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Added by: Rossen VentzislavovSummary: Sigman studies outrage and offense in the art context. The first important observation she makes is that, often enough, the public's recoiling from a piece of art comes with the assumption that the object of offense is interpretatively transparent. This is because in the absence of art-historical or theoretical wherewithal, we default to pre-conceptual reactions - fear of otherness, loss of our ethical bearings, low self-esteem etc. Since most historical offense-based arguments against art have made a claim that the particular work is demeaning to the public, Sigman carefully lays out the features of demeaning treatment - a mostly intentional act that treats persons as less than persons, usually in an abusive manner. On this description, very few artworks could be considered demeaning. Furthermore, as Sigman shows in her art-historical contextualization of artist Stelarc's performance work Street Suspension, public outrage could be tempered and/or extinguished through attentive engagement with problematic artworks.Comment: This is a thought-provoking text which can provide good background for a debate on controversial art. It is quite easy to read and features examples which make it accessible for beginners classes on aesthetics, art interpretation, the value of art, and modern art in general.
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Added by: Hans MaesSummary: As 'always already' racialized object of the white patriarchal look African-Americans have enduringly suffered from having to negotiate notions of the self from a crisis position. The act of self-portraiture for the African-American artist has the value of bestowing upon the self-portraitist a sense of empowerment.Comment: Useful in discussing portraiture and depiction, as well as empowerment and art's role in power relations in general.
Artworks to use with this text:
Lyle Ashton Harris, Construct #10 (collection of the artist, 1988)
Harris's self-portraits are redemptive and liberatory in their focus on the self. They challenge standard discourse on identity and subjectivity to present a new sign of black power and liberation. Because his photographs expose gender as constructed and performed, they also, in the process, subvert phallocentrism and compulsory heterosexuality. Useful in discussing portraiture and depiction, as well as empowerment and art's role in power relations in general.
Artworks to use with this text:
Lyle Ashton Harris, Construct #10 (collection of the artist, 1988)
Harris's self-portraits are redemptive and liberatory in their focus on the self. They challenge standard discourse on identity and subjectivity to present a new sign of black power and liberation. Because his photographs expose gender as constructed and performed, they also, in the process, subvert phallocentrism and compulsory heterosexuality.
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Added by: Clotilde Torregrossa, Contributed by: Sarah SongPublisher's Note: Justice, Gender and the Politics of Multiculturalism explores the tensions that arise when culturally diverse democratic states pursue both justice for religious and cultural minorities and justice for women. Sarah Song provides a distinctive argument about the circumstances under which egalitarian justice requires special accommodations for cultural minorities while emphasizing the value of gender equality as an important limit on cultural accommodation. Drawing on detailed case studies of gendered cultural conflicts, including conflicts over the 'cultural defense' in criminal law, aboriginal membership rules and polygamy, Song offers a fresh perspective on multicultural politics by examining the role of intercultural interactions in shaping such conflicts. In particular, she demonstrates the different ways that majority institutions have reinforced gender inequality in minority communities and, in light of this, argues in favour of resolving gendered cultural dilemmas through intercultural democratic dialogue.Comment: The book combines political philosophy with case studies exploring conflicts between gender equality and multiculturalism. It could be used in graduate or undergraduate courses on the topic of gender and multiculturalism, paired with Susan Okin's 'Is Multiculturalism Bad for Women?'
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Added by: Clotilde Torregrossa, Contributed by: Sarah SongAbstract:
Article: The article examines the idea of multiculturalism in contemporary political philosophy. It considers the variety of justifications for multiculturalism, including communitarian, liberal egalitarian, anti-domination, and historical injustice arguments. It then surveys a number of critiques of multiculturalism. It concludes by discussing concerns about political backlash and retreat from multiculturalism in the Western liberal democratic countries.Comment: This Stanford Encyclopedia of Philosophy piece provides an accessible introduction to the idea of multiculturalism and its various justifications and critiques.
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Added by: Rossen Ventzislavov, Contributed by: Christy Mag UidhirSummary: Sontag mines the history of philosophical aesthetics and art criticism for the reasons why interpretation has held us under its spell for the last two millennia. One such reason is our insistence on the form/content dichotomy and the vestigial prioritizing of content in the way we talk about art. Another reason is the discursive, and thus political, control that interpretation enables. A third reason is our willingness to sacrifice our unmediated experience of an artwork, and our sensitivity to an artist's intentions, for the sake of interpretative success. To counter these "reactionary, impertinent, cowardly, stifling" tendencies, Sontag proposes an "erotics of art" - a new emphasis on transparence, which favors description and appreciation over interpretation. This critical ethos does not only change the terms of conceptual engagement; it also opens the gates for creative approaches to art which explicitly challenge vestigial modes of meaning-making and meaning extraction. Even though Sontag does not specifically single any of these approaches out, performance art is arguably the most extreme of the potential candidates.Comment: This text offers a seminal critique of art interpretation and should be included in any course discussing interpretation and criticism.
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Added by: Sara Peppe, Contributed by: Jonathan EgidPublisher’s Note:
What are the issues discussed today by African philosophers? Four important topics are identified here as important objects of philosophical reflection on the African continent. One is the question of ontology in relation to African religions and aesthetics. Another is the question of time and, in particular, of prospective thinking and development. A third issue is the task of reconstructing the intellectual history of the continent through the examination of the question of orality but also by taking into account the often neglected tradition of written erudition in Islamic centres of learning. Timbuktu is certainly the most important and most famous of such intellectual centres. The fourth question concerns political philosophy: the concept of African socialisms is revisited and the march that led to the adoption of the African Charter of Human and Peoples Rights is examined. All these important issues are also fundamental to understanding the question of African languages and translation.
Comment: This text is useful to deepen the theme of written erudition in the African philosophical context instead of focusing on oral tradition only. It is an introductory reading useful to build knowledge on the theme.
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Added by: Hans MaesSummary: In conventional film photography, negatives are used in the darkroom to produce positive images, but in the outmoded medium Polaroid 665 the positive image is used to make a unique negative that can then be employed to make positive prints in the future. This generativity of the Polaroid 665 negative is used by the artist to mirror the complexity of feelings regarding intersex bodies. The series shows how negative affect can be productive and political, even when it appears to suspend agency.Comment: Useful in discussing portraiture and depiction, as well as empowerment and art's role in power relations in general.
Artworks to use with this text:
Del LaGrace Volcano, Herm Body (2011- )
Self-portraits which clearly reference the work of John Coplans and reflect on Volcano’s midlife embodiment changed by hormones, age, and weight. The title draws attention to the materiality of its subject, insisting that we receive the body as ‘herm’ – a word Volcano uses to name intersex history and claim trans embodiment. Useful in discussing portraiture and depiction, as well as empowerment and art's role in power relations in general.
Artworks to use with this text:
Del LaGrace Volcano, Herm Body (2011- )
Self-portraits which clearly reference the work of John Coplans and reflect on Volcano’s midlife embodiment changed by hormones, age, and weight. The title draws attention to the materiality of its subject, insisting that we receive the body as ‘herm’ – a word Volcano uses to name intersex history and claim trans embodiment.
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Added by: Barbara Cohn, Contributed by: Georgina StewartAbstract: Goals for adding philosophy to the school curriculum centre on the perceived need to improve the general quality of critical thinking found in society. School philosophy also provides a means for asking questions of value and purpose about curriculum content across and between subjects, and, furthermore, it affirms the capability of children to think philosophically. Two main routes suggested are the introduction of philosophy as a subject, and processes of facilitating philosophical discussions as a way of establishing classroom 'communities of inquiry'. This article analyses the place of philosophy in the school curriculum, drawing on three relevant examples of school curriculum reform: social studies, philosophy of science and Kura Kaupapa Māori.
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Added by: Hans MaesSummary: Traces the origins of, and eventually challenges, the idea that many people in non-industrialized countries refused to have their photographic portrait taken due to the belief that it would steal their soul. Investigates and refutes the evidence provided by Richard Andree, James Napier, James G. Frazer. With references to C.S. Peirce, Rosalind Krauss, Susan Sontag.Comment: Useful in aesthetics classes discussing portraiture, depiction and representation, as well as social and political philosophy classes focused on racial and cultural stereotyping.
Artworks to use with this text:
Antoine Freitas, self-portrait with handmade box camera in Bena Mulumba, Kasaï Province (1939)
A masterpiece of composition, showing the photographer at work, surrounded by children and women who would normally be kept away from recognized sorcerers (thereby demonstrating that the photographer was not considered an evil soul-stealing sorcerer). Useful in aesthetics classes discussing portraiture, depiction and representation, as well as social and political philosophy classes focused on racial and cultural stereotyping.
Artworks to use with this text:
Antoine Freitas, self-portrait with handmade box camera in Bena Mulumba, Kasaï Province (1939)
A masterpiece of composition, showing the photographer at work, surrounded by children and women who would normally be kept away from recognized sorcerers (thereby demonstrating that the photographer was not considered an evil soul-stealing sorcerer).
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Added by: Ten-Herng Lai & Chong-Ming LimAbstract:
Cultural heritage, manifest in public monuments, plays an important role in education, providing tangible artefacts that chart the history of a society, its achievements, tragedies and horrors, contributing to human understanding and well-being. The educational impact is lifelong—everyone from schoolchildren to senior citizens visit and take in heritage sites. How heritage is to be approached, however, is a complex question, with conflicting narratives vying for prominence. Kingston, Ontario, where my university is situated, is the hometown of Canada's first prime minister, John A. Macdonald, whose ambition to unite the country sea-to-sea brought Canada into being. Today debate rages about how to understand Macdonald's legacy of colonialism, his actions against the Indigenous peoples, whose lands and children were taken from them, and against the families of Chinese workers, who built Canada's railway and were then impeded from making their homes in this country. In a climate of increasing awareness of racial oppression, exemplified particularly by the protests of Black Lives Matter, Kingston is in the grip of debate and demonstration, centering on calls for the removal of a prominent statue of Macdonald from a downtown park. This paper explores the problem of historic monuments to suggest that a focus on education can enable an understanding of heritage that seeks to provide the necessary conditions in which historic wrongs can be understood.Comment (from this Blueprint): This is one of the few papers that discuss how a focus on education can help us to address the problems posed by objectionable commemorations.