AESTHETICS FOR BIRDS

Aesthetics and Philosophy of Art for Everyone


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PSYCH STUDY PROVES KANT RIGHT (AND WRONG) ABOUT BEAUTY

There’s a discussion over at Daily Nous about a psychology study in which the authors:

confirm Kant’s claim that only the pleasure associated with feeling beauty requires thought and disprove his claim that sensuous pleasures cannot be beautiful.

So, they try to prove Kant right about beauty involving cognitive functions, but prove him wrong about sensuous pleasures. They also found in general that beautiful things yielded higher pleasure than purely sensual stimuli.

Pleasure amplitude increases linearly with the feeling of beauty.

(Well, it still reads better than Kant.)

So here’s the basic methodology.

Neither wishing to encumber our participants with philosophical baggage nor wishing to spoil the test by revealing our hypothesis, we left “beauty” undefined and simply asked the participant at the end of each trial: “During this trial, did you get the feeling of beauty from the object?” We used various stimuli: seeing a plain or beautiful image, sucking a candy, or a touching a teddy bear.

Some of the interesting results:

Roughly one-third of participants “definitely” experienced beauty from non-visual stimuli in trials without added task [designed to deplete executive functions], i.e., from sucking a candy or touching a teddy bear.

Turns out, sucking on a Jolly Rancher can be beautiful. They discuss these results in the section “The Beauty of Sucking Candy: Kant Disproved”. (I just wanted to call attention to that delightful section header.)

Reports of beauty for IKEA furniture were very rare.

😥

The final words of the study:

We thus demonstrate that psychological experiments can test philosophical theories and that mathematical models can describe aesthetic experiences.

If only Kant had been the type to enjoy a good hard candy now and then, or squeeze a teddy bear.

In all seriousness, though, what do you think? For most people working in art and aesthetics, it isn’t surprising that sensuous experiences can be beautiful. Lots of people work on this stuff now and lots of artists are exploring non-standard media and sense modalities.

But should we believe it to be true on the basis of this sort of research? What should we think about empirical aesthetics and neuroaesthetics? Does it trivialize the richness of aesthetic experience? Does it poorly operationalize our concepts? Or does it liberate us from our ivory tower? (If you’re curious about others’ thoughts, pop over to the discussion at Daily Nous.)


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PEPE IS DEAD! LONG LIVE PEPE? (BY ANTHONY CROSS)

What follows is a guest post by Anthony Cross, following new developments in the Pepe meme story: Pepe’s death!

Faithful readers of AFB will be familiar with the saga of the internet meme Pepe the Frog. (For those of you who missed it, my guest post on Pepe and the nature and value of internet memes is here.) The latest update: Pepe’s death! But first, a bit of background: Continue reading


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IS ALEX JONES REALLY A PERFORMANCE ARTIST? WHO CARES.

Performance art has always inhabited an ambiguous space between everyday behavior and marked-off ‘art’ behavior.

And now ultra-conservative Infowars’ Alex Jones says that his vitriolic on-air personality is performance art. He refers to a recent incident as “clearly tongue-in-cheek and basically art performance, as I do in my rants, which I admit I do, as a form of art.”

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screenshot from this video on Jones’ YouTube channel

Now everyone is talking about whether or not he’s a performance artist.

My first reaction is: Hell no. Performance art does not justify fake news or the awful stuff he says. (And really, “clearly tongue-in-cheek”? Is that the conspiracy theory stuff that’s tongue-in-cheek? Or is that the threat-laden, insult-ridden veneer that’s tongue-in-cheek? In either case it seems doubtful, given the clearly not tongue-in-cheek followers he’s amassed.)

But that’s actually not the direction of this inquiry. He’s engaged in a custody battle. He’s claiming that his aggressive Infowars persona doesn’t make him an unfit to parent his children.

So, wait, why does it matter if it’s performance art or not?

Attorney Randall Wilhite told state District Judge Orlinda Naranjo that using his client Alex Jones’ on-air Infowars persona to evaluate Alex Jones as a father would be like judging Jack Nicholson in a custody dispute based on his performance as the Joker in “Batman.” (link)

As far as I can tell the argument goes like this: If it’s performance art, then it’s all a show and deep down he doesn’t actually harbor these violent tendencies, so probably he doesn’t treat his kids the way he treats people on his show and stuff. But if it isn’t performance art, then he is awful and probably does threaten to break his kids’ necks and whatever.

Let’s all take a deep breath and do a little philosophy here.

Thesis: It doesn’t matter if it’s performance art.

Suppose it is performance art. That still doesn’t answer any of the questions one cares about. Maybe Marina Abramovic does stare in uncomfortable silence at people sitting across the table from her, even when she’s not in museums! So it’s still an open question whether, even if performance art, his behavior is any evidence of his personality outside his “art”.

But we can also raise the same questions even if the job in question isn’t some sort of performance art. Compare:

  • Someone who works at a slaughterhouse. Should we be concerned that they go home and slaughter their pets?
  • Someone who works as a social worker or therapist. Should we think they go home and constantly listen to their partner’s or children’s problems?

Does working at a slaughterhouse/being a therapist make these respective behaviors more likely? Maybe; maybe not. (I’m going to say not, at least in the former case…)

The point is: We don’t have to talk about performance art at all to think through those questions.

Is Jones’ Infowars persona evidence that he is a bad parent? This is where the real debate should be. And invoking performance art will simply not resolve that debate either way.

Conclusion: Maybe he is awful to his kids; maybe he isn’t. But the issue of performance art is neither here nor there, and is a ludicrous defense. But then again I’m no lawyer, just a philosopher. And maybe a performance artist, although I doubt it.

See more:


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THE METAPHYSICS AND LINGUISTICS OF EMOJI

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screenshot from the comic “Want A New Emoji?” by Andy Warner

Some Philosophical Questions about Emoji

First, let’s be clear about what we’re talking about. “Emoji(s)” are things like this: [😀🤔], not emoticons like : ) or (T_T) or ¯\_(ツ)_/¯ or ㅇㅅㅇ. (Note: in this post, emoji will be flagged by square brackets so that if you can’t see them, you’ll at least know roughly what you’re missing.)

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Thank you, Wikipedia

A Brief History of Emoji:

  • introduced in 1995 by Japanese telecom company Docomo
  • first emoji: ❤
  • then, another 175 followed
  • 2011: Apple introduced them…
  • soon after, everyone else did too

See the awesome comic “Want a New Emoji?” by Andy Warner and this Vice video for more.

Now, some philosophical questions about emoji and my unsupported hot take on the answers.

Metaphysics

Are the different Apple-Google-Samsung emoji different emoji instances or genuinely different emoji? What is an emoji?

I guess the different emoji in the first image are probably just instances of one emoji, since emoji are individuated by their Unicode numbers and coarse-grained descriptions (like “Smiling Cat Face with Heart-Shaped Eyes” or [😻]). But then, the emoji isn’t itself just the number or just the description. Emoji are pictographs and Unicode numbers are not pictographs, nor are descriptions. So emoji need a particular pictographic manifestation.

Maybe it’s a type-token relationship or a determinable-determinate relationship. I bet it’s like whatever we call the relationship between a piece of music and its score. … Maybe. I have no idea; I don’t really do metaphysics.

Whatever we say, this seems pretty important:

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from “Investigating the Potential for Miscommunication Using Emoji“, a computer science and engineering study by Hannah Miller

Also, is : – ) the same as : ) ? Are these the same as (^_^)? And are these the same as ☺ and [😊]?

Yes, no, no. Or maybe: yes, yes, yes. But definitely not: no, yes, yes.

Language

Do emoji have semantic content? Can a string of (only) emoji be propositional? Are emoji words? Do they constitute a bona fide language?

Yep, I’m going to say they definitely have semantic content, although they are also used as a kind of prosody (e.g., to indicate sarcasm or other emotional punctuation). And sure, a string can be propositional. Here are two easy one-emoji string examples: [👍] or [🤝] = Sounds good, Okay, Deal. That said, it’s probably underdetermined in most cases, and most strings are, like all emoji, going to be highly subject to context, as well as idiolect or dialect variation.

Emoji can function as nouns (I want [🍕]) or verbs (I [❤] you) or interjections ([😲])… etc. Are they words? Well, I don’t know really what a word is, but Oxford Dictionaries* seems to think so, so let’s say yes.

The poverty of dedicated – or even roughly standardized syntax (e.g., I bet word order emoji order varies between SVO and SOV languages) is going to make calling it a language – at least a standalone one – pretty difficult, though. And can a system be a language if it has to be parasitic on another, standalone language? I would have thought no, but I don’t know. Maybe this is a counterexample?

*[😂], “Face with Tears of Joy”, was named Oxford Dictionaries Word of the Year in 2015.

Now what?

Philosophers: really, NO results??

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We need to get on this. I guess that, for now, I will have to content myself with Language Log archives and other random amusing things online. [😂😂😂]

– Alex


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ARTISTIC REPRESENTATIONS OF PHILOSOPHICAL THOUGHT

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There’s a post over at the general interest philosophy blog Daily Nous that might be of interest to our readers. Susanna Berger, assistant professor of art history at the University of Southern California, has posted an excerpt adapted from her book, The Art of Philosophy: Visual Thinking in Europe from the Late Renaissance to the Early Enlightenment (Princeton University Press, 2017).

From Berger:

I show how their inventive iconography inspired new visualizations of thought in a range of drawn and printed sources, including student lecture notebooks, printed books, and alba amicorum (friendship albums). The book culminates with a new study of the celebrated frontispiece to Hobbes’s Leviathan. I argue that previous accounts of the print have failed to capture the full complexity of this etching and offer a new, if complex, account of this famous image—one which emphasizes the process of the state’s generation. Artists and philosophers invested significant amounts of time and money in the creation of philosophical visual representations and we must take these contributions to their thought seriously if we wish to understand their ideas in all their complexity and richness.

Check it out!

Image credit: 15th c. Italian engraving “Geometria XXIIII” from MET Collection


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VAPORWAVE AND MUSIC THEORY

Are music recordings their own type of musical instrument?

How does timbre (vs. pitch, harmony, etc.) affect musical experience?

What, really, is the point of music theory?

And is vaporwave really dead? (Do you, Dear Reader, not yet know what vaporwave is – or was?)

All these questions and more are addressed in this excellent video (from 2016 that I just discovered…) by YouTuber and musician Adam Neely.

 


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CAN #SELFIES BE ART? SAATCHI SAYS YES

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I’m going to go ahead and say Saatchi isn’t really that cutting edge on this one. People have been doing self-portraits for a long-ass time. Maybe those don’t count as “selfies” though?

In any event, the famous Saatchi Gallery will host a show this spring called “From Selfie to Self-Expression”. This is funded together with the enormous Chinese telecom company Huawei. (Hm, I wonder why they’d be interested in selfies.)

Maybe most exciting is for those artistic sorts who read the blog: You can enter your own selfie for a chance to be shown at Saatchi!

They’re currently holding a selfie competition (entry rules here), open until March 12, 2017. You have to submit images via their website interface. For whatever reason, you can’t just post an Instagram with the #SaatchiSelfie hashtag and be entered. Although they do want you to use that hashtag on Twitter, Instagram, etc.

Or you can just scope out the current entries.

From the website: “Winners will receive Huawei’s latest smartphone and have their selfies showcased at the Saatchi Gallery as part of Selfie to Self-Expression.” Even if you weren’t jonesing for the newest line of Huawei phones, being part of a Saatchi show would be pretty cool.

The show will run from March 31, 2017 – May 30, 2017.

Image: Rembrandt, Self-Portrait (1660), courtesy of The Met Collection


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YouGov SURVEY ANSWERS PERENNIAL QUESTION: CAN VIDEO GAMES BE ART?

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Survey says… No. 😥

But tattoos can be, and many other things.

Internet-based market research company YouGov asked over 1500 Brits whether they thought various mediums could be art.

Their results:

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Unsurprisingly, results varied a lot across age groups, and some across class. Take a look at YouGov’s write-up of these surveys, and their detailed survey results. This updates some older results they got in 2014.

Well, I guess we can shut things down around here. Thanks to everyone for playing!

p.s. But seriously, stay tuned for the next JAAC x AFB Discussion on this beloved non-art-form. We’ll be discussing Grant Tavinor’s JAAC paper “What’s My Motivation? Video Games and Interpretive Performance”.

Photo credit: Ryan Quick, The Art of Video Games via Flickr


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MAKE AMERICA GREAT AGAIN: GOVERNMENT EMPLOYED ARTISTS!

1936 or 1937 poster. Image via Library of Congress on Flickr.

1936 or 1937 poster. Image via Library of Congress on Flickr

 

Check out one way we could make America great again by reading a new article up on Artsy, written by Tess Thackara: “What We Can Learn from the Brief Period When the Government Employed Artists”. Learn about how the Works Progress Administration (WPA) supported artists and diversity in the arts for a brief time in American history…


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THE CURIOUS CASE OF PEPE THE FROG, BY ANTHONY CROSS

The following is a guest post by Anthony Cross.

The Curious Case of Pepe the Frog: On the Ontology and Value of Internet Memes

In the waning days of last fall’s presidential election a frog took center stage. In early September, Donald Trump Jr. posted an image on Instagram featuring his father leading “The Deplorables”:

 

 

The image is intended to be a response to Hillary Clinton’s “basket of deplorables” remark. However, what catches one’s eye is a curious depiction of a green frog wearing a Trump wig. The Clinton campaign quickly pointed out that the frog is an instance of an internet meme known as Pepe the Frog and denounced Trump for his campaign’s usage of the meme due to its associations with white supremacy and the alt-right. Not long after, the Anti-Defamation League added Pepe to its online database of hate symbols.

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“Feels Good Man”

Thanks to countless subsequent explainers—like this one from NPR—the history of Pepe may already be familiar to you. The meme has its origins in a comic strip by the artist Matt Furie. In around 2008 users of online message boards like 4chan began adapting one of the comic’s characters, an anthropomorphic frog, into a series of reaction images—most notably, Pepe saying “feels good man.”

Over time, users adapted the Pepe character into a number of different contexts, and the meme attained some measure of mainstream popularity. (See, for example, Katy Perry tweeting a Pepe in 2014.) Members of the original communities out of which Pepe emerged took umbrage with the meme’s new popularity and—likely out of a desire to troll mainstream internet users—began to associate Pepe with racist themes. Over time, their campaign worked. Pepe was taken up by white supremacists and those on the so-called “alt-right” on Twitter, Reddit, and other social networks. This led directly to Trump Jr.’s sharing of the photo and the subsequent controversy.

The moment was remarkable in that it was, to my knowledge, one of the first instances where the creation and dissemination of internet memes—formerly the province of rather harmless lolcats, advice animals, and photoshops—became a central topic of national political discourse.  Yet despite the growing influence and significance of meme culture, there has been very little philosophical reflection on the topic. This is especially remarkable given that recent philosophy of art has given us powerful tools for theorizing these cultural objects—for thinking about both their nature and their value to the communities that perpetuate them. Continue reading