This is entry #71 in our ongoing 100 Philosophers, 100 Artworks, 100 Words Series.
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SOUTHERN AESTHETICS WORKSHOP X AESTHETICS FOR BIRDS: PROGRAM
SAW x AFB:
An Online Workshop
Organized by Alex King, Aaron Meskin, Jonathan Neufeld, and Elizabeth Scarbrough
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LIAM KOFI BRIGHT ON BLIND WILLIE JOHNSON
AFB’S TOP 5 POSTS OF 2020
Thanks to our readers for another great year at Aesthetics for Birds! Here were our most-viewed posts this year. Scroll through to make sure you haven’t missed something big. (You can also check out our Top 5 of 2017 and 2018, or 2019.)
Note: Our actual Top 5 by the numbers included a few from previous years (including a perennial hit about problematic artists and their artworks and a 2018 piece about Kafka, The Trial, and philosophy). So below you’ll see the most popular five posts that first appeared in 2020.
AN AESTHETIC HISTORY OF 2020
“All that was once directly lived has become mere representation.”
-Guy Debord, The Society of the Spectacle
WHERE TO STUDY AESTHETICS AND PHILOSOPHY OF ART [UPDATED 2020]
This post provides all of the information that is currently available about where to formally study aesthetics and philosophy of art in English. It is an updated version of this post from 2018.
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WHAT THE UTAH MONOLITH MEANS FOR SOCIAL ART AND THE INTERNET
So. When one lives in Utah and writes about aesthetics and someone drops a metal monolith into the middle of nowhere somewhere near Bears’ Ears, one is going to hear about it.
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WHY VIDEO GAME VIOLENCE ISN’T INNOCENT
What follows is a guest post by Christopher Bartel, Professor of Philosophy at Appalachian State University
Is it ever morally wrong to commit violent or immoral acts in a video game? Video games are just images, right? No matter what I do in a video game, I am just interacting with images, and harming an image doesn’t cause any real-world harm. So, all of my actions in games must be morally neutral. This is a perfectly reasonable (and common) line of thought. But I think it’s wrong. Here’s why.
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JAMES WOOD ON HOW CRITICISM WORKS
What follows is an interview of writer and literary critic James Wood, who is Professor of Literary Practice at Harvard. He is interviewed by Becca Rothfeld, a PhD candidate in philosophy at Harvard, and an essayist, literary critic, and contributor to The New Yorker, the New York Times Book Review, The Atlantic, and more.
James Wood is Professor of Literary Practice at Harvard, a staff writer at The New Yorker, the author of two novels and six books of criticism, and the most exhilarating literary critic alive. He made his name writing long, ambitious, and often searingly negative essays, among them his famed takedown of so-called “hysterical realists” and his evisceration of Paul Auster’s hypermasculine posturing. But I know Wood primarily as a lover of literature, and in recent years, he has done much to champion contemporary novelists, among them Ben Lerner and Teju Cole. Wood is a voracious quoter, and in his pieces he allows the works he loves to speak in their own voices. I love Wood for many reasons, some of which I fleshed out in my review of his latest essay collection, Serious Noticing. By way of summary, I love his beautiful prose, his appreciation for well-wrought sentences, and his argumentative and philosophical acumen. My favorite essay of his—perhaps my favorite piece of literary criticism in the world!—is his ravenous take on Moby-Dick and God. (The son of a minister, Wood’s vexed atheism rears its head in many of his essays.) In this interview, I spoke to him via email, initially about why he prefers to do interviews via email, ultimately about both his broader aesthetic commitments and what he thinks criticism amounts to.
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“WE ARE EVERYTHING AND WE ARE NOTHING”: AN INTERVIEW WITH ACTOR AND FILMMAKER JULIE DEPLY
What follows is a guest post by Hans Maes (University of Kent) and Katrien Schaubroeck (University of Antwerp).
As part of Routledge’s Philosophers on Film series, Hans Maes and Katrien Schaubroeck are editing a volume on the so-called Before trilogy directed by Richard Linklater. The trilogy chronicles the love of Jesse (Ethan Hawke) and Celine (Julie Delpy) who first meet up in Before Sunrise (1995), later reconnect in Before Sunset (2004) and finally experience a fall-out in Before Midnight (2013). Not only do the individual films present storylines and dilemmas that invite philosophical discussion, but philosophical conversation itself is at the very heart of the films.
Julie Delpy, who co-wrote the trilogy and was twice nominated for an Academy Award (best adapted screenplay) for Before Sunset and Before Midnight, agreed to be interviewed for the book because, as she explains, she has a soft spot for philosophy. What follows is an excerpt from that interview. The full text will be included in the volume that is scheduled to appear in 2021 and that will contain contributions from Christopher Cowley (University College Dublin), Diane Jeske (University of Iowa), James MacDowell (University of Warwick), Hans Maes (University of Kent), Kalle Puolakka (University of Helsinki), Anna Christina Ribeiro (Texas Tech University), Katrien Schaubroeck (University of Antwerp), Marya Schechtman (University of Illinois), Michael Smith (Princeton University), and Murray Smith (University of Kent).
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