Freeland, Cynthia. But is it Art?: An Introduction to Art Theory
2001, Oxford: Oxford University Press.
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Added by: Simon Fokt
Publisher'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.Freter, Yvette. Difference in African Educational Contexts2020, In: Imafidon, E. (ed.) Handbook of African Philosophy of Difference. Cham: Springer, 217-237-
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, Contributed by: Björn Freter
Abstract: 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.Comment:
Fusco, Coco. The Other History of Intercultural Performance1994, The Drama Review 38(1): 143-167.-
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Added by: Rossen Ventzislavov
Summary: 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 Standard2012, 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'
Galgut, Elisa. Raising the Bar in the Justification of Animal Research2015, Journal of Animal Ethics 5 (1):5-19-
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Added by: Simon Fokt, Contributed by: AnonymousAbstract:
Animal ethics committees (AECs) appeal to utilitarian principles in their justification of animal experiments. Although AECs do not grant rights to animals, they do accept that animals have moral standing and should not be unnecessarily harmed. Although many appeal to utilitarian arguments in the justification of animal experiments, I argue that AECs routinely fall short of the requirements needed for such justification in a variety of ways. I argue that taking the moral status of animals seriously—even if this falls short of granting rights to animals—should lead to a thorough revision or complete elimination of many of the current practices in animal experimentation.Comment: This paper can be used in a course on animal research ethics.
Galgut, Elisa. A Critique of the Cultural Defense of Animal Cruelty2019, Journal of Animal Ethics 9 (2):184-
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Added by: Simon Fokt, Contributed by: AnonymousAbstract:
I argue that cultural practices that harm animals are not morally defensible: Tradition cannot justify cruelty. My conclusion applies to all such practices, including ones that are long-standing, firmly entrenched, or held sacred by their practitioners. Following Mary Midgley, I argue that cultural practices are open to moral scrutiny, even from outsiders. Because animals have moral status, they may not be harmed without good reason. I argue that the importance of religious or cultural rituals to adherents does not count as a sufficiently good reason to harm or kill animals, since rituals are inherently symbolic, and cultures are able to adapt and change, making adherence to cruel traditions unnecessary.Comment: This paper can be used in a class on animal ethics / rights. It argues that rituals involving harm or cruelty to animals are not justifiable. The paper can be used in a discussion on animal rights issues and multi-culturalism.
Garry, Ann, Serene J. Khader, Alison Stone. Introduction to The Routledge Companion to Feminist Philosophy2017, In Garry, A., Khader, S. J., & Stone (Eds). The Routledge Companion to Feminist Philosophy. Routledge: New York, pp. 1-10-
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Abstract:
In this introductory chapter to "The Routledge Companion of Feminist Philosophy", Garry, Khader and Stone examine the different applications of feminist philosophy outside political philosophy, as well as the different questions concerning this subdiscipline, other than the impact of gender in society and the injustices arising from it. While doing so, the editors advocate for a revision of the history of feminist thought in philosophy that takes a more intersectional approach, an approach that fully considers the role played by authors belonging to a minority group(s). This short chapter provides a quick overview of two very important questions. A first question is how the use of feminist approaches can enrich different more mainstream areas in philosophy, including philosophy of mind, philosophy of science and metaphysics, but also question the philosophical canon. A second question is how considering the voices that are underrepresented in the philosophical canon, including female and non-binary philosophers, but also, non-Western traditions, can shift our understanding of mainstream philosophical issues.Comment (from this Blueprint): This chapter should be read as a complimentary to McWeeny and Maitra's as further food for thought on how feminist thought can be applied to different areas of philosophy. Additionally, the authors introduce the notion of "intersectionality" and argue for a revision of the history of philosophy that considers the impact of discrimination in the promotion of different forms of thought. This text can also be a useful starting point or complimentary text for the readings of week 5.
Griffioen, Amber, Mohammad Sadegh Zahedi. Medieval Christian and Islamic Mysticism and the Problem of a “Mystical Ethics”2019, In: T. Williams, ed. 2019. Cambridge Companion to Medieval Ethics. Cambridge: Cambridge University Press. Ch. 13.-
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Added by: Francesca Bruno
Abstract: In this chapter, we examine a few potential problems when inquiring into the ethics of medieval Christian and Islamic mystical traditions: First, there are terminological and methodological worries about defining mysticism and doing comparative philosophy in general. Second, assuming that the Divine represents the highest Good in such traditions, and given the apophaticism on the part of many mystics in both religions, there is a question of whether or not such traditions can provide a coherent theory of value. Finally, the antinomian tendencies and emphasis on passivity of some mystics might lead one to wonder whether their prescriptive exhortations can constitute a coherent theory of right action. We tackle each of these concerns in turn and discuss how they might be addressed, in an attempt to show how medieval mysticism, as a fundamentally practical enterprise, deserves more attention from practical and moral philosophy than it has thus far received.Comment: This paper would work well as a secondary/overview reading in a course on medieval ethics, with a section on mysticism, focusing on mystic women or comparing different religious traditions (such as Christian and Islamic). For example, the course could focus on the topics of virtue and happiness, including the views of St. Augustine, Aquinas, Avicenna, Maimonides, and women mystics (such as Mechthild of Magderburg).
Gyekye, Kwame. An Essay on African Philosophical Thought. The Akan Conceptual Scheme1987, Temple University Press-
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Added by: Sara Peppe and Björn FreterPublisher’s Note:
In this sustained and nuanced attempt to define a genuinely African philosophy, Kwame Gyekye rejects the idea that an African philosophy consists simply of the work of Africans writing on philosophy. It must, Gyekye argues, arise from African thought itself, relate to the culture out of which it grows, and provide the possibility of a continuation of a philosophy linked to culture. Offering a philosophical clarification and interpretation of the concepts in the ontology, philosophical psychology, theology, and ethics of the Akan of Ghana, Gyekye argues that critical analyses of specific traditional African modes of thought are necessary to develop a distinctively African philosophy as well as cultural values in the modern world.Comment (from this Blueprint): A classical work of modern African philosophy and, because of its analysis of the conceptual scheme, highly relevant for the context of African philosophy and language.
Harrison, Victoria. Philosophy of Religion, Fictionalism, and Religious Diversity2010, International Journal for Philosophy of Religion 68(1-3): 43-58.-
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Added by: Emily Paul
Abstract: Until recently philosophy of religion has been almost exclusively focused upon the analysis of western religious ideas. The central concern of the discipline has been the concept God , as that concept has been understood within Judaeo-Christianity. However, this narrow remit threatens to render philosophy of religion irrelevant today. To avoid this philosophy of religion should become a genuinely multicultural discipline. But how, if at all, can philosophy of religion rise to this challenge? The paper considers fictionalism about religious discourse as a possible methodological standpoint from which to practice a tradition-neutral form of philosophy of religion. However, after examining some of the problems incurred by fictionalism, the paper concludes that fictionalism and religious diversity are uneasy bedfellows; which implies that fictionalism is unlikely to be the best theory to shape the practice of philosophy of religion in a multicultural context.Comment: This paper is a great one to include as a further reading in a fictionalism unit, because it goes beyond this topic to examine its compatibility with the desire for a more multicultural philosophy of religion. It also reflects upon the discipline of philosophy of religion as a whole, which would be very interesting for the keener students. Alternatively, this could be used as a primary reading at the end of a course (that has covered fictionalism) to allow students to reflect upon the discipline of philosophy of religion as a whole.
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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.