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Cooper, Leonie. Joe Corré, Son of Malcolm McLaren and Vivienne Westwood, On Why He’s Burning His £5 Million Punk Collection
2016, NME, 18th March 2016
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Added by: Quentin Pharr and Clotilde Torregrossa
Abstract: This week [18th March 2016], Joe Corré, son of punk provocateurs Malcolm McLaren and Vivienne Westwood proved that rebellion runs in the family. In response to the ongoing Punk London year of events, gigs, films, talks, exhibits, celebrating 40 years of punk – which Joe claims has been endorsed by the Queen – has announced his plans to burn his £5 million collection of punk memorabilia this November 26, on the 40th anniversary of the release of the Sex Pistols’ ‘Anarchy In The UK’. NME visited Joe at his London HQ to find out more.

Comment (from this Blueprint): This news item is an interview with Joe Corré, son of British fashion designer Vivienne Westwood and Malcolm McLaren, former manager of the Sex Pistols. In response to the 2016 events celebrating '40 years of Punk' in London, Corré announced he would burn his collection of punk artefacts, estimated to be worth £5 million (he did end up burning it on a barge on the Thames). In this interview, Corré discusses how the punk aesthetic has been appropriated by the very people and institutions that the punk movement was against - the establishment. For Corré, his collection is only worth £5 million because of the mainstream appropriation that punk has undergone - for him these items are worthless, they barely even have sentimental value. But equally, Corré, a very wealthy man himself (he co-founded the lingerie brand Agent Provocateur and sold it to private equity for £60 million), has come under fire for his decision to burn the items rather than give them to charity. As such, this piece is an interesting case study that illustrates the mechanics of class appropriation of fashion as discussed by Crane. But it can also be discussed in reference to the People's History Museum virtual exhibition from week 6, as perhaps Corré's judgement that these items are not worthy of preservation and display is itself clouded by class privilege.

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Du Bois, W.E.B.. Criteria of Negro Art
1926, The Crisis, 32: 290-297
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Added by: Quentin Pharr and Clotilde Torregrossa
Abstract: Published in The Crisis of October 1926, DuBois initially spoke these words at a celebration for the recipient of the Twelfth Spingarn Medal, Carter Godwin Woodson. The celebration was part of the NAACP's annual conference and was held in June 1926.

Comment (from this Blueprint): In this selection, Du Bois discusses the nature of aesthetic value, how black artists have been historically excluded from creating it for false and racist reasons, and what role black artists actually have to play in creating beauty. Firstly, he establishes an expansive conception of aesthetic value. Secondly, he sets out various examples of how black artists have been historically excluded from producing art in general and art which portrays "blackness" more specifically. And lastly, he sets out a vision for the arts which not only includes black artists, but also recognizes the aesthetic and political value of their work for creating fair and equal societies where beauty is ever present and sought. It will help readers to understand the costs and wrongs that come with exclusionary practices in the production of aesthetic objects.

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Nguyen, C. Thi, Strohl, Matthew. Cultural Appropriation and the Intimacy of Groups
2019, Philosophical Studies, 176: 981–1002
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Added by: Quentin Pharr and Clotilde Torregrossa
Abstract: What could ground normative restrictions concerning cultural appropriation which are not grounded by independent considerations such as property rights or harm? We propose that such restrictions can be grounded by considerations of intimacy. Consider the familiar phenomenon of interpersonal intimacy. Certain aspects of personal life and interpersonal relationships are afforded various protections in virtue of being intimate. We argue that an analogous phenomenon exists at the level of large groups. In many cases, members of a group engage in shared practices that contribute to a sense of common identity, such as wearing certain hair or clothing styles or performing a certain style of music. Participation in such practices can generate relations of group intimacy, which can ground certain prerogatives in much the same way that interpersonal intimacy can. One such prerogative is making what we call an appropriation claim. An appropriation claim is a request from a group member that non-members refrain from appropriating a given element of the group’s culture. Ignoring appropriation claims can constitute a breach of intimacy. But, we argue, just as for the prerogatives of interpersonal intimacy, in many cases there is no prior fact of the matter about whether the appropriation of a given cultural practice constitutes a breach of intimacy. It depends on what the group decides together.

Comment (from this Blueprint): This article presents a thorough discussion of the competing interests surrounding cultural appropriation and one promising explanation of why it amounts to a harm or wrong based on the notion of intimacy - in particular, breaches of group intimacy. Although this explanation is just one of many that might be given, the hope is that readers will find tools for thinking about the previous items from this week's selections and for developing their own views on cultural appropriation.

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Starr, Ellen Gates. Art and Labour
2010, In The Craft Reader, Glenn Adamson (ed.). Berg Publishers
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Added by: Quentin Pharr and Clotilde Torregrossa
Abstract: 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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Vredenburgh, Kate. The Right to Explanation
2021, Journal of Political Philosophy 30 (2):209-229
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Added by: Deryn Mair Thomas
Abstract:

This article argues for a right to explanation, on the basis of its necessity to protect the interest in what I call informed self- advocacy from the serious threat of opacity. The argument for the right to explanation proceeds along the lines set out by an interest- based account of rights (Section II). Section III presents and motivates the moral importance of informed self- advocacy in hierarchical, non- voluntary institutions. Section IV argues for a right to so- called rule- based normative and causal explanations, on the basis of their necessity to protect that interest. Section V argues that this protection comes at a tolerable cost.

Comment: This paper asserts a right to explanation grounded in an interest in informed self-advocacy, the term the author uses to describe a cluster of abilities to represent one's interests and values to decision-makers and to further those interests and values within an institution. Vredenburgh also argues that such form of self-advocacy are necessary for hierarchical, non-voluntary institutions to be legitimate and fair - and it is on these grounds that a person may reasonably reject insitutional set-ups that prevent them from engaging in these abilities. In this sense, Vredenburgh's argument applies to a broader set of problems then simply algorithmic opacity - they may feasibly be applied to cases in which systems (such as bureacratic ones) deny an individual this right to explanation. Therefore, this paper presents an argument which would be useful as further or specialised reading in a variety of classroom contexts, including courses or reading groups addressing technological and algorithmic ethics, basic political rights, bureacratic ethics, as well as more general social and political philosophical courses. It might be interesting, for example, to use it to in an introductory social/political course to discuss with students some of the ethical questions that are particular to a 21st century context. As systems become more complex and individuals become further removed from the institutional decision-making that guides/rules/directs their lives, what right do we have to understand the processes that condition our experience? In what other situations might these rights become challenged?

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