Thanks to our readers for another landmark 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 last year’s Top 5 here.)
HAPPY ARTSY CHRISTMAS
For today’s installment in our Artsy Holidays series, a few contributors present Christmas music for those of you who are tired of the classic carols. (For mini-essays on Christmas movies, music, and lights, see last year’s installment.) Continue reading
IS THIS REALLY ART? AESTHETIC DISAGREEMENT AND CONCEPTUAL NEGOTIATION
What follows is a guest post from Elizabeth Cantalamessa.
Think about the endless debates over what, really, is art. We get it over the latest Star Wars movie, or over Richard Prince’s series of Instagram screenshots titled New Portraits, or the recent Banksy “art-world prank” where a print of Girl With a Balloon “self-shredded” upon its auction. Articles are written, exhibitions are curated, theories are proposed – but, if there’s no fact out there in the world that can settle the debates, why do people waste their time trying to get others to agree with them? It seems that we face a dilemma: either people are wasting their time trying to figure out what “really” makes something art – or there is some deep fact about these objects that would settle the debates if aestheticians and the like just do enough analysis and theory. Continue reading
CAN WE SEPARATE THE ART FROM THE ARTIST?
The following is an updated version of a post that appeared originally on the philosophy website Daily Nous as part of their “Philosophers On” series. Thanks to Justin Weinberg for permission to repost it with updates here.
This edition of Artworld Roundtable appears in collaboration with Chris Richards, the pop music critic for the Washington Post. Over the next several weeks, we’ll present a series of roundtable discussions based on Richards’ “five hardest questions in pop music”: “cultural appropriation, problematic lyricism, selling out, the ethics of posthumous listening, and … separating the art from the artist.” AFB has rounded up several thinkers working in these areas to see what they have to say about each question. Richards has provided AFB with key examples to draw out the problems and complexities of each debate. First was cultural appropriation. Second was how to respect the wishes of dead artists. Third was whether selling out is still possible. Fourth was how to engage with objectionable lyrics. Today we ask whether and to what extent we can separate art from the artist who made it.
The past couple of years have been filled with news about artists and entertainers history of sexual harassment and assault. But the bad behavior of artists isn’t limited to that. Many musicians are outspokenly racist. Some have committed crimes or even murders. And others are just terrible jerks.
How, if at all, should the personal character and moral transgressions of musicians change what we think about, and how we act in regard to, their music?
Whether we can separate the art from the artist is the fifth of “the five hardest questions in pop music”, as described in the Washington Post by pop music critic Chris Richards. Below is the guiding question accompanied by a few examples that Richards finds particularly salient, followed by our contributors’ responses. Continue reading
ASA ELECTIONS
The American Society for Aesthetics (ASA) is currently holding elections for a vice president and for two trustee positions.
The ASA Vice President will serve a two-year term starting February 1, 2019, and after which they will serve as ASA President for two years. The two ASA Trustees will serve for three years, also starting February 1, 2019.
Brief bios for the nominees appear below the fold. (These were sent out via email to ASA members.)
The deadline to vote is December 31, 2018. Results will be announced in early January. All members of the ASA in 2018 are eligible to vote.
To vote, click here. Continue reading
HAPPY THANKSGIVING!
Happy Thanksgiving to all of our lovely readers!
Today – as throughout the year – we’re thankful for you, for making this a fun and stimulating space to talk about aesthetics and the philosophy of art.
As a little 30-second Thanksgiving Day treat, enjoy turkey dinners in the style of a few famous painters.
WHAT MAKES KAFKA PHILOSOPHICAL?
What follows is a guest post by Espen Hammer on his recent edited volume Kafka’s The Trial: Philosophical Perspectives.
When reading works of literature, philosophers often look for very general assertions of a quasi-theoretical nature. Thus, Camus’s The Stranger – to pick an obvious example ̶ is supposed to demonstrate the absurdity of human existence. Or, if that doesn’t satisfy them, they typically start discussing entirely abstract questions of meaning, representation, and reference – of interest to academics steeped in Frege, Russell, and Davidson yet devoid of any concrete relation to actual texts of literary significance.
Kafka, however, on which a recent edited volume of mine entitled Kafka’s The Trial: Philosophical Perspectives (OUP, 2018) focuses, is peculiar in that his texts so vigorously seem to resist such general accounts. To be sure, many philosophers have tried to see in Kafka a kind of visionary thinker either of human existence as such or under specific circumstances, in particular those of modernity. Classical accounts of The Trial have focused on theology (“this is what the human condition looks like without God”), psychoanalysis (“this is what guilt and paranoia looks like”), and sociology (“this is the fate of the individual in a society integrated through anonymous, bureaucratic measures”). The list, of course, could be made very long. Note, though, that all the suggested interpretive keys stand in danger of violating our sense of Kafka’s mystery and ineffability. They all do what philosophers too often do: they reduce the text to a unified set of graspable, general meanings. Continue reading
100 PHILOSOPHERS 100 ARTWORKS 100 WORDS #69
Philosopher: Phillip Barron, University of Connecticut
Artwork: Las Meninas (10′ x 9′, oil on canvas, Prado) is the title given to a 1656 painting by the Spanish artist Diego Velázquez. Its composition and complexity raise questions about reality and illusion, most significantly by the presence of a mirror on the far wall of the room.
Just as Descartes reduces thought to rationality,
Velázquez reduces painting to visuality.
— Jose Ortega y Gasset
Words: Sometimes on the metro, I catch myself in windows and see myself as another. Funny how sound is not the same as light. It never echoes transposed the way a mirror moves a scar from left to right.
The painting made me king or queen when peering in the canvas mirror. The nearer to the frame I stand, I am both here and there. Standing at Las Meninas, the self I saw on the train disappears.
After reflection, if I was what I saw, then saw is both the echo and mirror of was.
Image credit: Museo del Prado, via Wikimedia Commons
ASA APOLOGIZES AND ANNOUNCES OMBUDSPERSON
On Saturday, October 13, the American Society for Aesthetics (ASA) issued an apology to Dr. Shelby Moser for their handling of her sexual harassment complaint. This went out via email to all members registered for the recent ASA Annual Meeting. Below is an excerpt from the apology:
“This summer, several individuals in the ASA Board made misleading public comments about the incident and its reporting. As a result, the member making the complaint felt obliged to make a public statement, identifying herself, to set the record straight.
The Board of Trustees of the ASA hereby apologizes to Dr. Shelby Moser for misleading communications to the effect that she had not made an official complaint in 2017. We deeply regret that she felt compelled by the remarks to publicly identify herself, needlessly causing her stress and disrupting her life. We salute her grace and courage in speaking out.
We recognize that failure to respond appropriately to reports of sexual harassment contributes to a culture of gender discrimination. We undertake to act collectively, as members of the Society, to ensure that in the future the Society speaks clearly and unequivocally on matters of discrimination and harassment.”
(For more background, see our previous post on this issue.)
In related news, the ASA has named Dr. Jeanette Bicknell the new ombudsperson for the ASA. The basic role of the ombudsperson is to “receive complaints of discrimination and harassment and, where possible, serve as a resource to members regarding such complaints.” The ombudsperson’s full duties are detailed at this post on the ASA website.
They also invite nominations (including self-nominations) for a five-person standing committee on Discrimination, Harassment, and Respectful Behavior.
For the announcement and more information about the invitation, see the ASA’s post here.
This post has been updated. An earlier version incorrectly stated that the email went out to all ASA members.
ARTWORLD ROUNDTABLE: OBJECTIONABLE LYRICS
This edition of Artworld Roundtable appears in collaboration with Chris Richards, the pop music critic for the Washington Post. Over the next several weeks, we’ll present a series of roundtable discussions based on Richards’ “five hardest questions in pop music”: “cultural appropriation, problematic lyricism, selling out, the ethics of posthumous listening, and … separating the art from the artist.” AFB has rounded up several thinkers working in these areas to see what they have to say about each question. Richards has provided AFB with key examples to draw out the problems and complexities of each debate. First was cultural appropriation. Second was how to respect the wishes of dead artists. Third was whether selling out is still possible. Today we ask how we should engage objectionable lyrics.
The lyrics to some of our favorite songs are, upon moral reflection, completely horrific. Do those lyrics affect whether we should endorse the music or support the artist? Or is it okay – because it’s fictional, because it’s catchy, or because we know the artists don’t share those views?
How we should engage objectionable lyrics is the third of “the five hardest questions in pop music”, as described recently in the Washington Post by pop music critic Chris Richards. Below is the guiding question accompanied by a few examples that Richards finds particularly salient, followed by our contributors’ responses. Continue reading
