Bad art is bad. And bad things aren’t good. How can some art be so bad it’s good?
What are colors, really? If we see colors differently than bees do, does that mean that colors aren’t real? Should we take into account the fact that some painters are color blind?
Issues like this have occupied painters since at least the 20th century. Josef Albers wrote extensively about color theory and his paintings reflect that. Neil Harbisson, a British artist with a severe form of color blindness (achromatopsia, i.e., grayscale vision), thinks that being colorblind has made his art better, and now has implants that (debatably) allow him to hear color. And other stories like this abound. It’s even rumored that Van Gogh was color blind, though the Van Gogh museum disputes that.
A recent book, A Naive Realist Theory of Colour by Keith Allen, defends the existence of colors despite all of the worries we might have. In a blog post over at Oxford University Press, Allen writes:
One of the reasons why colours are philosophically interesting is that they provide an illustration of general problems that arise in thinking about the “manifest image” of the world, or the world as it appears to us as conscious subjects. It is not just colours that are under threat. Similar problems arise for aesthetic properties like beauty….
Those interested in the nitty gritty philosophy of color theory should check it out.
Here were our most-viewed posts this year. Scroll through to make sure you haven’t missed something big!
Today, we’ve got a few holiday-themed mini-essays by our regular contributors about Christmas movies, music, and lights. Continue reading →
I began this series of posts here, setting up the issues and summarizing Jesse Prinz’s main points in his groundbreaking “The Aesthetics of Punk Rock”. Readers of that post will recall that Prinz identifies three characteristics of punk rock that he thinks are central to the genre:
Readers of that post will also recall that I have nothing at this point to say about irreverence (of course, there likely is much to say about the exact sort of irreverence that is at work in punk rock, but I’m not going to do that today). Thus, we’ll move on to the second topic in the list: nihilism. Continue reading →
Star Wars: The Last Jedi opens today. I suspect many if not most of you will go see it. Hence, I constructed this little guide to some important aspects of the Star Wars saga. Obviously, given both the prevalence of words like “Force” and “Jedi” in the title of this film and the (narrative-wise) previous one, and what we know of the story so far, it seems safe to assume that the nature of the Force, and clashes between different aspects or interpretations of the Force, will be front-and-center in the new film. Hence, I’ve concentrated on some Force-errific trivia tidbits that might be useful in navigating that aspect of the story:
Enjoy the film, and may the Force be with you!
The following is cross-posted here and at Matt Strohl’s blog, Strohltopia.
There is wide chasm between the importance of Jacques Rivette’s work and the amount of attention it receives in the USA. My aim here is to promote Rivette awareness and provide information and guidance for those who are looking to get into his stuff but unsure of how to proceed.
1. Why Care About Rivette?
2. Chronological Survey
3. The Viewing Guide
Where to Start
Recommended Viewing Itineraries, organized by degree of hardcore-ness
Appendix: PAL speedup and what to do about it
Continue reading →
Short answer: no, but a great clickbait title. Long answer: it’s possible that the CIA promoted abstract expressionism as an expression of soft power, meant to contrast the individualism of American artists with the realism of Soviet-approved art.
Either way, I’m thinking that those philosophers of art who attempt to define art really err when they failed to include “sponsored by the CIA” as one of their criteria…
The following is a guest post by Charles Peterson (Oberlin College).
This is one of three companion pieces that reflect on the ASA’s 75th anniversary. Click here for the first, by A.W. Eaton, and the second, by Paul C. Taylor. See also the ASA Officers’ response letter here.
The age of 75 can signify multiple indicators. At 75 years old, an ant would be ancient. At 75 years old a mountain would be considered infantile in its span and at 75 years old a human being, has lived to a ripe and healthy age. For an academic organization, 75 years is a perfect time to celebrate its longevity and take stock of its future. The American Society for Aesthetics is at this point in regards to the inclusion of diverse scholars and discourses in its proceedings. The ASA stands at the threshold where its present efforts to open up, encourage and support the presence of women and members from previously underrepresented backgrounds can either move forward, grow and expand or retreat into exclusivity and marginality. Continue reading →