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Added by: Erich Hatala MatthesSummary: This article presents multiple arguments for the "repatriation" of indigenous music, and the assertion of indigenous cultural rights, while troubling the imposition of legalistic frameworks of Western intellectual property. It situates the harms of appropriation in the perpetuation of unjust systems and misrepresentation, and demonstrates how careful attention to specific cultural practices can play an essential role in sorting out sometimes overly abstract debates about repatriation and appropriation.
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Added by: Quentin Pharr and Clotilde TorregrossaAbstract: Large-scale diffusion processes such as those affecting fashionable clothing are difficult to study systematically. This article assesses the relevance of top-down as compared to bottom-up models of diffusion for fashion. Changes in the relationships between fashion organizations and their publics have affected what is diffused, how it is diffused, and to whom. Originally, fashion design was centered in Paris; designers created clothes for local clients, but styles were diffused to many other countries. This highly centralized system has been replaced by a system in which fashion designers in several countries create designs for small publics in global markets, but their organizations make their profits from luxury products other than clothing. Trends are set by fashion forecasters, fashion editors, and department store buyers. Industrial manufacturers are consumer driven, and market trends originate in many types of social groups, including adolescent urban subcultures. Consequently, fashion emanates from many sources and diffuses in various ways to different publics.
Comment (from this Blueprint): Fashion has always been a subject of great interest for sociologists, but only recently for philosophers. In this selection, Crane offers an overview of how fashions/styles/trends have traditionally been thought to spread among and affect the relations between different social groups, but also notes several shortcomings of the existing models. Overall, she ends up concluding that fashion has a number of sources and diffuses in various ways. But, for our purposes, what is particularly important about this selection is in how she casts fashion's diffusion as guided by differential perceptions of class and status and who wants to consume what sorts of fashion, based on those perceptions. Existing models, despite their shortcomings, present a helpful way of understanding various phenomena, including: appropriation, targeted advertizing, class and status signalling, and so on.
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Added by: Quentin Pharr and Clotilde TorregrossaAbstract: Close friends of artist Jean-Michel Basquiat have spoken out against the advert from jewellers Tiffany which features Beyoncé and Jay-Z posing in front of one of his paintings saying it was “not really what he was about”. Basquiat’s 1982 work Equals Pi sits behind the couple in the campaign as Beyoncé wears a 128.54-carat yellow diamond, the first black woman to have done so.
Comment (from this Blueprint): This news item discusses the controversy surrounding a 2021 advert for the high-end jewelry brand Tiffany, featuring Beyoncé and Jay-Z, and, in the background, a rarely seen painting by Basquiat owned by Tiffany. This controversy serves to illustrate both the disappointment that hooks and others feel in how Basquiat's work has been consumed in a emotionally superficial and Eurocentric manner, as well as how his work has come to be a luxury object to be conspicuously consumed primarily by the elite and used for the sake of propagating such consumption of other luxury items to the elite (in this particular instance, a 128.54-carat yellow diamond previously worn by Audrey Hepburn and Lady Gaga). The aesthetic appreciation of the painting, when used as a prop for elite interests, is under scrutiny - and, equally, whether Basquiat's intentions and what he is trying to express through his work are respected in such use and whether should be. Moreover, many of Basquiat's works are privately owned and are not displayed to the public, only to elites. So, using this ad as a case study, we should note that aspects of specific class and status affiliations and interests can affect how appropriately or inappropriately an aesthetic object is consumed, if at all.
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Added by: Chris Blake-Turner, Contributed by: Christy Mag UidhirAbstract: Appropriation art has often been thought to support the view that authorship in art is an outmoded or misguided notion. Through a thought experiment comparing appropriation art to a unique case of artistic forgery, I examine and reject a number of candidates for the distinction that makes artists the authors of their work while forgers are not. The crucial difference is seen to lie in the fact that artists bear ultimate responsibility for whatever objectives they choose to pursue through their work, whereas the forger's central objectives are determined by the nature of the activity of forgery. Appropriation artists, by revealing that no aspect of the objectives an artist pursues are in fact built in to the concept of art, demonstrate artists' responsibility for all aspects of their objectives and, hence, of their products. This responsibility is constitutive of authorship and accounts for the interpretability of artworks. Far from undermining the concept of authorship in art, then, the appropriation artists in fact reaffirm and strengthen it.
Comment:
Comment: This is a long and difficult text, but it does an excellent job of marrying careful attention to cases with philosophical context and reflection. It is a good choice for more advanced classes, particularly ones that might be focusing on music.