of fiction module.
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Added by: Quentin Pharr and Clotilde TorregrossaAbstract: From the canonical texts of the Arts and Crafts Movement to the radical thinking of today's “DIY” movement, from theoretical writings on the position of craft in distinction to Art and Design to how-to texts from renowned practitioners, from feminist histories of textiles to descriptions of the innovation born of necessity in Soviet factories and African auto-repair shops, The Craft Reader presents the first comprehensive anthology of writings on modern craft. Covering the period from the Industrial Revolution to today, the Reader draws on craft practice and theory from America, Europe, Asia and Africa. The world of craft is considered in its full breadth -- from pottery and weaving, to couture and chocolate-making, to contemporary art, architecture and curation. The writings are themed into sections and all extracts are individually introduced, placing each in its historical, cultural and artistic context. Bringing together an astonishing range of both classic and contemporary texts, The Craft Reader will be invaluable to any student or practitioner of Craft and also to readers in Art and Design.
Comment (from this Blueprint): Starr highlights in this selection that art and the entirety of humanity go hand-in-hand. Firstly, she notes that art (at least, the best art) has always been, in great part, an expression of humanity's "common life" and not just an expression of its elite's interests. But, secondly and more importantly, she also argues that humans, regardless of their social status or class, cannot live without beauty in their lives. Striving for art has always been essential to joy in humanity's productive capacities, and those products have always been essential to the retention of humanity's hope in itself through our consumption of it. This selection, in conjunction with Du Bois's, makes salient that, although things are often produced by many of us without art in mind and art is often consumed by relatively few of us, such a state of affairs is ultimately not amenable to producing good societies and happy peoples. Art, as she claims, can and must be by all for all, regardless of social status or class.
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Added by: Hans MaesSummary: In conventional film photography, negatives are used in the darkroom to produce positive images, but in the outmoded medium Polaroid 665 the positive image is used to make a unique negative that can then be employed to make positive prints in the future. This generativity of the Polaroid 665 negative is used by the artist to mirror the complexity of feelings regarding intersex bodies. The series shows how negative affect can be productive and political, even when it appears to suspend agency.
Comment: Useful in discussing portraiture and depiction, as well as empowerment and art's role in power relations in general.
Artworks to use with this text:
Del LaGrace Volcano, Herm Body (2011- )
Self-portraits which clearly reference the work of John Coplans and reflect on Volcano’s midlife embodiment changed by hormones, age, and weight. The title draws attention to the materiality of its subject, insisting that we receive the body as ‘herm’ – a word Volcano uses to name intersex history and claim trans embodiment.
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Added by: Chris Blake-Turner, Contributed by: Christy Mag UidhirAbstract: In his article 'Fantasy, Imagination and the Screen' , Roger Scruton offers an account of fantasy, arguing that it is directed away from reality in some important sense, and that cinema is its natural representational medium. I address certain problems with Scruton's basic account, thereby producing a signifi cantly amended version, though one that owes a great debt to his. I explain why, as he says, much fantasy is signifi cantly directed away from reality; and conclude with some brief remarks about.
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Added by: Andrea BlomqvistAbstract: In this paper, I survey in some depth three issues arising from the connection between imagination and fiction: (i) whether fiction can be defined as such in terms of its prescribing imagining; (ii) whether imagining in response to fiction is de se, or de re, or both; (iii) the phenomenon of 'imaginative resistance' and various explanations for it.
Comment: Very introductory text which would be suitable for undergraduates in a philosophy of fiction module.
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Added by: Andrea BlomqvistAbstract: In this paper I present an objection to the theory of fictional content known as 'hypothetical intentionalism'. It centres around the fact that certain sentences in fictions can both imply fictional truths and convey testimony, to be believed by the reader. I argue that hypothetical intentionalism cannot easily make sense of this fact; whereas actual author intentionalism (a rival to hypothetical intentionalism) can.
Comment: This text would be good as further reading for students who are particularly interested in intentionalism and how things can be true in fiction.
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Added by: Andrea BlomqvistAbstract: In the first half of this book, I offer a theory of fictional content or, as it is sometimes known, 'fictional truth'.The theory of fictional content I argue for is 'extreme intentionalism'. The basic idea - very roughly, in ways which are made precise in the book - is that the fictional content of a particular text is equivalent to exactly what the author of the text intended the reader to imagine. The second half of the book is concerned with showing how extreme intentionalism and the lessons learnt from it can illuminate cognate questions in the philosophy of fiction and imagination. For instance, I argue, my position helps us to explain how fiction can provide us with reliable testimony; it helps explain the phenomenon of imaginative resistance; and it fits with, and so supports, a persuasive theory of the nature of fiction itself. In my final chapter, I show how attending to intentionalist practices of interpreting fictional content can illuminate the nature of propositional imagining itself.
Comment: This book would be good to read chapter by chapter in a module which focussed exclusively on it, perhaps with supplemantary readings which relate to the topic of each chapter. It would be a good for a third year module.
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.