AESTHETICS FOR BIRDS

Aesthetics and Philosophy of Art for Everyone


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POET ANSWERS STANDARDIZED TEST QUESTIONS ABOUT HER POETRY – INCORRECTLY.

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I must alert you to an awesome piece by poet Sara Holbrook on HuffPo, where she explains that Texas used two of her poems for middle school standardized tests.

Holbrook:

  • receives an email from a distressed teacher who doesn’t understand the answers
  • discovers poor formatting that adds to the confusion
  • finds the questions in question
  • cannot, ultimately, answer them

The narration of her thought process going through the questions is also delightful.

At one point, she writes:

Parents, educators, legislators, readers of news reports: STOP TAKING THESE TEST RESULTS SERIOUSLY

Idiotic, hair-splitting questions pertaining to nothing, insufficient training, profit-driven motives on the part of the testing companies, and test results that simply reveal the income and education level of the parents.

All very fair. But then a bit of intentionalism to finish it all off!

My final reflection is this: any test that questions the motivations of the author without asking the author is a big baloney sandwich. Mostly test makers do this to dead people who can’t protest. But I’m not dead.

I protest.

Whoa – okay. Now the little dose of philosophy:

She definitely thinks she has the final word on how her poetry is interpreted! But like, does she really? Maybe she’s a good poet but a bad interpreter. (I’ll admit that the questions and answers do in fact seem a little silly. And I’ll be the first to throw down about how terrible standardized testing is.) But in principle, there’s no reason to think that just because she can’t answer the questions, they’re bad questions. Right? What do you guys think?

Go read the whole thing on Huffington Post.

Image credit: t-shirt design via Fashionably Geek – sorry little birdies, it looks like it’s sold out! 😥


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VENGEANCE IN BRIGHT PINK

You might think that you can’t, like, own a color, man.

But you’d be wrong. (And actually you’d have been wrong for a while. See Yves Klein Blue.)

Context: Maybe you remember the dustup earlier this year when superstar artist Anish Kapoor acquired the exclusive rights to (artistic) use of Vantablack, the blackest black in the world. Check it out:

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you can totally see through your screen that it’s the blackest black in existence, right?

Snarky remarks aside, it seems to make the aluminum look downright velvety. Artists were (reasonably) pissed about not being able to use this.

One such artist took revenge. Stuart Semple has developed the pinkest pink in existence. Check it out:

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it’s definitely pinker than this image can depict

And he’s making it available to everybody except Kapoor. Even you* can go grab a jar for £3.99.

*Unless you’re Anish, in which case, wow! We’re super flattered. Click-like-share this blog with your friends!

He’s also developed the glitteriest glitter, which is about twice the price of the pinkest pink, and also available to anybody except Kapoor.

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so why is everybody just talking about the pink?

Real questions: Are these really the pinkest pink and glitteriest glitter? On what sort of scale? Is this just a publicity stunt? Was what Kapoor did just a publicity stunt? Does any of that matter? And is it a problem for the future of art, now that you can actually own certain colors? Or is it no big deal?

Read more:

Images credits: (1) via Wikimedia Commons; (2) and (3) via CultureHustle, Stuart Semple’s website


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NEW BLOG: AD POPULUM

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Philosopher Nils-Hennes StearNils-Hennes Stear (Universidad Nacional Autónoma de México) has started Ad Populum, a blog for philosophers to “use the tools of our philosophical training to dissect issues of interest to popular culture writ large, and to demonstrate the usefulness of careful and critical thinking about matters big and small.”

The blog so far features Nils as well as guest posters on topics from Skittles and Syria to the media reception of sports protests. It looks very cool!

The most recent post, especially, might be of interest to AFB readers: “The Comedian as Philosopher, David Chappelle on the Election of Donald Trump” by Michael L. Thomas (Stanford).

Image of Jeff Koons’ Michael Jackson and Bubbles courtesy of Jules Antonio via Flickr


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3D PRINTED, AI-PRODUCED ORIGINAL “REMBRANDT”

A collaboration between ING bank, Microsoft, Delft University of Technology, and the Mauritshuis museum brings us the Next Rembrandt project.

They’ve created an original, Rembrandt-style “painting” created by analyzing existing Rembrandt paintings (colors, head direction, facial composition, etc.).

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If this is a taste of what the robot apocalypse will look like, then I guess it seems sort of anticlimactic.

Anyway, if you were curious about how to make the MOST paradigmatic Rembrandt painting, you’d want the following characteristics:

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Okay, but so much you probably already knew, without any deep data algorithms. Just with your fleshy meat brain.

But could you do this part?

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They did micro-landscape analysis of the brushstrokes and mimicked that, too. Then used “paint-based UV ink” to create the final product with a 3D printer.

And how does it look?

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I mean, it looks like a Rembrandt to me. (Some people claim they can tell it’s not authentic. I’m skeptical.) This – like computer-generated poetry – raises a bunch of interesting philosophical questions.

  • Is it an artwork?
  • Is it a painting?
  • Is it an original painting?
  • Is there an author? Who is it?
  • Is there any creativity involved? Any expression?
  • Would it actually be distinguishable, even by experts, from a real Rembrandt? And does that matter?

But most importantly:

  • Will this creativity and computer learning lead to robots enslaving humanity?

“You could say that we use technology and data like Rembrandt used his paints and his brushes to create something new.” – Ron Augustus, Director of SMB Markets at Microsoft

I mean, like, you could… but should you?

If you’re curious, check out the video below to see an overview of the project. Much more at the project website.

(Via Core77. Thanks to Noah Greenstein for the pointer.)


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A THANKSGIVING ANNOUNCEMENT FROM AFB

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Lawrence Paul Yuxweluptun, Scorched Earth, Clear Cut Logging on Native Sovereign Lands, Shaman Coming to Fix (1991) (via Yuxweluptun’s website)

Tomorrow is Thanksgiving in America, and while there are many things to be thankful for (though also many things to be dissatisfied with, to put it mildly), we at AFB would like to take a moment to recognize and celebrate Native American art and people.

Please remember that the conventional Thanksgiving narrative is at best naively and misleadingly incomplete and at worst grossly, perniciously, and irretrievably wrong.

And be aware that Native Americans still fight for recognition, respect, and rights. Be aware of the current Dakota Access Pipeline (DAPL) situation (see how you can help here). Be aware that while you may be sitting down tomorrow to a meal with family and friends, others will be protesting at the National Day of Mourning in Coles Hill Plymouth, MA and at the Indigenous Peoples’ Sunrise Gathering on Alcatraz Island, CA.

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David Bradley, Pueblo Feast Day (1997) (via Wikimedia Commons)

The influence of indigenous cultures on contemporary American culture is immeasurable. So we would like to say thank you, and we stand with you.

If you’d like to get more informed, below the fold are a few links to recent developments in Native American art and the artworld.
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MORE BIBLIOGRAPHIES

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Last week, we presented three new diversity curricula supported by the ASA.

Relatedly, here are a few bibliographies people might find useful in trying to assemble diverse course readings, or for those interested in exploring other areas:

Image credit: Nicolaes Maes, “An Old Woman Dozing over a Book” (1655), via NGA


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ARTISTS RESPOND TO THE 2016 ELECTION RESULTS + AUDEN POEM

Follow these links for some great coverage on how artists are responding to the 2016 election results. Please feel free to share any information about how artists are responding to the election results in the comments below.

For your viewing pleasure, here is the cold open from Saturday Night Live this past weekend. A response to the 2016 election results and Leonard Cohen’s death from the obviously multi-talented artist and comedian, Kate McKinnon:


In conclusion, an Auden poem:

September 1, 1939 | W. H. Auden, 19071973

I sit in one of the dives
On Fifty-second Street
Uncertain and afraid
As the clever hopes expire
Of a low dishonest decade:
Waves of anger and fear
Circulate over the bright 
And darkened lands of the earth,
Obsessing our private lives;
The unmentionable odour of death
Offends the September night.

Accurate scholarship can 
Unearth the whole offence
From Luther until now
That has driven a culture mad,
Find what occurred at Linz,
What huge imago made
A psychopathic god:
I and the public know
What all schoolchildren learn,
Those to whom evil is done
Do evil in return. 

Exiled Thucydides knew
All that a speech can say
About Democracy,
And what dictators do,
The elderly rubbish they talk
To an apathetic grave;
Analysed all in his book,
The enlightenment driven away,
The habit-forming pain,
Mismanagement and grief:
We must suffer them all again.

Into this neutral air
Where blind skyscrapers use
Their full height to proclaim
The strength of Collective Man,
Each language pours its vain
Competitive excuse:
But who can live for long
In an euphoric dream;
Out of the mirror they stare,
Imperialism’s face
And the international wrong.

Faces along the bar
Cling to their average day:
The lights must never go out,
The music must always play,
All the conventions conspire 
To make this fort assume
The furniture of home;
Lest we should see where we are,
Lost in a haunted wood,
Children afraid of the night
Who have never been happy or good.

The windiest militant trash
Important Persons shout
Is not so crude as our wish:
What mad Nijinsky wrote
About Diaghilev
Is true of the normal heart;
For the error bred in the bone
Of each woman and each man
Craves what it cannot have,
Not universal love
But to be loved alone.

From the conservative dark
Into the ethical life
The dense commuters come,
Repeating their morning vow;
“I will be true to the wife,
I’ll concentrate more on my work,"
And helpless governors wake
To resume their compulsory game:
Who can release them now,
Who can reach the deaf,
Who can speak for the dumb?

All I have is a voice
To undo the folded lie,
The romantic lie in the brain
Of the sensual man-in-the-street
And the lie of Authority
Whose buildings grope the sky:
There is no such thing as the State
And no one exists alone;
Hunger allows no choice
To the citizen or the police;
We must love one another or die.

Defenceless under the night
Our world in stupor lies;
Yet, dotted everywhere,
Ironic points of light
Flash out wherever the Just
Exchange their messages:
May I, composed like them
Of Eros and of dust,
Beleaguered by the same
Negation and despair,
Show an affirming flame.

 


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MoMA’S ENTIRE EXHIBITION HISTORY IS NOW ONLINE & IT’S FFREE

 

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Objects of Desire: The Modern Still Life, May 25-April 26 1997

New York City’s Museum of Modern Art is certainly one of the most important and influential art institutions in the USA and the world. MoMA curators throughout the decades have made decisions that have greatly affected the way the artworld and public understand the nature of art.

You can now view all materials from all of MoMA’s exhibitions, beginning with their opening in 1929. Check it out for yourself:

MoMA’s Entire Exhibition History

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Machine Art, March 5-April 29 1934

After, or perhaps before, check out a recent article in The Atlantic by Robinson Meyer, “The Museum of Modern Art’s Miraculous New Online Archive”, discussing the aesthetic and functional changes in exhibition documentation throughout the years.

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Robert Motherwell, October 1–November 28 1965