Coleman, Elizabeth Burns. Aboriginal Painting: Identity and Authenticity
2001, Journal of Aesthetics and Art Criticism 59(4): 385–402.
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Added by: Erich Hatala MatthesSummary: Coleman argues for an ontological understanding of Australian Aboriginal artworks (namely, that they function as insignia that require authoritative endorsement) that can resolve disputes about the authenticity of controversial cases of Aboriginal art. More broadly, her article illuminates the ways in which viewing art as part of a cultural heritage can affect how we understand its authenticity.Comment: This is a longer text that intersects with a number of other topics, including appropriation, art ontology, and the art-status of non-Western artworks. It could be used in the context of course units exploring any of those themes, or to raise them in the context of a unit on authenticity.
Coomaraswamy, Ananda K.. Samvega, ‘Aesthetic Shock’
1943, Harvard Journal of Asiatic Studies 7(3): 174-179.
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Added by: Meilin ChinnSummary: An explication of the Pali aesthetic term samvega as the state of shock and wonder at a work of art that occurs when the implications of its aesthetic qualities are experienced. Despite being an emotion, Coomaraswamy associates samvega with disinterested aesthetic contemplation.Comment: This text would work well in a focused study of Indian aesthetics, as well in a cross-cultural study of disinterest in aesthetics.
Darby, Derrick. Reparations and Racial Inequality
2010, Philosophy Compass 5 (1): 55-66.
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Added by: Rochelle DuFordAbstract: A recent development in philosophical scholarship on reparations for black chattel slavery and Jim Crow segregation is reliance upon social science in normative arguments for reparations. Although there are certainly positive things to be said in favor of an empirically informed normative argument for black reparations, given the depth of empirical disagreement about the causes of persistent racial inequalities, and the ethos of 'post-racial' America, the strongest normative argument for reparations may be one that goes through irrespective of how we ultimately explain the causes of racial inequalities. By illuminating the interplay between normative political philosophy and social scientific explanations of racial inequality in the prevailing corrective justice argument for black reparations, I shall explain why an alternative normative argument, which is not tethered to a particular empirical explanation of racial inequality, may be more appealing.Comment: This text provides a clear overview and introduction to debates about reparations for decendents of African American slaves. It also surveys quite a bit of empirical data surrounding racial inequalities. It would fit well in a course that considered questions of social justice, racial inequality, or reparations.
Davies, Stephen, Samer Akkach, Meilin Chinn, et. al.. How Do Cross-Cultural Studies Impact Upon the Conventional Definition of Art?
2018, Journal of World Philosophies 3 (1): 93-122
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Added by: Simon Fokt
Abstract: While Stephen Davies argues that a debate on cross-cultural aesthetics is possible if we adopt an attitude of mutual respect and forbearance, his fellow symposiasts shed light upon different aspects which merit a closer scrutiny in such a dialogue. Samer Akkach warns that an inclusivistic embrace of difference runs the risk of collapsing the very difference one sought to understand. Julie Nagam underscores that local knowledge carriers and/or the medium should be involved in such a cross-cultural exploration. Enrico Fongaro searches for a way of experiencing cross-cultural art such that it can lead to a transformative experience Relatedly, Meilin Chinn uses the analogy of friendship to explore the edifying dimension of experiencing an art form. Lastly, John Powell studies whether Dickie’s Institutional Theory can be meaningfully used to identify works of art in Western and non-Western traditions.
Comment: The selection of texts by Davies, Akkach, and Chinn, with a part of Davies’ reply in the end, are particularly interesting. These present an interesting tension, with Akkach and (somewhat less overtly) Chinn, criticising Davies for adopting a Western-centric attitude to studying and conceptualising art of other cultures. It can be useful to consider this in the context of Nikiru Ngzewu, ‘African Art in Deep Time: De-race-ing Aesthetics and De-racializing Visual Art’, asking to what extent the present discussion is similar to her criticism of Vogel and Danto. Given that Davies is offering a reply to the criticisms, this could offer an opportunity for a debate-style class design. The texts, and especially Davies’ reply, invite a further reflection: can one ever understand, conceptualise, or analyse the products (art?) of another culture, without doing so using the conceptual frameworks of one’s own culture in ways that are problematic? If yes, how could this be done? If not, should we just never attempt it? What role do power structures and imbalances play in such attempts? The selection of texts by Davies, Akkach, and Chinn, with a part of Davies’ reply in the end, are particularly interesting. These present an interesting tension, with Akkach and (somewhat less overtly) Chinn, criticising Davies for adopting a Western-centric attitude to studying and conceptualising art of other cultures. It can be useful to consider this in the context of Nikiru Ngzewu, ‘African Art in Deep Time: De-race-ing Aesthetics and De-racializing Visual Art’, asking to what extent the present discussion is similar to her criticism of Vogel and Danto. Given that Davies is offering a reply to the criticisms, this could offer an opportunity for a debate-style class design. The texts, and especially Davies’ reply, invite a further reflection: can one ever understand, conceptualise, or analyse the products (art?) of another culture, without doing so using the conceptual frameworks of one’s own culture in ways that are problematic? If yes, how could this be done? If not, should we just never attempt it? What role do power structures and imbalances play in such attempts?
Egbunu, Fidelis Eleojo. Language Problem in African Philosophy: The Igala Case
2014, Journal of Educational and Social Research. 4 (3): 363-371.
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Added by: Sara Peppe and Björn FreterAbstract:
The Language Question is a very central subject of discourse in African Philosophy. This is consequent upon the fact that the essence of language in philosophy cannot be gainsaid. Language, as it were, is culture bound. As such, to deny a people of their language is to deny them their cultural heritage. While applying the descriptive and analytic method in this work, it is contended that language plays not only a catalyzing role in the art of philosophizing but that it occupies an inalienable place in philosophy. Again, that since philosophy is more or less about resolving “conceptual cramps” or “bottle-necks”, indigenous languages should be given a pride of place over and against their foreign counterparts because of the obvious epistemological advantages embedded therein (especially in mother-tongues). It is submitted here that a lot of homework need to be done in terms of advocacy and development on the low status of such languages so as to meet up with the international standard and nature of the discipline. Meanwhile, the need for using a language that engenders understanding across ethnic barriers alongside the language of the environment is being advocated as a short-term measure. This is not without sounding a caveat that such a transfer of knowledge which is often fraught with some degree of adulteration via the instrument of translation, though practicable, is far from being the ideal. It is on this token the opinions of experts such as Barry Hallen, Quine and a host of others on Methods of Ordinary Language Philosophy and Indeterminacy, respectively are being advanced as plausible means of meeting the challenges before us. In this manner, while using the Igala language of Central Nigeria as a case study, it is finally submitted that it is possible to have what we might term authentic African Philosophy emerging from a systematic analysis of our traditional worldviews.Comment (from this Blueprint): This paper examines the issue of language in African Philosophy and highlights that language and culture are closely linked. Indeed, in paragraph 2, Egbonu studies the term “language”, underlining that language has to do with people’s identity and culture. Also, the author explains that language has a crucial role in philosophising, with African indigenous languages that should have a major role in African philosophy since it expresses the cultural heritage of African people. Egbunu focuses on the case of Igala people, where the meaning of the words they use is not the same when we translate them. But, Egbunu also underlines that language is not the only way to determine what should be considered authentic African philosophy. Indeed, it is argued that language does not determine whether African philosophy is authentic or not. Instead, authentic African philosophy is the philosophy applied to the conceptual issues of the African experience.
Freeland, Cynthia. But is it Art?: An Introduction to Art Theory
2001, Oxford: Oxford University Press.
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Added by: Simon FoktPublisher's note: From Andy Warhol's Brillo boxes to provocative dung-splattered madonnas, in today's art world many strange, even shocking, things are put on display. This often leads exasperated viewers to exclaim--is this really art? In this invaluable primer on aesthetics, Freeland explains why innovation and controversy are so highly valued in art, weaving together philosophy and art theory with many engrossing examples. Writing clearly and perceptively, she explores the cultural meanings of art in different contexts, and highlights the continuities of tradition that stretch from modern often sensational works, back to the ancient halls of the Parthenon, to the medieval cathedral of Chartres, and to African nkisi nkondi fetish statues. She explores the difficulties of interpretation, examines recent scientific research into the ways the brain perceives art, and looks to the still-emerging worlds of art on the web, video art, art museum CD-ROMS, and much more. She also guides us through the various theorists of art, from Aristotle and Kant to Baudrillard. Throughout this nuanced account of theories, artists, and works, Freeland provides us with a rich understanding of how cultural significance is captured in a physical medium, and why challenging our perceptions is, and always has been, central to the whole endeavor. It is instructive to recall that Henri Matisse himself was originally derided as a "wild beast." To horrified critics, his bold colors and distorted forms were outrageous. A century later, what was once shocking is now considered beautiful. And that, writes Freeland, is art.Comment: Chapters 2,3 and 5 of But is it art? can serve as a good basic introduction to art theory. The book is written in a light, narrative style and does not focus on the details of particular theories; instead, it is arranged in a useful historical narrative which presents theories in their contexts, showing the types of art they were inspired by. This text is best used in introductory teaching, as a background reading, or as a pre-read for higher level courses where it should be followed by more focused and specialised texts.
Freter, Yvette. Difference in African Educational Contexts
2020, In: Imafidon, E. (ed.) Handbook of African Philosophy of Difference. Cham: Springer, 217-237
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, Contributed by: Björn FreterAbstract: Educational institutions pull together students of different genders, abilities, races, classes, and religions and are the microcosm of their communities. In African contexts, schools have been the location of “cultural parochialism” and “colonial epistemicide and the consolidation of colonization” (Lebakeng et al. 72, 2006). Thus an additional dimension of difference drawn along the fallacious line of the superior dominant Eurowestern colonizer versus the inferior indigenous African population has been institutionalized within the educational system. I engage in a philosophical examination of the African context of difference in the sphere of education. I consider the hopeful gaze philosophy offers in the light of difference, by considering the concept of pluralism, and argue for a view of difference that is both inclusive and appreciative of diversity and suggests ways educators can critically assess their own differences by considering their positionality. I conclude by applying the philosophical outlook that embraces pluralism to our classroom spaces and suggests multicultural theory that embraces difference by including both dominant and marginalized educators to impact education in an efficacious way.
Fung, Yiu-ming. Dao Companion to Chinese Philosophy of Logic
2020, Springer
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Added by: Viviane FairbankAbstract:
This book is a companion to logical thought and logical thinking in China with a comparative and interdisciplinary perspective. It introduces the basic ideas and theories of Chinese thought in a comprehensive and analytical way. It covers thoughts in ancient, pre-modern and modern China from a historical point of view. It deals with topics in logical (including logico-philosophical) concepts and theories rooted in China, Indian and Western Logic transplanted to China, and the development of logical studies in contemporary China and other Chinese communities. The term “philosophy of logic” or “logico-philosophical thought” is used in this book to represent “logical thought” in a broad sense which includes thinking on logical concepts, modes of reasoning, and linguistic ideas related to logic and philosophical logic. Unique in its approach, the book uses Western logical theories and philosophy of language, Chinese philology, and history of ideas to deal with the basic ideas and majorproblems in logical thought and logical thinking in China. In doing so, it advances the understanding of the lost tradition in Chinese philosophical studies.Comment: This is an extensive volume that covers a large array of topics regarding logic in Chinese historical and contemporary philosophy. As such, some articles might be used in a course on Chinese philosophy, but others might be used in any course in the philosophy of logic which is concerned with cross-cultural considerations.
Fusco, Coco. The Other History of Intercultural Performance
1994, The Drama Review 38(1): 143-167.
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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.
Galgut, Elisa. Hume’s Aesthetic Standard
2012, Hume Studies 38 (2):183-200
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Added by: Simon Fokt, Contributed by: AnonymousAbstract:
In his famous essay “Of the Standard of Taste,” Hume seeks to reconcile two conflicting intuitions—the intuition that there is a great variety of taste, on the one hand, and the intuition that there is an artistic standard based on taste that has stood the test of time, on the other—by appealing to the joint verdict of his “true judges” or “ideal critics.” But Hume’s critics have themselves been the objects of criticism as not providing an adequate basis on which to establish a normative aesthetic standard based on taste. In this paper, I defend an interpretation of Hume’s ideal critics as akin to judges in certain common law traditions, and I argue that Hume does satisfactorily resolve conflicting intuitions about the nature of taste.Comment: This paper offers a reading of Hume's "Of the Standard of Taste" that examines the role of the 'true judges'
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