Diversity Reading List

Summary: In this paper, Thompson sets up a potential tension between two kinds of cases. On the one hand, we might think it is wrong for a wealthy collector to destroy great works of Western art that have value for all of humanity. On the other hand, we might think it is acceptable for indigenous peoples to rebury or ritually destroy artifacts from their culture, even though these works might also have value for all of humanity. How do we reconcile these intuitions? After discussing and dismissing attempts to resolve the problem by appeal to the value of the property for its possessors or the desires of non-owners, Thompsons suggests that by looking at the value of art in the context of different cultural traditions we can see why a certain universalism about the value of art will tell against allowing the destruction of artwork by the wealthy collector, but allow for the reburial or destruction of artifacts by certain indigenous communities.

Abstract: A thesis that is rarely stated but often assumed in art criticism and aesthetics concerns the inseparability of form and content in art. The thesis of inseparability states that (1) it is impossible to have the same content in two different forms; and (2) it is impossible to have the same form in two different contents. 1 Clearly, the thesis needs elucidation in terms of a plausible account of the distinction between form and content. It also needs to be considered whether the inseparability of form and content motivates a theory of art or, less ambitiously, identifies an important criterion in an account of art. 2 The inseparability thesis is traditionally associated with formalism, which, as a general theory of art, has been widely condemned. Nevertheless, formalism is currently making a comeback in particular philosophies of the arts - notably, philosophy of music and philosophy of film.3 Sophisticated formalism in relation to both music and film allows for the aesthetic relevance of other features of the work besides form while recommending a structural focus for aesthetic appreciation. If the assumption that formalism is no longer relevant to our under- standing of the arts involves a major oversight, then the inseparability thesis cannot be ignored just because of its traditional association with formalism. But even if one persisted in this oversight, it does not warrant ignoring the importance of the inseparability thesis for the thesis bears no necessary relation to any theory of art, including a formalist one. In what follows, I consider whether the inseparability thesis is compatible with aesthetic cognitivism, the view that art is valuable in part because it can give us nontrivial knowledge. Ultimately, I argue that the two are compatible because there are ways of learning from art that depend on the inseparability of form and con- tent. Given the long and tangled history of the debate over the possibility and value of learning from art, it is supremely important to recognize, finally, such compatibility. Against defenders of aesthetic cognitivism, skeptics and critics have regularly resorted to brandishing the inseparability thesis, defiantly claiming that you cannot expect to learn about the world from art if you cannot 'get to' a work's content unaffected by style and medium. Here the assumption is that the kind of aesthetic transformation that grounds the inseparability of form and con- tent precludes either the practicality or the aesthetic significance of looking to art for real-life insight in the form of facts, principles, or new perspectives. If the compatibility I defend is really there, however, we can expect insight through such transformation. As we shall see, art serves as a primary means for gaining insight of a rare and valuable kind. In what follows, I begin by outlining the preliminaries of the contemporary debate between aesthetic cognitivists and aesthetic anti-cognitivists.4 Then I employ three strategies for elucidating the thesis of inseparability: I identify a particular account of form and content as the one invoked by the thesis, I show that the thesis does not motivate a theory of art in order to circumvent standard criticisms against the thesis as a necessary and sufficient condition of art status, and I explore the ways inseparability influences our understanding of representational art. Armed with a proper understanding of inseparability, I then consider its relation to the debate over aesthetic cognitivism. This involves laying out the assumption that inseparability precludes the aesthetic relevance of learning from art. Finally, I challenge this assumption by outlining two kinds of insight that depend on inseparability. The point is not that such insight can only be gained from art but that it is most readily and relevantly gained from art because of the aesthetic value of inseparability.

Abstract: I argue that clarity about essence provides the tools both to isolate a distinct concept of art and to see why anti-essentialism is a plausible, though incomplete, doctrine about it. While this concept is not the only concept currently expressed by our word ‘art’, it is an interesting, and might be an important, one. One of the challenges it poses to conceptual analysis is to explain what it is to be better than being good of a thing's kind, where this extra-goodness is neither a trivial fact nor simply a matter of being a good instance of two different kinds of thing. While anti-essentialism seems to be right about what types of analysis will not work for it, this result only deepens the question of what its proper analysis is.

Summary: Todd (Métis) situates contemporary acts of cultural appropriation in the colonial appropriation of indigenous land. She offers a normative definition of cultural appropriation according to which it is understood as the opposite of cultural autonomy. In the course of her discussion, she responds to a number of defenses of cultural appropriation that, she argues, fail to recognize the asymmetries of power in which appropriation from indigenous communities is embedded.

Abstract:
This article explores human-fish relations as an under-theorized “active site of engagement” in northern Canada. It examines two case studies that demonstrate how the Inuvialuit of Paulatuuq employ “fish pluralities” (multiple ways of knowing and defining fish) to negotiate the complex and dynamic pressures faced by humans, animals, and the environment in contemporary Arctic Canada. I argue that it is instructive for all Canadians to understand the central role of humans and animals, together, as active agents in political and colonial processes in northern Canada. By examining human-fish relationships, as they have unfolded in Paulatuuq over the last 50 years, we may develop a more nuanced understanding of the dynamic strategies that northern Indigenous people, including the Paulatuuqmiut (people from Paulatuuq), use to navigate shifting environmental, political, legal, social, cultural, and economic realities in Canada’s North. This article thus places fish and people, together, as central actors in the political landscape of northern Canada. I also hypothesize a relational framework for Indigenous-State reconciliation discourses in Canada today. This framework expands southern political and philosophical horizons beyond the human and toward a broader societal acknowledgement of complex and dynamic relationships between people, fish, and the land in Paulatuuq.

Publisher's Note: The Japanese sense of beauty as actualized in innumerable works of art, both linguistic and non-linguistic, has often been spoken of as something strange to, and remote from, the Western taste. It is, in fact, so radically different from what in the West is ordinarily associated with aesthetic experience that it even tends to give an impression of being mysterious, enigmatic or esoteric. This state of affairs comes from the fact that there is a peculiar kind of metaphysics, based on a realization of the simultaneous semantic articulation of consciousness and the external reality, dominating the whole functional domain of the Japanese sense of beauty, without an understanding of which the so-called 'mystery' of Japanese aesthetics would remain incomprehensible. The present work primarily purports to clarify the keynotes of the artistic experiences that are typical of Japanese culture, in terms of a special philosophical structure underlying them. It consists of two main parts: (1) Preliminary Essays, in which the major philosophical ideas relating to beauty will be given a theoretical elucidation, and (2) a selection of Classical Texts representative of Japanese aesthetics in widely divergent fields of linguistic and extra-linguistic art such as the theories of waka-poetry, Noh play, the art of tea, and haiku. The second part is related to the first by way of a concrete illustration, providing as it does philological materials on which are based the philosophical considerations of the first part.

Abstract: Ideas, knowledge, and cognitive claims we have about “the other” or “the different” traditionally stems from what can be referred to as mainstream Cartesianism of epistemic duality, an orientation that has primary consideration for subject-object dichotomy; the knower and the known; the I and the thou; and the center and the periphery. In such considerations, what is of the center perceives what is not as an “other.” This disposition about the other constitutes a gap in cognition resulting in poverty of knowledge – knowledge of the other attained from a distance. Furthermore, this condition presents some rigid boundary between episteme (the knowledge) and doxa (the opinions), between the “self” and the “other,” between reality and appearance, between noumena and the phenomena, or between space and time. The present work attempts an alternative epistemology that avoids the impossibility of obtaining genuine knowledge beyond the self, proposing an epistemology of intercourse which alone, I believe, is capable of re-presenting a robust understanding of the entirety of reality (a holistic cognition of reality that is a continuum). According to this proposal, “knowledge” is “intercourse.” The knower is subsumed in the known and vice versa. Only then can the knower know the other for what it is and appreciates the non-difference between the knower and the known. This way, a just relationship between the self and the other would evolve.

Publisher’s Note:

Adapted from prologue. “Since its rediscovery in the mid-nineteenth century the codex Cantares Mexicanos has come to be recognized as the chief source of Aztec poetry and one of the monuments of American Indian literature (…) Over the years a tradition has gradually been established that views the Cantares as a poet’s miscellany, studded with lyrics composed by famous kings (…) [Bierhorst’s edition] breaks with this tradition (…) The findings [of the present study] in brief are these: The ninety-one songs in the Cantares, without exception, belong to a single genre, which flourishes during the third quarter of the sixteenth century. Netotiliztli (or dance associated with worldly entertainment) is the native name that appears to have been applied to the genre in its entirety. But for lack of certainty on this point, and for the sake of convenience, I have chosen to designate it by the term “ghost songs.” (…) the Aztec ghost song may be described as a musical performance in which warrior-singers summon the ghosts of ancestors in order to swell their ranks and overwhelm their enemies. (…) The Cantares itself (…) is limited to songs belonging to the city-state of Mexico, or to Mexico and its close ally, Azcapotzalco (…) Although it is possible that a few of the songs in the Cantares manuscripts were composed before the Conquest, by far the greater number belong to the post-Conquest period.”

Content: The authors present ‘the paradox of porn’: pornography seems to score very highly on various evaluative criteria which make art good (e.g. ability to elicit strong emotions), and has features similar to great art (e.g. ‘Brechtian’ acting, idealisation of the human body), yet is rarely consider art. They proceed to discuss some arguments for the exclusivist thesis, suggesting that they ‘reflect a limited knowledge of or experience with pornography’ (168). A review of various types of non-mainstream porn leads them to claim that the division between pornography and art is a false dichotomy. Section 3 revisits the paradox, offering an analysis of various reasons which could lead to so little porn being (considered) art. After rejecting most of the common arguments, the authors suggest that a great majority of porn is not art for purely contingent reasons: very few pornographers even try to pursue that possibility. But pornography has the potential to be great art, and section 4 explores the ways in which it could.

Publisher’s Note:
Uqalurait presents a comprehensive account of Inuit life on land and sea ice in the area now called Nunavut, before extensive contact with southerners. Drawing on a broad range of oral history sources - from nineteenth-century exploration accounts to contemporary community-based projects - the book uses quotes from over three hundred Inuit elders to provide an 'inside' view of family life, social relations, hunting, the land, shamanism, health, and material culture. For the first time, the reader encounters Inuit culture and traditional knowledge through the voices of people who lived the life being described. Based on a larger research project developed under the guidance of six Inuit from across Nunavut, Uqalurait consists of thousands of quotations organised thematically into cohesive chapters. The book describes the seasonal rounds of four different groups, capturing the fact that while Inuit across Nunavut had much in common, there was also much to distinguish them from each other, living as they did in many small groups of people, each with its own territory and identity. Given the recent creation of Nunavut and the current focus of attention on the Arctic due to climate change, Uqalurait is a timely source of insight from a people whose values of sharing and respect for the environment have helped them to live contentedly for centuries at the northern limit of the inhabitable world.