AESTHETICS FOR BIRDS

Aesthetics and Philosophy of Art for Everyone


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KANYE WEST IS WRITING PHILOSOPHY

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Breaking news:

In an interview with interior designer Axel Vervoordt, Kanye West reveals that he is working on a philosophy book.

I’ve got this new concept that I’ve been diggin’ into. I’m writing a philosophy book right now called Break the Simulation. And I’ve got this philosophy — or let’s say it’s just a concept because sometimes philosophy sounds too heavy-handed. I’ve got a concept about photographs, and I’m on the fence about photographs — about human beings being obsessed with photographs — because it takes you out of the now and transports you into the past or transports you into the future. It can be used to document, but a lot of times it overtakes [people]. People dwell too much in the memories.

I mean, it’s not a ridiculous, uh, concept. But I hope it gets developed a little better than that paragraph suggests. I wonder if he’ll engage with other philosophers and their concepts about photography.

For those curious about his cred in writing something like this: he also drops a “secret weapon”.

This is kind of a little secret weapon that I’ve had on the world: I’ve actually got a Ph.D. from the Art Institute of Chicago.

Well, it’s an honorary degree. But hey, if it gets people thinking about philosophy of photography, that’s something.

Go to Hollywood Reporter for the full interview.


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BRO-COUNTRY, WALMART COUNTRY, AND AUTHENTICITY

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At her blog, L. M. Bernhardt has written a response to John Dyck’s recent post defending country music. In her post, “…but it’s all right.” she articulates something that worries her about Dyck’s presentation of country music as unsophisticated.

There is an important difference between the music born from the life of farmers and miners and the music that deploys that life as a sign of authenticity for consumers who don’t necessarily live there anymore.

She goes on to explain:

it’s a major feature of contemporary bro-country, which tends to be an assembly-line-produced mess of redneck identity signifiers masquerading as “authentic” country music. A pop-country performer like Brad Paisley (who is good at his job — don’t get me wrong!) bears little to no resemblance to someone like Ralph Stanley or Hazel Dickens. He and his usual co-writers produce songs about country as an identity. Hazel Dickens wrote and sang from it, and I think that makes a big difference — or should make a big difference — in how our aesthetic judgements handle these things. Country music like hers isn’t bad music or unsophisticated music that uses its messiness to signify authenticity — it’s representative of a distinct body of styles with its own natural history and quality markers, which is exactly what constitutes its authenticity.

Readers should check out the whole thing. Bernhardt writes from the perspective of both a performer and a philosopher, and her thoughts on the matter are really interesting.

We’ve given John Dyck the opportunity to respond. His response follows. Continue reading


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BLACK PANTHER AND CROSSPLAY: WHY COSPLAY IS MORE IMPORTANT THAN YOU THINK

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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. Continue reading


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COLOR VISION AND ART

 

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.

Image credit: Studies for Homage to the Square by Josef Albers, by Selena N.B.H. via Flickr


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Modern Art: A CIA plot?

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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…

Image credit: “Flag” (1955) by Jasper Johns at MoMA, photo by Nathan Laurell via Flickr


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“TO OPEN MY LEGS IS TO OPEN MY MOUTH”: SEXUALITY AND ART

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In September this year, French-Luxembourgian performance artist Deborah De Robertis exposed her vagina in front of the Mona Lisa at the Louvre.

A few days ago, she was acquitted of charges of sexual exhibitionism by Paris’s High Court. Why? Because (a) her intent was not sexual in nature, and (b) the “material element of the crime” was missing (= you couldn’t *see* her genitalia because pubic hair obscured it). (Yes, you may giggle now.) Continue reading


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ADRIAN PIPER AT MoMA

A philosopher and artist is getting lots of recognition lately, culminating in an upcoming solo show at MoMA. Adrian Piper, who received the Golden Lion from the Venice Biennale in 2015, has enjoyed several shows in the past couple of years, and will now have a major exhibition at MoMA, “Adrian Piper: A Synthesis of Intuitions, 1965–2016” (March 31 to July 22, 2018), which will then travel to the Hammer Museum in LA (dates being finalized) before going abroad.

From the MoMA press release:

[T]he exhibition, which will be seen in its entirety only at The Museum of Modern Art, will occupy the Museum’s entire sixth floor—the first time that entire level has been devoted to the work of a living artist.

Exciting!

And the MoMA title isn’t just about her art. She has written about Kant’s notion of intuition. And indeed, this isn’t a case where “philosopher” is just tacked on to add some weight to other titles (like all those “artist, model, poet, DJ, and philosopher”s out there now). Piper is hugely research active in philosophy. To get an idea of her philosophical breadth, see some of her work here. She has published on Kant, aesthetics, rationality, race, and non-Western philosophy. According to Wikipedia, Piper was also the first African-American woman to receive tenure in philosophy in the US.

Her conceptual art is centrally concerned with race – with topics like passing as white, exclusion, otherness – as well as issues like sexism, responsibility, and subjectivity. She examines these issues through performance, drawing, collage, installation, and painting.

And for those of you in NYC or nearby who can’t wait until the MoMA solo show can check out her work at the Levy Gorvy Gallery, up until October 21.

See other announcements:


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THE AESTHETICS OF ROCK CLIMBING

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The pleasures of rock climbing and the pleasures of philosophy turn out to be strangely similar.

So starts an essay by AFB’s Thi Nguyen for The Philosophers’ Mag.

The aesthetics of climbing is an aesthetics of the climber’s own motion, and an aesthetics of how that motion functions as a solution to a problem. There is, for the climber, a very special experience of harmony available – a harmony between one’s abilities and the challenges they meet.

His wide-ranging essay is ultimately about rock climbing, but touches on dance and proprioception, as well as games, sports, and problem solving. Check out the whole thing here.

Image credit: Mark Doliner via Flickr