Miranda, Dana Francisco. Critical commemorations
2020, Journal of Global Ethics 16(3): 422-430
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Added by: Ten-Herng LaiAbstract:
Drawing on the works of Friedrich Nietzsche, this contribution will examine commemorative practices alongside critical modes of historical engagement. In Untimely Meditations, Friedrich Nietzsche documents three historical methodologies—the monumental, antiquarian and critical—which purposely use history in non-objective ways. In particular, critical history desires to judge and reject historical figures rather than repeat the past or venerate the dead. For instance, in recent protests against racism there have also been calls to decolonize public space through the defacement, destruction, and removal of monuments. There is thus much potential in critical history being used to address ongoing harms.Comment (from this Blueprint): This paper brings out nicely doubts on the objectivity of history as it is presented to us. The pretence of objective history can be used as an oppressive tool to delegitimise the critical reflection of the history of the marginalised. A particular point of interest is objecting to the standards of "greatness," which could be found very plausible. It seems that we have indeed been honouring people who have done great (from a certain point of view) but terrible things.
Muñoz, José Esteban. Performing Disidentifications
1999, In: Disidentifications: Queers of Color and the Performance of Politics. Minneapolis: University of Minnesota. 1-34.
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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.
Nguyen, C. Thi. Monuments as commitments: How art speaks to groups and how groups think in art
2019, Pacific Philosophical Quarterly, 100(4): 971-994
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Added by: Ten-Herng LaiAbstract:
Art can be addressed, not just to individuals, but to groups. Art can even be part of how groups think to themselves – how they keep a grip on their values over time. I focus on monuments as a case study. Monuments, I claim, can function as a commitment to a group value, for the sake of long-term action guidance. Art can function here where charters and mission statements cannot, precisely because of art's powers to capture subtlety and emotion. In particular, art can serve as the vessel for group emotions, by making emotional content sufficiently public so as to be the object of a group commitment. Art enables groups to guide themselves with values too subtle to be codified.Comment (from this Blueprint): This paper highlights the role monuments can play as groups attempt to speak to itself to solidify its own commitment. As a form of art, it can publicly reinforce the commitments, especially through carrying the emotions, attitudes that cannot be easily expressed in propositions, towards certain individuals or ideals. The commitments can be something great, evil, or mediocre. Also consider the fact that art engages with our emotions rather than our rational capacity.
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 TorregrossaAbstract:
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.
Nochlin, Linda. Women, Art, and Power and Other Essays
1988, Routledge
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Added by: Clotilde Torregrossa, Contributed by: Christy Mag UidhirAbstract: Seven landmark essays on women artists and women in art history - brings together the work of almost twenty years of scholarship and speculation.
Nochlin, Linda. Why Have There Been No Great Women Artists?
1971, ARTnews.
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Added by: Clotilde Torregrossa, Contributed by: Christy Mag UidhirIntroduction: In the field of art history, the white Western male viewpoint, unconsciously accepted as the viewpoint of the art historian, may - and does - prove to be inadequate not merely on moral and ethical grounds, or because it is elitist, but on purely intellectual ones. In revealing the failure of much academic art history, and a great deal of history in general, to take account of the unacknowledged value system, the very presence of an intruding subject in historical investigation, the feminist critique at the same time lays bare its conceptual smugness, its meta-historical naivete. At a moment when all disciplines are becoming more self-conscious, more aware of the nature of their presuppositions as exhibited in the very languages and structures of the various fields of scholarship, such uncritical acceptance of 'what is' as 'natural' may be intellectually fatal. Just as Mill saw male domination as one of a long series of social injustices that had to be overcome if a truly just social order were to be created, so we may see the unstated domination of white male subjectivity as one in a series of intellectual distortions which must be corrected in order to achieve a more adequate and accurate view of historical situations.
Nussbaum, Martha. Hiding from Humanity: Disgust, Shame, and the Law
2004, Princeton University Press.
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Back matter: "Should laws about sex and pornography be based on social conventions about what is disgusting? Should felons be required to display bumper stickers or wear T-shirts that announce their crimes? This powerful and elegantly written book, by one of America's most influential philosophers, presents a critique of the role that shame and disgust play in our individual and social lives and, in particular, in the law. Martha Nussbaum argues that we should be wary of these emotions because they are associated in troubling ways with a desire to hide from our humanity, embodying an unrealistic and sometimes pathological wish to be invulnerable. Nussbaum argues that the thought-content of disgust embodies ""magical ideas of contamination, and impossible aspirations to purity that are just not in line with human life as we know it."" She argues that disgust should never be the basis for criminalizing an act, or play either the aggravating or the mitigating role in criminal law it currently does. She writes that we should be similarly suspicious of what she calls ""primitive shame,"" a shame ""at the very fact of human imperfection,"" and she is harshly critical of the role that such shame plays in certain punishments. Drawing on an extraordinarily rich variety of philosophical, psychological, and historical references--from Aristotle and Freud to Nazi ideas about purity--and on legal examples as diverse as the trials of Oscar Wilde and the Martha Stewart insider trading case, this is a major work of legal and moral philosophy".Comment: Particularly useful for teaching on the non-rational motivators of moral reasoning and justifications of punishment, and on how emotions can be misleading and unreliable as a guide for law and ethics.
Nzegwu, Nkiru. African Art in Deep Time: De‐race‐ing Aesthetics and De‐racializing Visual Art
2019, Journal of Aesthetics and Art Criticism 77 (4): 367-378.
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Added by: Simon Fokt
Abstract: In two essays in the ART/Artifact(1988) exhibition catalog, white American museum curator Susan Vogel and white American philosopher Arthur Danto pronounce that Africans do not distinguish between art and nonart. Although seemingly objective empirical statements, their assertions about Africa and its art are racially based ruminations of a white supremacist worldview. I argue that in theorizing within the category of race they produced racialized aesthetics that commit the Eurocentric fallacy of upholding systemic racist objectives. I argue that (1) their assertions fail to be about African art, but about hegemony and power; (2) as the longest enduring artistic activity of humanity, African art is an important check to racialized aesthetics; (3) art is produced outside the category of race and from a critically conscious awareness of the world; and (4) art bespeaks creativity and presupposes the artistic and moral values of a culture in the manipulation and transformation of physical reality.
Comment: Written in an engaging way, this paper invites the reader to re-evaluate some common assumptions about art from different cultures. Exposing the prevalent Western approach to African art as racialised, it can be a great tool in making students understand both the structural-societal, as well as own biases in approaching other cultures. Ngzewu defends a powerful thesis: that ‘the West’s conception of art and creativity presupposes white racial hegemony.’ She exposes the way in which Western art is tacitly assumed to be a yardstick against which all is measured, and the Westerners have become the ‘purveyors of knowledge’ who apply this yardstick to decide whether works of other cultures are art, all without any need to consult the creators of those works, or to revise own concept of art. As such, the paper can be very empowering to some students, while also being very uncomfortable to others – teaching it might require some skill in leading the discussion in a constructive way. The import of Ngzewu’s argumentis that while racism and white domination rest on the assumption of cognitive and moral superiority of white people, the approach to African art she criticises serves to reinforce this assumption. This can inspire further class discussion on the importance and value of aesthetics. Best used before assigning other texts on non-Western art, which should all be read in light of Ngzewu’s criticism. Written in an engaging way, this paper invites the reader to re-evaluate some common assumptions about art from different cultures. Exposing the prevalent Western approach to African art as racialised, it can be a great tool in making students understand both the structural-societal, as well as own biases in approaching other cultures. Ngzewu defends a powerful thesis: that ‘the West’s conception of art and creativity presupposes white racial hegemony.’ She exposes the way in which Western art is tacitly assumed to be a yardstick against which all is measured, and the Westerners have become the ‘purveyors of knowledge’ who apply this yardstick to decide whether works of other cultures are art, all without any need to consult the creators of those works, or to revise own concept of art. As such, the paper can be very empowering to some students, while also being very uncomfortable to others – teaching it might require some skill in leading the discussion in a constructive way. The import of Ngzewu’s argumentis that while racism and white domination rest on the assumption of cognitive and moral superiority of white people, the approach to African art she criticises serves to reinforce this assumption. This can inspire further class discussion on the importance and value of aesthetics. Best used before assigning other texts on non-Western art, which should all be read in light of Ngzewu’s criticism.
Olberding, Amy. Looking Philosophical: Stuff, Stereotypes, and Self‐Presentation
2015, 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.
Patridge, Stephanie. Exclusivism and Evaluation: Art, Erotica and Pornography
2013, in Pornographic Art and the Aesthetics of Pornography, ed. by Hans Maes (London: Palgrave Macmillan).
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Added by: Simon FoktContent: Patridge discusses and rejects some of the main arguments for the exclusivist thesis that no pornography can be art: Levinson’s, Mag Uidhir’s, and one based on Rea’s definition of pornography. In doing so, she offers a useful overview of some other arguments already used against those authors. This leads her to conclude that at least some pornography can be art. A normative question follows: should we treat pornography as art? Given the high cultural status of art, and the often unethical nature of pornography, doing so might lead us to promoting unethical attitudes. She finds such treatment too unselective: at least some pornography isn’t morally problematic (and some of it can actually be morally laudable), while much of art, including erotic art, definitely is. But consumption of pornography cannot be taken out of our paternalistic and sexist cultural context. As most pornography is inegalitarian and expresses (and possibly promotes) harmful attitudes towards women, enjoying it constitutes a moral flaw. This is true even if the consumer is never inspired to actually harm women – in those cases enjoyment of pornography constitutes moral obliviousness, a ‘failure of sensitivity and solidarity with the victims of such imagery’ (54) similar to taking enjoyment in racist jokes.Comment: This text offers a good and brief overview of the main points in the art and pornography debate. This makes it a good ‘one-stop-shop’ for classes which do not wish to look at it more closely. Alternatively, it can be used as an introduction to the topic and followed by some more specific papers. It also engages the normative question and offers a discussion of moral issues related to pornography. This will likely prove to be a very interesting point for class discussions.
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