What follows is a guest post by Justin Khoo (MIT).
Some of my most cherished memories of graduate school are from a screening room of some kind – sometimes the Whitney Humanities Center, where I was lucky enough to see film prints of 2001: A Space Odyssey, The Exorcist, and Mulholland Drive (among many others), but more often some random classroom in Yale’s Hall of Graduate Studies (RIP!), which became, for one night, a place to gather to enjoy and discuss whatever movie one of us had rented from the library.
Writing Why it’s OK to Love Bad Movieshas given me an opportunity to bring together two of the most important parts of my life: my cinephilia and my research in philosophy of art. This is not a book I dreamed up in a library or classroom. It emerges from the countless hours I’ve spent immersed in the medium of film, and it’s more of a love letter than a treatise. The ideas I present convey my own way of being as much as my views about debates in aesthetics.
Fifteenth L.H. District (1898). Courtesy of the New York Public Library
What follows is a case study by Theodore Gracyk, excerpted from Bloomsbury Contemporary Aesthetics, the newest module of the Bloomsbury Philosophy Library. Bloomsbury Contemporary Aesthetics is anchored by a set of exclusive and original case studies contributed by some of the leading voices in aesthetics today, and written to introduce new students to the broad range of topics in aesthetics and the philosophy of art, from interpretation and ontology to appropriation, taste, curiosity, and the aesthetics of confusion. More information on BCA and the Bloomsbury Philosophy Library follows below.
“All philosophy is based on only two things, having a curious spirit, and bad eyes.”1
I
In an interesting aside in the Essay Concerning Human Understanding (1689), Locke writes,“Were our Senses alter’d, and made much quicker and acuter, the appearance and outward Scheme of things would have quite another Face to us.”2 Raised on comic books wherein heroes and villains often had augmented senses, I have long dreamed about what the world would look like to superhuman perception. Locke himself specifically mentions the prospect of our vision being made “100000 times more acute than…the best Microscope.” Records of his library also show he had a copy of Robert Hooke’s popular and hard-to-get Micrographia (1665),3 in which Hooke described the microscope as an “artificial Organ.” Here is one of Hooke’s images of a fly, the sort of appearance Locke might have had in mind:
What follows is a guest post by Alexis Shotwell (Carleton University).
Did you know that Fifty Shades of Grey started its life as an erotic fan fiction of the Twilight novels? E.L. James changed the names for the publication of her series, but Anastasia is Bella, Christian is Edward, etc. Fan fiction is when readers (“fans”) write stories set in fictional worlds created by other writers.Now, I don’t need you to be excited about vampires or kink, separately or together. But if you didn’t know Fifty Shades’ origin story, isn’t it interesting to learn that it is part of a longer conversation? When I learned this, I suddenly perceived the books as an interaction rather than a proclamation, a work of collective enthusiasm rather than an individual project.
What follows is a guest post by Brandon Polite (Knox College).
In my YouTube series, Polite Conversations: Philosophers Discuss the Arts*, I interview philosophers about their work in aesthetics and the philosophy of art. We typically discuss a particular journal article or public philosophy piece (including some pieces from Aesthetics for Birds), diving into their views and exploring their implications for anywhere from 15 to 40 minutes. The aims of this series are twofold. The first is that I want to show off the cool and innovative work that’s happening in the field of aesthetics right now, both to the wider philosophical community and to the general public. There is some really amazing work being done in our field, and more people should know about it!
The second aim is pedagogical. Getting to see philosophers doing philosophy together can be a really eye-opening experience for students. To that end, these videos can be used as a way to deepen your students’ insights into a text you’ve assigned them to read, which is how I use them. Alternatively, one or more could be used in place of readings if, say, they’re too advanced for an introductory-level course. I have painstakingly edited the captions—including sometimes highlighting key terms and phrases—to make them accessible to those who want or need them. As teaching tools, the videos are compliant with the Americans with Disabilities Act.
What follows is a guest post by Erich Hatala Matthes.
[Warning: Light spoilers for both shows, but nothing the author thinks would ruin them.]
Do you want to play Would You Rather? No, not that version. Would you rather survive a plane crash with your high school soccer team or survive a deadly pandemic with whoever’s standing nearby when the shit hits the fan? Those are the scenarios served up by Yellowjackets (Showtime) and Station Eleven (HBO Max) both of which wrapped this week. The coincident timing has been revelatory (and not just because Jeevan, one of the Station Eleven leads, makes reference to a movie about a soccer team that eats each other): Despite their differences, both of these shows tackle a set of common themes, and viewing them against each other enhances the power of their divergent approaches to ideas of resilience and vulnerability, surviving and being survived by.
Hagia Sophia during its time as a mosque (Illustration by Gaspare Fossati and Louis Haghe, 1852) [source]
Hagia Sophia was built during the reign of Justinian I in the 6th century. It is the most impressive building ever created by the Byzantine empire. Until the 13th century, it was the most important church in Eastern Orthodox Christianity. Back then, presumably no one imagined that Hagia Sophia would ever be anything other than an Orthodox church. Yet its last days as a church were now more than five centuries ago.
