What follows is a guest post by James B. Haile (University of Rhode Island). Critical responses to Marvel’s first black super hero movie have been quick, varied and numerous, ranging from the significance of an all-black cast for filmic representation (here and here), to the veneration of its depiction of strong, intelligent dark-skinned black women with natural hair as central and heroic characters (here and here), to the critique of the film for pursuing a cosmopolitan vision of “Africa” at the expense of both Africans themselves and for African Americans (here and here), to critiques of the film for promoting the ameliorative agenda of integrationist hopefulness of neo-liberalism dressed in “black excellence,” standing shoulder-to-shoulder with hegemonic power, eschewing pan-Africanist sentiments (here, here and here). And though on the surface these approaches appear diverse, they have, for the most part, a common or central focus that limits their analysis. That is, what unites these … Continue reading →
In a post for the Oxford University Press Blog titled “Cosplay is Meaningless”, G.R.F. Ferrari, a professor of Classics at Berkeley, argues that cosplay is just about perfecting the art of dress-up. He writes: Cosplayers … are not out to intimate something about themselves, or, for that matter, about anything else. As an occasional cosplayer myself, I have to say that I couldn’t disagree more with what Ferrari says. Cosplay is much more aesthetically, socially, and personally important than he gives it credit for.
February 20, 2018
by Aesthetics for Birds 1 Comment
What follows is a guest post by Charles Peterson (Oberlin College) I. As Walter Mosley observes in his essay “Black to the Future,” the genre(s) of science fiction/fantasy neé Afro-futurism speak clearly to the dissatisfied through their power to imagine the first step in changing the world: Black people have been cut off from their African ancestry by the scythe of slavery and from an American heritage by being excluded from history. For us, science fiction offers an alternative where that which deviates from the norm is the norm. As such, African-descended people have long understood and utilized the power of narrative to generate the images and ideas that will spark the liberatory imaginings of the sufferers. Particularly in the realms of the fantastic have characters, scenarios, and worlds been constructed to expose the truths of the world as it is and reveal the possibilities of worlds that could be. … Continue reading →
What follows is a co-authored post by Brandon Polite and Matthew Strohl. It is the first piece in a two-part series. See part two here. The ascendancy of the internet has generated a wide range of difficult new questions for philosophers of aesthetics. Our concern in this piece is the way the internet has reshaped aesthetic discourse and has made aesthetic disagreement far more immediate and pervasive. Social media allows users to broadcast their evaluations of artworks to hundreds or thousands of followers any time of day and, as a result, has ushered in the Golden Age of Everyone Having an Opinion. We are specifically concerned with the general tendency of the internet to promote hostility in aesthetic discourse. Rampant hostility has emerged in a wide variety of contexts, ranging from large-scale fan movements to remake a poorly received season of a widely loved television series or a controversial entry … Continue reading →
Now that increasing numbers of people are stuck at home and sheltering in place, I figured I’d do a little series. Every weekday for the duration of this intense period, I’ll post a short definition of some term in/related to aesthetics and philosophy of art. Let’s see how this goes! See them all here. Last up in our week of -isms, we have: Terms of Art #20: colonialism & postcolonialism
What follows is a post in our JAAC x AFB collaborative series, where we highlight articles from the Journal of Aesthetics and Art Criticism. This post features Marissa D. Willis’ recent paper, “Choose Your Own Adventure: Examining the Fictional Content of Video Games as Interactive Fictions“. “Video games don’t tell stories,” he told me. “They’re just games.” So said a friend of mine when I told him I was writing about video games as works of fiction. And despite his mansplaining my own topic to me, my friend was giving voice to the very problem which I hope to address. Despite the fact that more people are playing video games these days than ever before, and game makers continue to create more inventive and engaging narrative works every day, my friend is not alone in his opinion.
The following post appears as part of a partnership with the APA Blog. The original appears here. Steven Manicastri is a political theorist and labor organizer. Having recently viewed Sorry to Bother You and seeing its clear relevance to his own research he posed the following questions to Lewis Gordon because of his theoretical work on race, class, and politics in film.
Now that increasing numbers of people are stuck at home and sheltering in place, I figured I’d do a little series. Every weekday for the duration of this intense period, I’ll post a short definition of some term in/related to aesthetics and philosophy of art. Let’s see how this goes! See them all here. The theme this week is art world stuff. Up today: Terms of Art #25: criticism